High Art Lite: the Rise and Fall of Britart PDF Book

Total Page:16

File Type:pdf, Size:1020Kb

High Art Lite: the Rise and Fall of Britart PDF Book HIGH ART LITE: THE RISE AND FALL OF BRITART PDF, EPUB, EBOOK Julian Stallabrass | 368 pages | 20 Nov 2006 | Verso Books | 9781844670857 | English | London, United Kingdom High Art Lite: The Rise and Fall of BritArt PDF Book Nov 17, Andrew rated it really liked it. Alexandra M. That's not to say I won't change my mind in the future, especially as I will be going the retrospective at the Hayward next month. He highlights the decline in decent criticism, which I think is important and helps to account for some of the hostility he was on the receiving end of after publishing this book. Original Title. Welcome back. More Details There are no discussion topics on this book yet. Remember me on this computer. It isn't the savage critique that anti-YBA's want it to be. Gayfay Kelly rated it really liked it Jul 06, Just a moment while we sign you in to your Goodreads account. Julian rated it it was amazing Jan 02, Readers also enjoyed. I was fascinating, but I'm trying to wrap my head around everything he wrote Enlarge cover. The yBas were no different. High Art Lite takes a critical look at the phenomenal success of YBA, young British artists obsessed with commerce, mass media and the cult of personalityDamien Hirst, Tracey Emin, Jake and Dinos Chapman, Marcus Harvey, Sarah Lucas, among othersand questions whether their success is at the price of dumbing down and selling out. This book is not yet featured on Listopia. This searing book has become the authoritative account of the new British art of the s, its legacy in the 21st century, and what it tells us about the fate of high art in contemporary society. This books is reasonable and insightful in places, and mean spirited and catty in others. He basically seems to be a humanist. Kokoli University of Sussex and University of Brighton words. Error rating book. In a new chapter, Stallabrass explains how YBA lost its critical immunity and explores the ways in which the leading YBA figures have altered their work in recent years. Alice Randall rated it liked it May 11, Jul 27, Darran Mclaughlin rated it liked it Shelves: british , art , criticism. Thanks for telling us about the problem. Kanaida rated it liked it Feb 05, A scathing and incisive critique of the contemporary art world, in an updated new edition. A mixed bag. To browse Academia. I have been going to a lot of exhibitions and thinking about art and I have moved from hating contemporary art and conceptual art to gradually coming to like some of it. Forgot your password? Kyle rated it it was amazing Apr 22, Famous for being famous. A full-throated attack on the —new British art,— a movement obsessed with commerce and cults of the personal, that manages to be smarter and more far-reaching than its hyped, hopped-up subject Remember that thing that happened back in the 90's with the shark in the box and the kids with dicks for faces? A Marxist, he has written extensively on contemporary art including internet art , photography and the history of twentieth century British art. It is more nuanced than that. It is far more complicated to pass judgment on artists who are still only in the middle of their career, although the willing implication of some in the yBa phenomenon does not go unnoted. Dismiss this message or find out more. High Art Lite: The Rise and Fall of BritArt Writer Community Reviews. It isn't the savage critique that anti-YBA's want it to be. Escape the Present with These 24 Historical Romances. What is the real worth of these artefacts? To ask other readers questions about High Art Lite , please sign up. This books is reasonable and insightful in places, and mean spirited and catty in others. In this fully revised and expanded edition, Julian Stallabrass explores how YBA lost its critical immunity in the new millennium, and looks at the ways in which figures such as Hirst, Emin, Wearing and Landy have altered their work in recent years. In this fully revised and expanded edition, Julian Stallabrass explores how YBA lost its critical immunity in the new millennium, and looks at the ways in which figures such as Hirst, Emin, Wearing and Landy have altered their work in recent years. Rebecca rated it liked it May 21, Whitney rated it it was amazing Nov 25, Stallabrass wants to puncture some of the illusions of this scene and it's practitioners, and I am reasonably sympathetic to his cause. He looks at the shock factor involved in many of the works and the consumerism that was behind most of this work. It was great until the last few