While Clint Eastwood and Bruce Jenner chose to invite a camera crew into the bosom of their crazy-ass family, Sydney Morris came up with a totally unique Money Making Scam. He would get rid of the Bentons and Prescos and replace them with Pretenders – Frauds – who will run the gallery and write books and movie scripts about us. The public was not fooled. My friends were good friends with Tattoo Mike.
Above is the bloody artwork of Tyler Shields, and my friend, Paul Drake, who was the main bad guy in ‘Sudden Impact’ who raped Susan Lockley, who is crucified in the movie ‘The Second Coming of Susanne’ made by my high school chum. In my Reality Blog, I can have Paul got to Carmel and slice up the Eastwood Women, and crucify Tyler. Consider the bloody scenes rendered by Hermann Nitzch.
In Mr. Sydney Morris’s Report of the Administration he says on page 4 line 10;
“Petitioner hired Stacey Pierrot, who had been assistant manager of the gallery during Decedent’s lifetime, to run the gallery and prepare and execute a marketing plan. The gallery was run by the estate until March 1996 when the gallery was sold to Ms. Pierrot through a contract approved by this Court. During the time that the estate operated the gallery, aggressive marketing efforts were made in an attempt to stir interest in Decedent’s work and increase the potential market for her work. In spite of these efforts, interest in Decedent’s work continued to wane.”
On page six, Mr. Morris explains why there was a delay in the closing of the estate;
“By September 2000, however, plans were underway for a biography of Decedent, which Petitioner hoped might create interest in her work. The book was published in 2002. Although the book did not spur the hoped-for interest in Decedent’s life and work, efforts continued to market the concept of a screenplay based upon Decedent’s life. Petitioner hoping that this might be brought to fruition, elected to keep the estate open. However, it is the Petitioner’s belief the likelihood of an increased interest in Decedents work is negligible, and the time has come to close the estate.”
Above is the bloody work of Tyler Shields, who was fucking Clint’s daughter and ruining his reality show with his declaration ‘Life is a not a fairytale’. I think I could have gotten Belle and Rena to pose for my bloody paintings, if I had not tried to put them at the epicenter of the Sleeping Beauty cosmology which a serial killer would be prone to do.
“I’m going to put you to sleep now. You might faint when you see all the blood!”
Instead of sending me her fashion photos to make paintings of, Rena flew into the Sheriff station in Bozeman, and threw down my letter she had copied from memory. She demanded Deputy Dan take out a restraining order. Did he peek behind her to see if there was a camera crew? Tyler is a friend of Alison Jackson who did a crucifix painting. I think they are both inspired by Hermann Nitsch who Stefan met in a gallery in New York.
“The A Gallery was founded by Fraser Kee Scott in 1997. The gallery’s first exhibit was recent Chelsea graduate Alison Jackson‘s Crucifix, priced at £1,500 and five years later valued at ten times that amount, after she had won a Bafta and written a best-selling book.”
Tyler and the A Gallery is connected to Scientology. L. Ron Hubbard knew the Black Mask authors. My friends knee Tattoo Mike, who attacked Scientology with Samuair swords.
There is a trend here. What I think this all leading up to is my Ritual Crucifixion. People hate me! I think we got a reality show…..”Crucifying Jonny’.
There’s a whole (Carmel) Cottage Industry built around the book ‘Holy Blood, Holy Grail’ were secular writers dissect the ‘Last Supper’ and ‘The Mona Lisa’. They skirt Bloody Jesus on the cross, lest they alienate their agnostic wiccan readers. By following the Bloody Rose Line I have discovered a true conspiracy of our subconscious that involves artists that are linked to one another, linked to me……..The Anointed One!
I can not escape my date with Destiny!
Installed in the main exhibition space of the HVCCA, the Hermann Nitsch installation stands in dialogue with ‘LOVE’, which opened in February of this year. The bond formed between God and the Hebrews in that early desert stage was based on a love relationship, proven by salvation from Egyptian enslavement and a parent to child nurturing environment within the dessert
Mrs. Eastwood & Company is an American reality documentary television series that premiered May 20, 2012, on E!. The series chronicles the lives of Dina Eastwood, former wife of actor/director Clint Eastwood, and their daughters, Francesca and Morgan. Mrs. Eastwood manages the six-person a cappella group Overtone, who also live with the Eastwoods in their Carmel-by-the-Sea, California,
Shields credits Fraser Kee Scott of A Gallery with discovering him, stating, “I have a lot of friends that are Scientologists … Fraser [Kee Scott], the guy who runs that gallery, he found me back in the MySpace days. He is a very, very fucking smart guy and he has a great eye for things. He worked at my last gallery and to my knowledge he wasn’t promoting Scientology to anybody, he was trying to sell art.”
