[5] Remodernism, the other well-known manifesto of the movement, opposes the deconstruction and irony of postmodernism in favor of what Stuckists refer to as the "spirituality" of the artist.

"[11] The name "Stuckism" was coined in January 1999 by Charles Thomson in response to a poem read to him several times by Billy Childish.

[12] There were eleven other founding members: Philip Absolon, Frances Castle, Sheila Clark, Eamon Everall, Ella Guru, Wolf Howard, Bill Lewis, Sanchia Lewis, Joe Machine, Sexton Ming, and Charles Williams.

Other manifestos have included Handy Hints, Anti-anti-art, The Cappuccino writer and the Idiocy of Contemporary Writing, The Turner Prize, The Decreptitude of the Critic and Stuckist critique of Damien Hirst.

An "Underage Stuckists" group was founded in 2006 with a manifesto for teenagers written by two 16-year-olds, Liv Soul and Rebekah Maybury, on MySpace.

[18] In July 1999, the Stuckists were first mentioned in the media, in an article in The Evening Standard and soon gained other coverage, helped by press interest in Tracey Emin, who had been nominated for the Turner Prize.

[23] Thomson stood as a Stuckist candidate for the 2001 British General Election, in the constituency of Islington South & Finsbury, against Chris Smith, the then Secretary of State for Culture.

[28] In 2003, they reported Charles Saatchi to the UK Office of Fair Trading, complaining that he had an effective monopoly on art.

Scott said in The Daily Telegraph that the Tate Gallery's chairman, Paul Myners, was hypocritical for refusing to divulge the price paid.

John Bourne opened Stuckism Wales at his home, a permanent exhibition of (mainly Welsh) paintings.

[39] In 2010, Paul Harvey's painting of Charles Saatchi was banned from the window display of the Artspace Gallery in Maddox Street, London, on the grounds that it was "too controversial for the area".

[43] The Stuckists gained significant media coverage for eight years of protests (2000–2006 and 2008) outside Tate Britain against the Turner Prize, sometimes dressed as clowns.

[46] Events outside Britain have included The Clown Trial of President Bush held in New Haven in 2003 to protest against the Iraq War.

Daily Mail journalist Jane Kelly exhibited a painting of Myra Hindley in the show, which may have been the cause of her dismissal from her job.

[49] In July 2007, the Stuckists held an exhibition at A Gallery, I Won't Have Sex with You as long as We're Married,[50][51] titled after words apparently said to Thomson by his ex-wife, Stella Vine on their wedding night.

[52] As Charlotte Cripps of The Independent wrote, Charles Thomson's painting Sir Nicholas Serota Makes an Acquisitions Decision is one of the best known paintings to come out of the Stuckist movement,[45] and as Jane Morris wrote in The Guardian it's a likely "signature piece" for the movement,[53] standing for its opposition to conceptual art.

It depicts Sir Nicholas Serota, Director of the Tate Gallery and the usual chairman of the Turner Prize jury, and satirises Young British Artist Tracey Emin's installation, My Bed, consisting of her bed and objects, including knickers, which she exhibited in 1999 as a Turner Prize nominee.

U.S. Stuckists include Ron Throop, Jeffrey Scott Holland, Frank Kozik and Terry Marks.

[61] Other Asian Stuckists are Shelley Li (China), Smeetha Boumik (India), Joko Apridinoto (Indonesia), Elio Yuri Figini (Japan) and Fady Chamaa (Lebanon).

Jesse Richards who ran the Stuckism Centre USA in New Haven, left the group in 2006 to focus on Remodernist film.

In February 2004, Charles Saatchi bought a painting of Diana, Princess of Wales, by Vine and was credited with "discovering" her.

[75] On 15 April, the OFT closed the file on the case on the basis that Saatchi was not "in a dominant position in any relevant market.

"[76] A short time after the 1999 exhibition of My Bed and the Stuckists' response with Sir Nicholas Serota Makes an Acquisitions Decision, a pair of performance artists named Yuan Cai and Jian Jun Xi performed an art intervention titled Two Naked Men Jump into Tracey's Bed at the Tate Gallery's Turner Prize.

Cai had written, among other things, the words "Anti Stuckism" on his bare back as the two jumped on the bed and performed a pillow fight.

Fiachra Gibbons of The Guardian wrote (in 1999) that the event "will go down in art history as the defining moment of the new and previously unheard of Anti-Stuckist Movement.

"[77] Writing in The Guardian ten years later, Jonathan Jones described the Stuckists as "enemies of art", and what they say as "cheap slogans" and "hysterical rants".

[78] The artist Max Podstolski wrote that the art world needed a new manifesto, as confrontational as that of Futurism or Dadaism, "written with a heart-felt passion capable of inspiring and rallying art world outsiders, dissenters, rebels, the neglected and disaffected", and suggests that "Well now we've got it, in the form of Stuckism".

[79] New York art gallery owner Edward Winkleman wrote in 2006 that he had never heard of the Stuckists, so he "looked them up on Wikipedia", and stated he was "turned off by their anti-conceptual stance, not to mention the inanity of their statement about painting, but I'm more than a bit interested in the democratization their movement represents."

[80] Also in 2006, Colin Gleadell, writing in The Telegraph, noted that the Stuckists' first exhibition in central London had brought "multiple sales" for leading artists of the movement, and that this raised the question of how good they were at painting.

[82] Vallely stated that while "I did smile" at Acquisitions Decision, he equally admired Serota's "cool response to the Stuckist détournement", visiting the Punk Victorian show and conversing with members before rejecting an offered donation of their work as not of "sufficient quality in terms of accomplishment, innovation or originality of thought to warrant preservation in perpetuity in the national collection"[82] The BBC arts correspondent Lawrence Pollard wrote in 2009 that the way was paved for "cultural agitators" like the Stuckists, as well as the Vorticists, Surrealists and others, by the Futurist Manifesto of 20 February 1909.