chapters where he starts to analyze art criticism itself and its place now in art. Other editions. Verso Books 28 June Related Papers. Sort order. In that case, we can't Jan 20, Kevin Tole rated it it was amazing Shelves: art , non-fiction. View 2 comments. Readers also enjoyed. Gayfay Kelly rated it really liked it Jul 06, By Jenny Judova. Remember that thing that happened back in the 90's with the shark in the box and the kids with dicks for faces? To see what your friends thought of this book, please sign up. Click here to sign up. High Art Lite provides a sustained analysis of the phenomenal success of YBA, young British artists obsessed with commerce, mass media and the cult of personality Damien Hirst, T This searing book has become the authoritative account of the new British art of the s, its legacy in the 21st century, and what it tells us about the fate of high art in contemporary society. More Details A scathing and incisive critique of the contemporary art world, in an updated new edition. John Merrick 04 December More filters. Alexandra Kokoli. High Art Lite: The Rise and Fall of BritArt Reviews Gayfay Kelly rated it really liked it Jul 06, This rejection of theory by Stallabrass could be one of the contributing factors as to why yBa art has been dismissed by some critics over the past three decades. Download Free PDF. Readers also enjoyed. John Merrick 04 December A scathing and incisive critique of the contemporary art world, in an updated new edition. However one thing I would like to know is what he proposes as an alternative. Goodreads helps you keep track of books you want to read. He looks at the shock factor involved in many of the works and the consumerism that was behind most of this work. He doesn't seem to have any faith in any alternative. The yBas were no different. Well, this. Dismiss this message or find out more. In that case, we can't He's taken on a dirty job and we are all indebted to him Katriona Gillespie rated it really liked it Nov 15, This book is not yet featured on Listopia. Welcome back. Eleanor rated it really liked it Jul 24, Forgot your password? To browse Academia. Average rating 3. It was great until the last few chapters where he starts to analyze art criticism itself and its place now in art. The World Today with Tariq Ali. Alice Randall rated it liked it May 11, He is also against nihilism and for social and political engagement. High Art Lite: The Rise and Fall of BritArt Read Online Kimberlee Cordova rated it really liked it Jan 27, Enter the email address you signed up with and we'll email you a reset link. In fact, when it comes to serious, academic discourse on the yBas there has been only one book written — High Art Lite by Julian Stallabrass. He criticises the predominant art of the pre-YBA era as boring, state sanctioned, politically correct and elitist, with absolutely no engagement with normal people or mainstream culture. Refresh and try again. To ask other readers questions about High Art Lite , please sign up. He looks at the shock factor involved in many of the works and the consumerism that was behind most of this work. Skip to main content. Need an account? I was fascinating, but I'm trying to wrap my head around everything he wrote Get A Copy. That's not to say I won't change my mind in the future, especially as I will be going the retrospective at the Hayward next month. It isn't the savage critique that anti-YBA's want it to be. Nimbly written and bolstered by a constellation of critical and cultural referents: balanced, engrossing, historically framed examination of this latest avant-garde, so startling yet so oddly familiar. It was great until the last few chapters where he starts to analyze art criticism itself and its place now in art. Jan 16, Vaughnda Johnson rated it really liked it. High Art Lite provides a sustained analysis of the phenomenal success of YBA, young British artists obsessed with commerce, mass media and the cult of personality Damien Hirst, T This searing book has become the authoritative account of the new British art of the s, its legacy in the 21st century, and what it tells us about the fate of high art in contemporary society. Stallabrass, a writer, art critic, and art history professor, takes a close look at the movement he dubs "high art lite" also known as Young British Art that has developed in Britain over the past This is something he was criticised for in the reviews for the first edition so he has a snipe at the laziness of critics in the forward to the second edition by suggesting that he thought some of them might have had a look at his other books, in which he does suggest alternatives.
