Description
Book SynopsisA hard-hitting exposé into Big Oil sponsorship of the arts.
Trade Review'This fascinating book delves deeply into the pressing debates about art sponsorship, one of the more insidious tools that the fossil fuel industry deploys to build and maintain its power, undermining the critical role of art in our democracies in the process'
-- Naomi Klein, author of This Changes Everything and The Shock Doctrine
'Charts campaigners' journey, drills down into why BP and Shell have snuggled up to our major cultural institutions, and details the impact of BP's Tate sponsorship on the gallery's reputation, staff, and artists, questioning who benefits from the 25-year relationship'
-- VICE
'Places the end of oil sponsorship within a much longer history of standing up to corporations and winning'
-- New Statesman
'Provide[s] a a vigorous overview from an artist's perspective of a serious issue facing our major cultural institutions in these uncertain times'
-- Times Literary Supplement
'Sharp, pointed and persuasive'
-- ArtReview
'Critically discusses the impact of corporate sponsorship on the arts and exposes the motives of donors to shocking effect'
-- Big Issue in the North
'[Evans'] infectious optimism is the most striking feature of this persuasively argued and unashamedly idealistic book'
-- New Internationalist
'A rapidly paced immensely readable breakdown of the oil business and the laundering of its image through patronage of the arts'
-- Conrad Atkinson, Emeritus Professor, University of California
'Perfect for those interested in how oil companies fund the arts to improve their public image … not just happy with explaining the crude links, Evans also explains how we can fight back'
-- Bright Green
Table of ContentsList of Illustrations and Tables
List of Acronyms
List of Characters
Acknowledgements
1. Introduction
2. Big Oil’s Artwash Epidemic
3. Capital and Culture
4. Discrete Logos, Big Spills
5. The Impact of BP on Tate: An Unhappy Context for Art
6. Opposition to Oil Sponsorship and Interventions in Gallery Spaces
7. Conclusion
Notes
Index
