Killing off Greta Thunberg and Dolly Parton? The artist creating fake obituaries of cultural stars
The blown-up newspaper pages displayed through the windows of an otherwise sparse, all-white gallery space in London’s busy Mayfair district stop you in your tracks.
“Greta Thunberg, who has died aged 19, enjoyed a meteoric career as a climate activist,” begins one, the text surrounding a photograph of the young campaigner speaking into a mic; on the wall facing her is Formula 1 star Lewis Hamilton, one hand on heart, the other held aloft in a triumphant fist. “Sir Lewis Hamilton, who has died aged 38, was the greatest British racing driver…”
Dolly Parton, Grace Jones, Sadhguru, Marc Almond and David Hammons are also immortalised. The text is there in black and white, past tense, matter-of-fact, next to images of their instantly recognisable faces.
Pic: Lucy Dawkins courtesy Gagosian
Like the horrible moment you see your favourite celebrity trending on Twitter for no apparent reason, the incredibly real-seeming works evoke a panicked double-take. But don’t worry – these obituaries are in fact hypothetical, the latest works by artist Adam McEwen, featured in his first solo exhibition in London.
The great equaliser, death is one of art’s most prolific subjects – “the biggest subject”, McEwen says – but forecasting the inevitable so intricately and so specifically for very real, very much alive human beings, makes these faux newspaper articles rather uncanny.
While some might consider the works morbid or even distasteful, McEwen sees them as celebratory, though not uncritical. Similar to the introduction these subjects might get should they appear on Desert Island Discs or This Is Your Life, they are warts-and-all markers of a life well lived; a lifetime of experiences and personal qualities distilled into roughly 1,400 words.
The works are homages to “people I love”, McEwen tells Sky News. What links Parton, Thunberg, Lewis and the other figures featured is a thread of “tension”, he says, or triumph over adversity; they have played by their own rules and won.
“These people are demonstrations that despite it appearing life is very difficult – if not impossible – to negotiate, you in fact have more choices and freedom than you realise.” McEwen points to Parton, a performer who has written thousands of songs and who has revelled, according to his artwork, in “subverting expectations about large-breasted, big-haired women” from the American South.
“You look at the story of Dolly Parton and she demonstrates it. And Lewis Hamilton, let’s say; [it was] almost impossible to be a young black man who wants to be a Formula One driver, if not impossible. But he shows it is possible.”
Thunberg’s rapid rise from unknown schoolgirl to the world’s most famous environmental activist is one that fascinates McEwen. “Apart from her youth and her conviction,” he writes in her fake obit, “her ability to strike a chord lay in the power and simplicity of her message: older generations had left the young to suffer the consequences of their consumption. Everyone knew it; now the young weren’t going to let them ignore it anymore.”
From Malcolm McLaren to Kate Moss, Rod Stewart and Bill Clinton
Adam McEwen’s previous works were part of The George Michael Collection sale at Christie’s in 2019. Pic: Nils Jorgensen/Shutterstock
As a young artist in the 1990s, McEwen subsidised his passion working part-time as an obituary writer for the Daily Telegraph. The idea to turn the form into art was born from a group show he was taking part in in 2000. “Everyone was given a Vivienne Westwood muslin shirt, a straitjacket, and we were told to do whatever we wanted. I decided to write Malcolm McLaren’s obituary… it was a homage to Malcolm and it had a kind of dark, slightly punk sensibility that made sense.”
Further fake obituaries to stars and notable figures followed, featuring everyone from Nicole Kidman, Kate Moss and Macaulay Culkin to Rod Stewart, Jeff Koons and Bill Clinton. Some would read differently now should he be starting afresh in 2023.
“They won’t be updated,” says McEwen. “Also, they function differently later. Let’s say, Macaulay Culkin, the actor. In 2004 he had a certain stature and a certain story; he was in Home Alone… 20 years later, we see it from a different position… You see this artwork now and it’s like, that’s not how I think about Macaulay Culkin anymore.”
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McLaren, the former Sex Pistols manager and partner of Westwood, later came to hear about his own obit. “I met him once and told him,” McEwen says. “He was sort of initially nonplussed and then he laughed.”
He says Koons was also aware of his. “It’s a funny relationship, but it’s not… people have said to me, why don’t you do Trump? Kill him! They’re not really getting the point.”