Blood and violence motifs
His work often involves images of violence and splattered blood. He collected blood from 20 celebrities to make a piece of art for his Life Is Not a Fairytale exhibit in Los Angeles and also photographed Lindsay Lohan as a vampire for that exhibit.[10
Jackson graduated with BA (Hons) in Fine Art Sculpture from the Chelsea College of Art and Design as an adult student. Here she established herself as an abstract painter with a difference, completing a small number of critically acclaimed works. Soon after, in 1997, her graduation piece, Crucifix, was the first exhibit at A Gallery. It was priced at £1,500 and five years later it was valued at ten times that amount. Jackson went on to gain her MA in Fine Art Photography from the Royal College of Art, London.
She became notorious in England in 1999 for producing black-and-white photographs including images that apparently showed Princess Diana and Dodi Al-Fayed with a mixed-race love child. The photographs were part of her graduation series entitled Mental Images. She has gone on to produce similarly obscured photographs and films of celebrity look-alikes in surprising, shocking or strange situations, portraying them, as she has described it, ‘depicting our suspicions’.
With reference to Alison Jackson’s iconic image of Princess Diana and Dodi Al-Fayed, Jackson says: “I started making work about Diana as a national icon at the time of her death. Millions mourned her through her image. Most of them did not know her in person; they only “knew” her through photos, TV etc. I thought I would make images of her, using a lookalike, to explore our perception of her and our fantasies about her love life.”
Jackson was the artist behind BBC Two‘s series Doubletake, for which she won a BAFTA. She has recently depicted George W. Bush and Tony Blair look-alikes in a series of ‘behind the facade’ scenes, and has produced a film devoted to the latter which coincided with his exit from office entitled Blaired Vision, shown on Channel 4 on 26 June 2007. On 1 April 2011 the artist launched a new online celebrity news site in conjunction with the launch of her third book ‘Up The Aisle’, 300 images of her take on the Royal Wedding of Prince William and Kate Middleton. Her numerous replicas of the couple in various positions and settings went on display at London’s Ben Brown Gallery. Alison is also developing a new series for American television.
international contemporary art fairs that takes place each October in London.
She is also an Ambassador to the Spinal Injuries Association.
In 2001, Scott became a member of the Church of Scientology during a trip to Los Angeles. The gallery had a shelf of books for sale by Scientology founder, L. Ron Hubbard and hosted religious workshops for the Church about two times a week. Scott said that the importance of artists is acknowledged by Scientology, whose teachings can help artists’ work by improving their “emotional tone”, which in the case of Francis Bacon was “all fear”. He said, “In my personal art I am constantly inspired by Scientology, it is impossible not to be, as it is SO helpful and interesting … I am always inspired by Scientology. Basically L Ron Hubbard knew the importance of artists to society and he pointed out how art has the power to lift moods and change the world and I strive to achieve this goal, a new renaissance!”
He has quoted the Scientology Handbook and has written in support of the Church of Scientology’s Youth for Human Rights campaign. He currently works with photographer Tyler Shields, who has said of A Gallery’s Scientology affiliation, “I have a lot of friends that are Scientologists … Fraser [Kee Scott], the guy who runs that gallery, he found me back in the MySpace days. He is a very, very fucking smart guy and he has a great eye for things. He worked at my last gallery and to my knowledge he wasn’t promoting Scientology to anybody, he was trying to sell art.”
In 2004, the gallery exhibited in the window a life-sized nude sculpture, This Is Me (Who Am I), by Marie White (aged 24), a graduate of Wimbledon College of Art. The work, made from hair, wax and resin, was shown at her degree show without a problem. A lady entered the gallery and expressed interest in the work. Then some local schoolboys entered and made out they were molesting the sculpture, until Scott shouted at them and they left. Some passers-by made complaints to police that the sculpture was “disgusting”, one stopping a police car to do so. Two policeman went to the gallery, which was advised the work was offensive under the Indecent Displays Act 1991. Chief Inspector Neil Patterson, who visited the gallery, said the work was very lifelike, “very explicit and very graphic.”
For 24 hours the sculpture was moved to the side of the gallery, out of public view, then returned to the window with two frosted glass panels in place. Scott raised the sculpture’s price from £5,000 to £7,000, which he said was nearer its real value, as it had taken eight months and cost £3,000 to make, mainly for 250 hours of the model’s time. White said the work was not intended to cause offence, and that, as it was not posed in a “lewd, crude way”, she was surprised at “the reaction of males that they can’t view a nude sculpture and not imprint the sexual aspect onto her.” Scott said he knew that “eye-catching” sculptures in the gallery window, including a large screaming lady, would “get attention, but I didn’t know it would get this,” that there were nude sculptures outside the Houses of Parliament, including male figures, and he did not understand why there was so much fuss. The sculpture was later exhibited as part of the town’s Feva festival in The Boathouse at Waterside, Knaresborough, White’s home town.
