Thursday, June 14, 2012
The notorious artwork might have given the impression that Murray’s Hail to the Thief II exhibition was concerned with the president’s member but, in fact, he is more concerned with words, or on a broader level propaganda, political rhetoric. In such a context, words become objects; like the enlarged gold gilded letters of the word “Promises”, which creates the illusion of meaning and importance, though the word doesn’t offer us any idea what this “promise” might be. The substance of the “promise” is clearly irrelevant, bringing to mind the adage “empty promises”. This artwork epitomises the once-fashionable “one-liner” tradition of art-making that critic and theorist Julian Stallabrass dubbed “high-art lite”, referring to a brand of art that aspires to superficiality, to lightness – it was very popular in Britain in the late Nineties.