Recommended publications
  • Philosophy in the Artworld: Some Recent Theories of Contemporary Art
    philosophies Article Philosophy in the Artworld: Some Recent Theories of Contemporary Art Terry Smith Department of the History of Art and Architecture, the University of Pittsburgh, Pittsburgh, PA 15213, USA; [email protected] Received: 17 June 2019; Accepted: 8 July 2019; Published: 12 July 2019 Abstract: “The contemporary” is a phrase in frequent use in artworld discourse as a placeholder term for broader, world-picturing concepts such as “the contemporary condition” or “contemporaneity”. Brief references to key texts by philosophers such as Giorgio Agamben, Jacques Rancière, and Peter Osborne often tend to suffice as indicating the outer limits of theoretical discussion. In an attempt to add some depth to the discourse, this paper outlines my approach to these questions, then explores in some detail what these three theorists have had to say in recent years about contemporaneity in general and contemporary art in particular, and about the links between both. It also examines key essays by Jean-Luc Nancy, Néstor García Canclini, as well as the artist-theorist Jean-Phillipe Antoine, each of whom have contributed significantly to these debates. The analysis moves from Agamben’s poetic evocation of “contemporariness” as a Nietzschean experience of “untimeliness” in relation to one’s times, through Nancy’s emphasis on art’s constant recursion to its origins, Rancière’s attribution of dissensus to the current regime of art, Osborne’s insistence on contemporary art’s “post-conceptual” character, to Canclini’s preference for a “post-autonomous” art, which captures the world at the point of its coming into being. I conclude by echoing Antoine’s call for artists and others to think historically, to “knit together a specific variety of times”, a task that is especially pressing when presentist immanence strives to encompasses everything.
    [Show full text]
  • Londra Al Centro Dell Scena Artistica: La Yung British Art Dalla Conferenza Del 12-05-2011 Del Prof
    Londra al centro dell scena artistica: La Yung British Art Dalla conferenza del 12-05-2011 del prof. Francesco Poli a cura del prof. Mario Diegol i Sensation e la YBA (Young British Artists) Il 28 dicembre del 1997 presso la Royal Academy of Art di Londra il collezionista d’arte contemporanea Charles Saatchi organizza la mostra Sensation in cui espone le opere della Yung British Art. La mostra è, in seguito, riproposta a Berl ino e New York e diventa, grazie all’abilità manageriale di Saatchi e alla sua rete di contatt i sviluppata negl i anni precedenti con la sua att ività di pubbl icitario, l’evento artistico del momento e un riferimento importante per il mercato dell’arte portando alla ribalta una serie di giovani art isti inglesi come: Jake & Dinos Chapman, Adam Chodzko, Mat Coll ishaw, Tracey Emin, Marcus Harvey, Damien Hirst, Gary Hume, Michael Landy, Abigail Lane, Sarah Lucas, Chris Ofil i, Richard Patterson, Simon Patterson, Marc Quinn, Fiona Rae, Sam Taylor-Wood, Gavin Turk, Gill ian Wearing, Rachel Whiteread. Gl i artist i della Yung British Art propongono opere che sol itamente tendono a stupire e a provocare lo spettatore. Sono giovani nati negl i anni sessanta che impiegano linguaggi differenti non sempre omologabil i alle tradizional i espressioni plastiche e visive anche se ne recuperano a volte i material i (la pittura, la scultura in marmo) mischiandoli o alternandol i all’impiego di oggetti, fotograf ie, material i plastici, stoffe ecc.. Il manifesto della mostra Sensation con cui evocano e amplificano storie personal i e collettive dove il soggetto e il contenuto prevalgono sulla forma: una forma a volte iperreal istica, in altri casi mostruosa e raccapricciante ampl ificata da dimensioni che possono assumere una scala monumentale.