‘This isn’t a morbid wish – death is a fact’
Adam McEwen. Pic: Andisheh Avini
McEwen says he doesn’t worry about how his subjects might react to seeing the stories of their lives told through their made-up deaths. “The only thing I know about Greta Thunberg, for real… the only thing I know for sure about Nicole Kidman or Bill Clinton, is that they are going to die. I’m not using it as a morbid wish. It’s a fact. For me also, I’m going to die.
“I don’t think [it’s] upsetting. Apart from anything else, these things exist in filing cabinets, or in digital filing cabinets, already for famous people. For Dolly Parton, there are already obituaries written for her, because they have to be. All I’m doing is appropriating something that’s already there.”
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When he worked for the Telegraph, McEwen wrote obituaries in reaction to sudden deaths – including for John F Kennedy Jr in 1999, when he died alongside his wife and sister-in-law in a private plane crash – as well as planned pieces.
Just like a real newspaper article, there may be errors to look out for in his artwork, he says. “Typos, sure. Maybe factual errors. I mean, exactly like a newspaper. It’s 6pm. It’s got to go to press. We do the best [we can] and then the next morning, ‘Oh f***, we’ve missed that typo’. It’s the same. I’ve done them when they go, ‘in 19XX…’ and I was going to find the date [but forgot], and then it’s done and it’s in the exhibition. ‘Damn, I didn’t see that.’ But it doesn’t matter, because it’s the same. It’s all part of it.”
Adam McEwen’s exhibition of fake obituaries dedicated to living celebrities is showing at Gagosian’s Davies Street gallery in London until 11 March
UK
How Britain’s most notorious gangster turned up at a charity lunch to fact-check a retired detective’s talk
Britain’s most notorious gangster and the detective who pursued him have been involved in a bizarre confrontation…at a charity lunch.
Former Detective Superintendent Ian Brown was at a Kent golf club and about to give a talk on the infamous £26m Brink’s-Mat gold robbery when he was summoned from the stage by officials.
Mr Brown, who appeared on the award-winning Sky News StoryCast podcast The Hunt For The Brink’s-Mat Gold in 2019, said: “I go outside and they say ‘he’s here’ and I say ‘who’s here’ and they say that table over there in the corner, that’s Kenny Noye with a baseball cap pulled down over his head.”
Noye stabbed to death an undercover policeman during the Brink’s-Mat investigation, but was acquitted of murder, though he was jailed for handling the stolen gold.
After his release, he used a knife again in the M25 road-rage murder of motorist Stephen Cameron.
“They said what are we going to do?” said Mr Brown.
“I said are you serving food? Well, just use plastic knives.”
Former Detective Superintendent Ian Brown. Pic: Robert Mulhern
Although Mr Brown had not personally arrested Noye over Brink’s-Mat he had identified him as a suspect months after the robbery.
Years later he met him during an ill-fated TV interview in which he quizzed him about his role in the robbery.
He said: “He told me everything I wanted to know except the truth. He still insists he had nothing to do with it.”
The interview was never broadcast after the prison authorities threatened to send Noye back to jail for a breach of his parole.
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Kenneth Noye, left, and Stephen Cameron
Mr Brown, 86, said: “I went over to him and said ‘thanks for coming, nice of you to pop in’, but I don’t believe you’ve turned up with your sons and grandkids to listen to me telling how you killed a police officer.
“And he said ‘I want to make sure you don’t say I’ve been dealing drugs’ and I said ‘I’ve never said that Kenny’.”
The retired detective told Noye he wasn’t going to change his presentation just because he was there.
“He said ‘mate, I wouldn’t expect you to and I’ll come up [on stage] if you want me to’.
“Can you think how he’s turned up with his family to listen to somebody talking about you killing the police? Now, you put logic on that.”
The bizarre story emerged when I rang Mr Brown after I’d been told about the meeting.
A Sky News podcast told the story of the Brink’s-Mat heist in 2019
I also wanted to ask him about the recent BBC hit drama series The Gold which retold the story of the Brink’s-Mat heist at Heathrow Airport in 1983.
“It was an absolute shambles, far too much dramatic licence and the real story was so much better,” said the ex-detective, whose job had been to follow the trail of the 6,800 gold bars to the US and the Caribbean.
He said he chatted to one of the show’s writers for a long time in a phone call but then heard no more.
