Artist as Celebrity: Brit Art and self-branding




Tim Noble and Sue Webster
Dirty White Trash [With Gulls] 1998
Six mont...
Sarah Lucas (1990) Sod You Gits
Jake and Dinos Chapman (1995) Zygotic
Acceleration, Biogenetic, Desublimated, Libidinal Model
Pleasure and democracy ? 
“Artists have ... refused to entrust their work to the abstract ideals of 1980s
critical practi...
Richard Billingham (1995) Liz Shaking Fist
at Ray
Pleasure and „pluerile‟ ?
   “For established artists to say that memories of
   the film Grease are as important to them ...
“I can‟t wait to get into a position to make really bad art and get away
with it. At the moment if I did certain things pe...
Damien Hirst (2007) Spot Painting
“Hirst said that he only painted five spot paintings himself (there are about 300)
becau...
How was Brit Art been made to
seem coherent and valuable?
   Grand-Narrative (or myth)
     Opportunists
     Rebels
 ...
Freeze...   Matt Collishaw (1988/93) Bullet Hole
Rebels




Marcus Harvey (1993) My
Arse is Yours




                          Jake and Dinos Chapman
                    ...
Buyers
         Jay Jopling


         “...a great piece of art can transcend
         various ephemeral, cultural situati...
Charles Saatchi
Buyers
Exhibitions – Young British
Artists
 Sensation (1997) Held at the Royal Academy of Arts
Tate Modern
(2000)
Turner Prize
Tracy Emin (1999) My Bed
Just Banal?




Damien Hirst (1991) The Physical Impossibility of Death in the Mind of
Someone Living.
Damien Hirst (1996) This little piggy went to market, this little piggy stayed at home
Damien Hirst (1998) In Love, Out of Love [recreation of „In and out of love‟, 1991]
Damien Hirst (1999)The Last
Supper (Beans and Chips)
Gavin Turk




   Pop (1993)
Marc Quinn (1991) Self




        (2001)DNA
        portrait of Sir John
        Edward Sulston
Anya Gallacio




                Preserve Beauty (1991-2003)
Democratic or just „pluerile‟?
  “...we shouldn‟t treat the widespread adoption of
  the pornographic, vulgar and profane ...
Democratic or just „pluerile‟?
  “What [the] broader audience is probably consuming... Is the
  spectacle itself, and the ...
References
   To be added...
Artist As Celebrity, Brit Art And Self Branding
Artist As Celebrity, Brit Art And Self Branding
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Artist As Celebrity, Brit Art And Self Branding

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A brief study of the the fate of postmodern theory in the midst of the financially orientated art world of 'swinging london'.

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Artist As Celebrity, Brit Art And Self Branding

  1. 1. Artist as Celebrity: Brit Art and self-branding Tim Noble and Sue Webster Dirty White Trash [With Gulls] 1998 Six months' worth of the artists' rubbish
  2. 2. Sarah Lucas (1990) Sod You Gits
  3. 3. Jake and Dinos Chapman (1995) Zygotic Acceleration, Biogenetic, Desublimated, Libidinal Model
  4. 4. Pleasure and democracy ?  “Artists have ... refused to entrust their work to the abstract ideals of 1980s critical practice and the immanent critique of artistic form, turning instead to the existentially more „secure‟ ground of their own enjoyment as cultural consumers.” “What this art has achieved is a level of distribution and recognition outside the professional art audience that even critical postmodernism could only dream of... [while also being] a recognition of the fundamental „ordinariness of culture.” (Roberts 1998, p76,p.77) Martin Maloney Glen Brown (1994) Ornamental (1997) Sony Levi Despair...
  5. 5. Richard Billingham (1995) Liz Shaking Fist at Ray
  6. 6. Pleasure and „pluerile‟ ? “For established artists to say that memories of the film Grease are as important to them as the Falklands‟ War might still be stunningly arrogant, but making work about one‟s investment in „trivia‟ now amounts to little more than a one-dimensional gesture ... Artists are no longer answerable to criticism: there is no longer a critical economy in London to speak of, and artists are above all part of a scene economy.” (Garnett 1998, p. 19)
  7. 7. “I can‟t wait to get into a position to make really bad art and get away with it. At the moment if I did certain things people would look at me and say „Fuck off‟. But after a while you can get away with things.” Damien Hirst 1990, quoted in (Stallabrass 1999, p.31)
  8. 8. Damien Hirst (2007) Spot Painting “Hirst said that he only painted five spot paintings himself (there are about 300) because, „I couldn‟t be fucking arsed doing it.‟ He described his efforts as ‟shite.‟ „They‟re shite compared to … the best person who ever painted spots for me was Rachel. She‟s brilliant. Absolutely fucking brilliant. The best spot painting you can have by me is one painted by Rachel.‟” Stephen Foster, Blog.
  9. 9. How was Brit Art been made to seem coherent and valuable?  Grand-Narrative (or myth)  Opportunists  Rebels  Institutions  Buyers  Exhibitions and Galleries  Turner Prize
  10. 10. Freeze... Matt Collishaw (1988/93) Bullet Hole
  11. 11. Rebels Marcus Harvey (1993) My Arse is Yours Jake and Dinos Chapman (1995) Ubermensch
  12. 12. Buyers Jay Jopling “...a great piece of art can transcend various ephemeral, cultural situations. To give you a clearer idea... I‟m not at all interested in issue-based art ... I‟m interested in art which has a certain degree of universality and is able to transcend certain cultural and generational differences.”
  13. 13. Charles Saatchi Buyers
  14. 14. Exhibitions – Young British Artists Sensation (1997) Held at the Royal Academy of Arts
  15. 15. Tate Modern (2000)
  16. 16. Turner Prize
  17. 17. Tracy Emin (1999) My Bed
  18. 18. Just Banal? Damien Hirst (1991) The Physical Impossibility of Death in the Mind of Someone Living.
  19. 19. Damien Hirst (1996) This little piggy went to market, this little piggy stayed at home
  20. 20. Damien Hirst (1998) In Love, Out of Love [recreation of „In and out of love‟, 1991]
  21. 21. Damien Hirst (1999)The Last Supper (Beans and Chips)
  22. 22. Gavin Turk Pop (1993)
  23. 23. Marc Quinn (1991) Self (2001)DNA portrait of Sir John Edward Sulston
  24. 24. Anya Gallacio Preserve Beauty (1991-2003)
  25. 25. Democratic or just „pluerile‟? “...we shouldn‟t treat the widespread adoption of the pornographic, vulgar and profane in the new art as the coat-tailing of media sensationalism, but a refusal on the part of the artists to feel shame about engaging in the everyday through the abject. [...] With the popular enculturalisation of art... It is inevitable that a distance should open up between the new art and the theoretical strenuousness of the „80s... The theory, so to speak, has been given sensual form.” (Roberts 1996)
  26. 26. Democratic or just „pluerile‟? “What [the] broader audience is probably consuming... Is the spectacle itself, and the popularist element in culture. How many more informaed speculations the [yBa] has created is also questionable, considering the paucity of rigorous analysis of the phenomnon.” (Garnett) “[The] difficulty in tying down high art lite [i.e. yBa, Brit Art] is not a product of the postmodern condition... Or of deconstruction in any essential sense, but rather of a specific situation in which art simultaneously addresses diverse audiences, facing outwards to the general audience and inwards to the in-crowd.” (Stallabrass 1999, p.65)
  27. 27. References  To be added...

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