    [Show full text]
  • Chapman for the Duo’S Retrospective in Istanbul Which Had Been on Display During 10/2/2017-7/5/2017
    This article was commissioned by the art gallery ARTER (Istanbul, Turkey) and the artists Jake & Dinos Chapman for the duo’s retrospective in Istanbul which had been on display during 10/2/2017-7/5/2017. For further information on the show, please click here. Reviewed by the artists and the editors of the exhibition monograph, this essay was originally written in English. Both the English original and the Turkish translation was published in this monograph. In line with the commissioning brief, the article attempts to provide a critical review of the Chapmans’ art practice while also locating the duo’s artworks within an original theoretical framework. Jake & Dinos Chapman ANLAMSIZLIK ÂLEMİNDE — IN THE REALM OF THE SENSELESS CHAPMAN 23-01-17.indd 3 23.01.2017 17:59 Jake & Dinos Chapman Anlamsızlık Âleminde In the Realm of the Senseless Genel Yayın Yönetmeni | Editor-in-Chief Bu yayın, Jake ve Dinos Chapman’ın Arter’de 10 Şubat–7 Mayıs İlkay Baliç 2017 tarihleri arasında gerçekleşen “Anlamsızlık Âleminde” adlı sergisine eşlik etmektedir. Editör | Editor Süreyyya Evren This book accompanies Jake and Dinos Chapman’s exhibition “In the Realm of the Senseless” held at Arter between İngilizceden Türkçeye çeviri 10 February and 7 May 2017. Translation from English to Turkish Süreyyya Evren [12-15] Anlamsızlık Âleminde Özge Çelik - Orhan Kılıç [22-27] In the Realm of the Senseless Zafer Aracagök [34-45] Jake & Dinos Chapman Münevver Çelik - Sinem Özer [60-75] 10/02–07/05/2017 Küratör | Curator: Nick Hackworth Türkçe düzelti | Turkish proofreading Emre Ayvaz Teşekkürler | Acknowledgements İngilizce düzelti | English proofreading Hussam Otaibi Anna Knight ve tüm Floreat ekibi | and everyone at Floreat John McEnroe Gallery Inc.
    [Show full text]
  • London Gallery Map Summer 2018 Galleriesnow.Net for Latest Info Visit Galleriesnow.Net
    GalleriesNow.net for latest info visit GalleriesNow.net London Gallery Map Summer 2018 21 Jun Impressionist & A Blain|Southern 5E Modern Works on Paper Flowers Gallery, Luxembourg & Dayan 6F Partners & Mucciaccia 6G Repetto Gallery 5F S Simon Lee 5G Sotheby’s S|2 Gallery 5E Victoria Miro Mayfair 5E Kingsland Road 3A Achille Salvagni 28 Jun Handpicked: 50 Sadie Coles HQ ITION Atelier 5F Works Selected by the S Davies Street 5F SUPERIMPO Saatchi Gallery SITION SUPERIMPO 28 Jun Post-War to Present Land of Lads, Land of Lashes 30 Jun–12 Jul Classic Week Upstairs: Charlotte ‘Snapshot’ Aftermath: Art in the Wake of 25 Jun–11 Aug 3 Jul Old Master & British Johannesson 29 Jun–1 Jul World War One Edward Kienholz: America Drawings & Watercolours Ely House, 37 Dover St, 25 May–30 Jun René Magritte (Or: The Rule Superimposition | Paul Michele Zaza Viewing Room: Joel Mesler: Signals 5 Jun–23 Sep Surface Work 28 Cork St, W1S 3NG Morrison, Barry Reigate, My Hometown Lorenzo Vitturi: Money Must W1S 4NJ of Metaphor) 18 May–15 Jun The Alphabet of Creation 27 Apr–13 Jul 11 Apr–16 Jun 4 Jul Treasured Portraits 1-2 Warner Yard, EC1R 5EY 10am-6pm mon-fri, 11am- Michael Stubbs, Mark (for now) Millbank, SW1P 4RG 18 May–14 Jul from the Collection of Ernst Be Made 10am-6pm tue-sat 27 Feb–26 May Apollo 11am-6pm wed-fri, 4pm sat Titchner Nudes 20 Apr–26 May 31 St George St, W1S 2FJ 10am-6pm daily Erkka Nissinen Holzscheiter 11 May–30 Jun 2 Savile Row, W1S 3PA 15 Mar–7 Sep noon-5pm sat 15 Jun–31 Aug 11 Apr–26 May 10am-5pm mon-fri 23 May–14 Jul 5 Jul Old Masters Evening
    [Show full text]
  • Press Release