“They invented people, changed a bit here and there and made it politically correct in so many ways. I’m just very sad that that is what people will believe.
“And I couldn’t work out who my character was supposed to be. I could have been one of the female cops.”
He also criticised the portrayal of Noye, now 78, as a likeable jack-the-lad character when the truth about the double killer with a volatile temper was quite different.
Oasis have reunited on stage for the first time in almost 16 years – with brothers Liam and Noel Gallagher sharing a high five and the briefest of hugs as they closed a performance that for fans was more than worth the wait.
After the split in 2009, for many years Noel said he would never go back – and for a long time, as the brothers exchanged insults through separate interviews (and on social media, for Liam), it seemed pretty unlikely to ever happen.
But now, here they are. As they walked out on stage at Cardiff’s Principality Stadium, all eyes were on the Gallaghers for a sense of their relationship – dare we say it, friendship? – now after all these years.
There was no reference to their fall-out or making up, but the gestures were there – lifting hands together as they walked out for the first time.
The headline “OASIS REUNITED” was shown on stage at the gig. Pic: PA
Fans at the Oasis gig. Pic: PA
Headlines and tweets of speculation and then confirmation of the reunion filled the screens as the show started. “This is happening,” said one, repeatedly.
In the end, it was all about the music.
Liam has received criticism in the past for his voice not being what it once was during his solo or Beady Eye performances, but back on stage with his brother tonight he delivered exactly what fans would have hoped for – a raw, steely-eyed performance, snarling vocals, and the swagger that makes him arguably the greatest frontman of his day.
This was Oasis sounding almost as good as they ever have.
Fans sang along and held up their phones to film as Oasis performed. Pic: PA
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Oasis: ‘It’s good to be back’
They opened with Hello, because of course, “it’s good to be back”. And then Acquiesce, and those lyrics: “Because we need each other/ We believe in one another.”
The song is said to be about friendship in the wider sense, rather than their brotherly bond and sibling rivalry, but you can’t help but feel like it means something here.
Over two hours, they played favourite after favourite – including Morning Glory, Some Might Say, Cigarettes & Alcohol, Supersonic and Roll With It.
Liam Gallagher as Oasis takes to the stage in Cardiff. Pic: PA
In the mid-section, Liam takes his break for Noel to sing Talk Tonight, Half The World Away and Little By Little; the tempo slows but there is by no means a lull, with the fans singing all his words back to him.
Liam returns for hits including Stand By Me, Slide Away, Whatever and Live Forever, before sending the crowd wild (or even wilder) with Rock And Roll Star.
Noel Gallagher performing on stage. Pic: PA
An Oasis fan is pointing at the stage during the gig. Pic: PA
When the reunion announcement was made last summer, it quickly became overshadowed by the controversy of dynamic pricing causing prices to rocket. As he has done on X before, Liam addressed the issue on stage with a joke.
“Was it worth the £4,000 you paid for the ticket?” he shouted at one point. “Yeah,” the crowd shouts back; seemingly all is forgiven.
After Rock And Roll Star, the dream that very quickly became a reality for this band, Noel introduced the rest of the group, calling Bonehead a “legend”.
Paul ‘Bonehead’ Arthurs of Oasis. Pic: PA
Liam Gallagher carried a tambourine in his mouth during the concert. Pic: PA
Then he acknowledges all their young fans, some who maybe weren’t even born when they split. “This one is for all the people in their 20s who’ve never seen us before, who’ve kept this shit going,” he says before the encore starts with The Masterplan.
Noel follows with Don’t Look Back In Anger, and the screens fill with Manchester bees in reference to the arena bombing and how the song became the sound of hope and defiance for the city afterwards.
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‘I’d have paid £10,000 to see them’
Two fans sat on their friends’ shoulders as Oasis performed. Pic: PA
During Wonderwall, there’s a nice touch as Liam sings to the crowd: “There are many things I would like to say to you, but I don’t speak Welsh.”
It is at the end of Champagne Supernova, which closes the set, that it happens; Noel puts down his guitar, and they come together for a high-five and a back-slap, a blink-and-you’d miss it hug.
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“Right then, beautiful people, this is it,” Liam had told the crowd as he introduced the song just a few minutes earlier. “Nice one for putting up with us over the years.”
From the roar of the audience, it’s safe to say most people here would agree it’s been worth it.
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