In October 2005, Scott, described as “gallery owner—and Stuckist”, said in The Daily Telegraph that Tate gallery chairman, Paul Myners, was hypocritical for refusing to divulge the price paid by the Tate for its purchase of The Upper Room, paintings by its trustee, Chris Ofili, who had asked other artists to donate work to the gallery. Scott said that Stuckist artists would be painting pictures called “The Hypocrisy of Myners” and the best one would be offered to the Tate.
The gallery staged On Form, a group show which included Paul Normansell, Diarmuid Byron O’Connor and Stuckist artists, Charles Thomson, Paul Harvey and Peter McArdle, whose painting On a Theme of Annunciation, used to promote the show, was censored by MySpace for showing a nude figure. Scott said it had been removed without warning, called the site “Murdoch Space” and said the painting was not porn or titillation, but thought-provoking: “They don’t seem to be able to differentiate between the two!”
In an article in the South London Guardian, Scott talked about the show and also about Scientology. Six weeks later in the Evening Standard, Thomson said the South London Guardian article put the Stuckists in a difficult position, as he had been promised the gallery was run as a commercial enterprise, and it was “outrageous” that the show should be used to promote Scientology, linking it to the Stuckists, who had no connection with the Church. The article had included a painting by Paul Harvey, who said, “I feel my work was being used without my permission to promote Scientology.” Leading German Stuckist Peter Klint said it was “very dangerous” to co-operate with the gallery and that it would fund Scientology. Scott said that it wasn’t “even an issue” and he did not use artists to promote Scientology, but was dedicated to selling their work, which he did so very successfully.
Interviewed later by Scott, Thomson said that his remarks in the Evening Standard represented how he saw matters at the time, but that he accepted Scott’s subsequent explanation that there was no intention to link the show and the Church and Scott did not realise the article would do this; Thomson said to Scott that the matter was a misunderstanding which had been resolved, and the Stuckists had continued to show successfully at the gallery: “For the record, I have always found you to be a very honest and principled person with a genuine passion for art.”
In July 2007, the Stuckists held an exhibition at the gallery, I Won’t Have Sex with You as long as We’re Married. The Stuckist show was titled after words apparently said to Thomson by his ex-wife, Stella Vine on their wedding night. It coincided with the opening of Vine’s major show at Modern Art Oxford and was occasioned by Thomson’s anger that the material promoting her show omitted any mention of her time with the Stuckists, which he said had had an influence on galvanising her previously “fairly ordinary” work.
Work in the show included a painting by Harvey based on Vine and Thomson’s wedding photo, and two paintings by Mark D of Vine, who holds a placard in one with the words “Go fuck yourself”, which Vine had previously said to him, when he attempted to buy her work and she found out he had a link with Thomson. Another painting by Mark D, the Hypocrisy of Myners, depicted Tate gallery chairman, Paul Myners. The show also exhibited Michael Dickinson‘s collage, Good Boy, for which Dickinson faced prosecution in Turkey on a charge of insulting the Turkish prime minister. Leo Goatley, Rose West‘s solicitor, showed New Millennium Economic Symphony, a painting commenting on the undermining of “society’s dwindling safety” as a result of government reforms.
Myners visited both Vine’s and the Stuckists’ shows in succession. Scott said, “He [Myners] said he wasn’t sure why we were so critical when our art was quite similar to the stuff… at the Tate”; Scott replied, “…if that were the case why on earth did the Tate turn down the art we offered them?”
In May 2008, Jason James, head of the British Council in Tokyo, ordered a print from the gallery of Sir Nicholas Serota Makes an Acquisitions Decision, Thomson’s “infamous” painting of Tate gallery director, Sir Nicholas Serota, with a view to unveiling it during Serota’s forthcoming visit. A printing delay prevented this.
In June 2008, the gallery opened Go Figure a figurative exhibition by nine artists including Diarmuid Byron O’Connor, Beth Carter, Mila Judge Furstova, Gay Ribisi (mother of Marissa and Giovanni Ribisi), Dormice, Carmen Giraldez, Charles Thomson, Thomas Ostenberg and Paul Normansell.
An article on Go Figure in GQ magazine showed Normansell’s painting of Kate Moss, which was seen by the manager of rock band The Killers, who commissioned Normansell to create the artwork for the Day & Age album and the single, Human. The video to the single the Killers featured Normansell’s paintings.
The A Gallery was located at 154 Merton Hall Road, Wimbledon, SW19 3PZ.