    Institute of Contemporary Arts PRESS RELEASE ICA Artists’ Editions + Paul Stolper Gallery 12 January – 16 February 2019 Opening Friday 11 January, 6–8pm Paul Stolper Gallery Frances Stark, Proposal for a Peace Poster, 2017. Silkscreen print with deboss elements, 67 × 67 cm, Edition of 10 (2AP) ICA Artists’ Editions and Paul Stolper Gallery collaborate for the first time to present a joint exhibition of artists’ editions at Paul Stolper Gallery, opening 12 January 2019. The exhibition showcases a collection of rare editions from Peter Blake, Adam Chodzko, Mat Collishaw, Keith Coventry, Jeremy Deller, Brian Eno, Marcus Harvey, Jenny Holzer, Roger Hiorns, Gary Hume, Sarah Lucas, Vinca Petersen, Peter Saville, Bob and Roberta Smith, Frances Stark, Gavin Turk and Cerith Wyn Evans. The exhibition provides an opportunity to view a selection of important editions from the last 40 years: from Peter Blake’s Art Jak, commissioned by the ICA in 1978 to raise funds for the institution, to Jeremy Deller’s iconic and catalysing print The History of the World, published by Paul Stolper in 1998, to Jenny Holzer’s pivotal Inflammatory Essays, first fly-posted around New York in the late 1970s and then created as an edition for the ICA in 1993. www.ica.art The Mall London SW1Y 5AH +44 (0)20 7930 0493 Tracking the course of editions produced by ground-breaking artists such as Cerith Wyn Evans and Sarah Lucas, the exhibition explores the potential of the format and the numerous ways that artists have engaged with the editioning method of creation. The exhibition is inspired by conversations between Paul Stolper, Stefan Kalmár (ICA Director) and Charlotte Barnard (ICA Artists’ Editions) on the radical history and potential of the editioned artwork, which can free the artist from the demands of their primary practice or gallery expectations.
    [Show full text]
  • British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000
    British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth British Art Studies Issue 3, published 4 July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth Cover image: Installation View, Simon Starling, Project for a Masquerade (Hiroshima), 2010–11, 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable. Digital image courtesy of the artist PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents Sensational Cities, John J.
    [Show full text]
  • Young British Artists: the Legendary Group
    Young British Artists: The Legendary Group Given the current hype surrounding new British art, it is hard to imagine that the audience for contemporary art was relatively small until only two decades ago. Predominantly conservative tastes across the country had led to instances of open hostility towards contemporary art. For example, the public and the media were outraged in 1976 when they learned that the Tate Gallery had acquired Carl Andre’s Equivalent VIII (the bricks) . Lagging behind the international contemporary art scene, Britain was described as ‘a cultural backwater’ by art critic Sarah Kent. 1 A number of significant British artists, such as Tony Cragg, and Gilbert and George, had to build their reputation abroad before being taken seriously at home. Tomake matters worse, the 1980s saw severe cutbacks in public funding for the arts and for individual artists. Furthermore, the art market was hit by the economic recession in 1989. For the thousands of art school students completing their degrees around that time, career prospects did not look promising. Yet ironically, it was the worrying economic situation, and the relative indifference to contemporary art practice in Britain, that were to prove ideal conditions for the emergence of ‘Young British Art’. Emergence of YBAs In 1988, in the lead-up to the recession, a number of fine art students from Goldsmiths College, London, decided it was time to be proactive instead of waiting for the dealers to call. Seizing the initiative, these aspiring young artists started to curate their own shows, in vacant offices and industrial buildings. The most famous of these was Freeze ; and those who took part would, in retrospect, be recognised as the first group of Young British Artists, or YBAs.
