new-york

Glen Baxter

Flowers Gallery

In his most recent novel Millennium People (2003), J. G. Ballard imagines a middle-class insurrection in which the most comfortable members of contemporary London society attempt to destroy the very system they were responsible for creating, transforming their tasteful effects into tools of civil disobedience: “Banners hung from dozens of balconies, sheets of best Egyptian cotton from Peter Jones, gladly sacrificed for the revolution.” Should British cartoonist Glen Baxter ever leave behind the alternative past he prefers to inhabit, Ballard’s alternative present might well be his first port of call.

Social class isn’t a particularly fashionable topic in contemporary art—especially in the US, where the matrix of habits and mores that remain key to the makeup and operation of English society is routinely disregarded in favor of base economic competition—but Baxter’s work functions in part

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