    [Show full text]
  • Summer 2016 British Sculpture Abroad
    British Art Studies Issue 3 – Summer 2016 British Sculpture Abroad, 1945 – 2000 British Art Studies Issue 3, published 4 July 2016 British Sculpture Abroad, 1945 – 2000 Special issue edited by Penelope Curtis and Martina Droth www.britishartstudies.ac.uk Cover image: Simon Starling, Project for a Masquerade (Hiroshima) (film still), 2010–11. 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable. Digital image courtesy of the artist PDF produced on 9 Sep 2016 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. These unique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA http://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut http://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: http://www.britishartstudies.ac.uk Editorial team: http://www.britishartstudies.ac.uk/about/editorial-team Advisory board: http://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. Britishness, Identity, and the Three-Dimensional: British Sculpture Abroad in the 1990s Essay by Courtney J.
    [Show full text]
  • Damien Hirst
    Damien Hirst Damien Hirst The Physical Impossibility of Death in the Mind of Someone Living, 1991 Glass, steel, silicon, formaldehyde and shark 2170 x 5420 x 1800 mm Photograph: Prudence Cuming Associates © Damien Hirst. All rights reserved, DACS 2010 1 Artist Rooms Damien Hirst is the most prominent artist to have emerged from the British art scene in the 1990s. His role as an artist and curator has proved fundamental in the development of the group that became internationally known as ‘the YBAs’ (Young British Artists). Hirst’s work asks viewers to question the main dilemmas of human existence: birth, illness, death and religion. The ARTIST ROOMS collection (jointly owned and managed by Tate and National Galleries of Scotland) comprises five important works spanning Hirst’s career including photography, painting, sculpture and installation. The early photograph taken in a morgue, With Dead Head is included, displaying an early preoccupation with death. Away from the Flock - one of his ‘Natural History’ works featuring dead animals floating in vitrines - is also on show, featuring a sheep floating in formaldehyde. The lamb looks alive but is dead, and references the religious theme of the lamb of God. Religion is explored further in the large triptych work, Trinity - Pharmacology, Physiology, Pathology, in which medical products become a replacement for faith. Hirst is also recognised for his mirrored pharmacy cabinets lined with shelves full of drug bottles, pills, sea shells or cigarette butts, and his paintings, both which he produces in series. Included in this collection is the early Controlled Substances Key Painting (Spot 4a), a canvas where a grid of dots of different colours is accompanied by letters in alphabetical order that seem to dissect and reorganise the very matter of painting into cells.
    [Show full text]
  • High Art Lite: the Rise and Fall of Britart Free Download
    HIGH ART LITE: THE RISE AND FALL OF BRITART FREE DOWNLOAD Julian Stallabrass | 368 pages | 20 Nov 2006 | Verso Books | 9781844670857 | English | London, United Kingdom High Art Lite: The Rise and Fall of Young British Art Paul Robinson rated it it was amazing Jun 25, A scathing and incisive critique of the contemporary art world, in an updated new edition. The sensation of the yBas did not last that long into the s. Friend Reviews. He basically seems to be a humanist. To see what your friends thought of this book, please sign up. John Merrick 04 December Just a moment while we sign you in to your Goodreads account. He is better off giving his honest outlook on art than on his own profession. High Art Lite takes a critical look at the phenomenal success of YBA, young British artists obsessed with commerce, mass media and the cult of personalityDamien Hirst, Tracey Emin, Jake and Dinos Chapman, Marcus Harvey, Sarah Lucas, among othersand questions whether their success is at the price of dumbing down and selling out. Get A Copy. He criticises the attempts there have been to stimulate a post-YBA art scene. Sign up here for discounts and quicker purchasing. Evgenia rated it really liked it Jan 05, This searing book has become the authoritative account of the new British art of the s, its legacy in the 21st century, and what it tells us about the fate of high art in contemporary society. Welcome back. Community Reviews. Logan Hill rated it it was amazing Jan 05, This book is not yet featured on Listopia.
    [Show full text]
  • PAUL STOLPER + ICA Editions
    PAUL STOLPER + ICA Editions Private View: 11 January 6pm – 8pm Exhibition: 12 January – 16 February 2019 Paul Stolper and The Institute of Contemporary Arts are pleased to announce a joint exhibition of Artists’ Editions at Paul Stolper Gallery, opening 12 January 2019. The exhibition showcases a collection of rare editions by Peter Blake, Adam Chodzko, Mat Collishaw, Keith Coventry, Jeremy Deller, Brian Eno, Marcus Harvey, Jenny Holzer, Roger Hiorns, Gary Hume, Sarah Lucas, Vinca Petersen, Peter Saville, Bob & Roberta Smith, Frances Stark, Gavin Turk and Cerith Wyn Evans. The exhibition provides an opportunity to view a selection of important editions from the last 40 years. From Peter Blake’s ‘Art Jak’, commissioned by the ICA in 1978 to raise funds for the institution, to Jeremy Deller’s iconic and catalysing print 'The History of the World’, published by Paul Stolper in 1998, to Jenny Holzer’s pivotal ‘Inflammatory Essays’, first fly-posted around New York in the late 1970's and then created as an edition for the ICA in 1993. The works as a whole give a real insight into the multifarious nature of editions and print production, and explore the potential of the format and the numerous ways that artists have engaged with the editioning process. The exhibition is inspired by conversations between Paul Stolper, Stefan Kalmár (ICA Director) and Charlotte Barnard (ICA Artists’ Editions) on the radical history and potential of the editioned artwork; freeing the artist from the demands of their primary practice or gallery expectations. Working together for the first time, the collaboration is a celebration of the medium and demonstrates the ICA and Paul Stolper’s commitment to edition production.
    [Show full text]
  • “Brooklyn Museum: Messing with the Sacred, ” in Chris Ofili, Rizzoli, 2009
    “Brooklyn Museum: Messing with the Sacred, ” in Chris Ofili, Rizzoli, 2009 The Brooklyn Museum: Messing with the Sacred Part I: The Event Dennis Heiner a dapper, 72-year-old devout Catholic, feigning illness, leaned against a wall in the Brooklyn Museum near the much-maligned Chris Ofili painting, The Holy Virgin Mary. He waited for the guard to look away, took out a plastic bottle, then slipped behind the protective shield, and, with shaking hands, squeezed and spread white paint over the face and body of the image of Ofili’s black Madonna. When the police asked why had he done this, Mr. Heiner responded softly, “It was blasphemous.” With this enactment Chris Ofili’s work entered a historical body of defaced art--from works vandalized during the French Revo- lution to Michelangelo’s, Pieta Andres Serrano’s Piss Christ, and David Nelson’s infamous portrait of the late Mayor Harold Wash- ington, Mirth and Girth. On December 18, 1999, Heiner was charged with a Class D felony for “mischief making, possessing instruments of graffiti, and graffiti.” Let’s begin with the Brooklyn Museum, about which New York Times art critic Michael Kimmelman wrote: “Playing on the implications of cultural elitism, the Mayor of New York, Rudolph Guiliani, has in fact threatened one of the least elitist of New York cultural institutions.” While I was growing up in Brooklyn, the Brooklyn Museum was the beloved museum of my working-class neighborhood. It was always “our” museum. Through such recent comments as “That’s my museum. Take your hands off it,” spoken by Brooklyn residents, I can see that it is still our museum to the people of Brooklyn.
    [Show full text]