The document discusses the rise of Britart and self-branding among British artists in the 1990s such as Damien Hirst and Tracy Emin. It explores how the artists presented conceptual work in a visually spectacular way to appeal to an international market. It also examines how the artists developed celebrity status and a new relationship with the mass media. Some critics argue this led to a more populist and career-driven approach, while others saw it as a way for artists to undermine and critique the concept of celebrity.
Week 9 Postmodernism: Artist as celebrity: Brit ArtDeborahJ
This document provides an overview of postmodernism in art, focusing on the rise of the "artist as celebrity" phenomenon among Young British Artists (yBAs) in the 1990s. It explores how yBa artists like Damien Hirst and Tracey Emin embraced consumerism and commercialism by using self-branding strategies. Their use of personas and courting of mass media attention made them art world stars. However, critics argue this prioritized artists' celebrity over the artistic merit of their work. The document also examines debates around whether their art was merely aiming for popularity over theoretical substance.
The document discusses postmodern fashion, describing it as emerging in the 1970s and characterized by eclecticism, pastiche, and irony. Postmodern fashion rejects traditional social hierarchies and encourages individual expression and contradiction. Key postmodern designers like Rei Kawakubo and Alexander McQueen are examined, with Kawakubo known for deconstructing traditional proportions and McQueen combining fragility and strength in his designs. The document concludes that fashion embodies postmodernism through approaches seen on international catwalks.
The Museum of Modern Art will host an exhibition titled "DISLOCATIONS" from October 1991 to January 1992. The exhibition will feature new installations by seven artists- Louise Bourgeois, Chris Burden, Sophie Calle, David Hammons, Ilya Kabakov, Bruce Nauman, and Adrian Piper. These installations have been created specifically for the exhibition and are intended to challenge viewers' habits of observation and settled attitudes. The installations are spread throughout the museum and range from monumental sculptures to found objects.
This document provides quotes from 21st century artists such as Damien Hirst, Sarah Lucas, Julian Opie, and others, discussing their approaches to art. Some key themes that emerge are a focus on using new media and styles appropriate to the current era, engaging audiences through provocative language, and examining the world with a fresh perspective. The artists describe pushing boundaries and being unafraid to communicate difficult topics through their work.
Oscar Wilde adopted the aesthetic ideal of pursuing beauty and incorporating it into life, believing that one's life should be a work of art. His views emphasized aesthetic value and sensory pleasures over didacticism, which clashed with Victorian culture. Two of Wilde's most important works that exemplified his aestheticism were The Picture of Dorian Gray, which explores themes of vice and virtue, and his essay The Preface, which argues that art should appeal to the senses and not teach lessons.
The document discusses several contemporary artists and their works that address current social and political issues. Tim Noble and Sue Webster create sculptures out of trash that address themes of consumerism. Chris Goodwin uses found trash to tell stories and comment on waste. Takashi Murakami blends pop and commercial art. Jeff Koons' work examines consumer culture. Duane Hanson created extremely realistic sculptures that held a mirror to society. Judy Chicago's The Dinner Party brought attention to women's history and roles. Kara Walker uses silhouettes to depict slavery in a thought-provoking way. Kako Ueda uses paper to represent the natural and cultural influences on human and other organisms. Jenny Holzer is known for her "truisms
The document discusses what art is and debates its definition. It explores the purpose of art and whether previous knowledge is needed to appreciate it. Examples of different artworks are provided, from paintings to sculptures, and readers are asked to determine which are considered art. The elements of art like line, color, texture, and principles of art like balance and harmony are explained. Finally, readers are given an activity to analyze artworks using these concepts.
Week 9 Postmodernism: Artist as celebrity: Brit ArtDeborahJ
This document provides an overview of postmodernism in art, focusing on the rise of the "artist as celebrity" phenomenon among Young British Artists (yBAs) in the 1990s. It explores how yBa artists like Damien Hirst and Tracey Emin embraced consumerism and commercialism by using self-branding strategies. Their use of personas and courting of mass media attention made them art world stars. However, critics argue this prioritized artists' celebrity over the artistic merit of their work. The document also examines debates around whether their art was merely aiming for popularity over theoretical substance.
The document discusses postmodern fashion, describing it as emerging in the 1970s and characterized by eclecticism, pastiche, and irony. Postmodern fashion rejects traditional social hierarchies and encourages individual expression and contradiction. Key postmodern designers like Rei Kawakubo and Alexander McQueen are examined, with Kawakubo known for deconstructing traditional proportions and McQueen combining fragility and strength in his designs. The document concludes that fashion embodies postmodernism through approaches seen on international catwalks.
The Museum of Modern Art will host an exhibition titled "DISLOCATIONS" from October 1991 to January 1992. The exhibition will feature new installations by seven artists- Louise Bourgeois, Chris Burden, Sophie Calle, David Hammons, Ilya Kabakov, Bruce Nauman, and Adrian Piper. These installations have been created specifically for the exhibition and are intended to challenge viewers' habits of observation and settled attitudes. The installations are spread throughout the museum and range from monumental sculptures to found objects.
This document provides quotes from 21st century artists such as Damien Hirst, Sarah Lucas, Julian Opie, and others, discussing their approaches to art. Some key themes that emerge are a focus on using new media and styles appropriate to the current era, engaging audiences through provocative language, and examining the world with a fresh perspective. The artists describe pushing boundaries and being unafraid to communicate difficult topics through their work.
Oscar Wilde adopted the aesthetic ideal of pursuing beauty and incorporating it into life, believing that one's life should be a work of art. His views emphasized aesthetic value and sensory pleasures over didacticism, which clashed with Victorian culture. Two of Wilde's most important works that exemplified his aestheticism were The Picture of Dorian Gray, which explores themes of vice and virtue, and his essay The Preface, which argues that art should appeal to the senses and not teach lessons.
The document discusses several contemporary artists and their works that address current social and political issues. Tim Noble and Sue Webster create sculptures out of trash that address themes of consumerism. Chris Goodwin uses found trash to tell stories and comment on waste. Takashi Murakami blends pop and commercial art. Jeff Koons' work examines consumer culture. Duane Hanson created extremely realistic sculptures that held a mirror to society. Judy Chicago's The Dinner Party brought attention to women's history and roles. Kara Walker uses silhouettes to depict slavery in a thought-provoking way. Kako Ueda uses paper to represent the natural and cultural influences on human and other organisms. Jenny Holzer is known for her "truisms
The document discusses what art is and debates its definition. It explores the purpose of art and whether previous knowledge is needed to appreciate it. Examples of different artworks are provided, from paintings to sculptures, and readers are asked to determine which are considered art. The elements of art like line, color, texture, and principles of art like balance and harmony are explained. Finally, readers are given an activity to analyze artworks using these concepts.
Art and Culture in the Modern and Contemporary ErasSp Lariba
This document provides an overview of modern and contemporary art styles from the 20th-21st centuries. It discusses several major movements including Fauvism, Surrealism, Cubism, and Dadaism. For each movement, it describes the key characteristics and influences, and highlights influential artists such as Matisse, Dali, Picasso, and Duchamp. The objectives are for students to learn about the different art styles of the modern eras and influential events, and to be able to analyze how styles were affected by changes in society.
This document provides an introduction to conceptual art and how it challenged traditional definitions of art. Conceptual artists asserted that the idea or concept behind a work was more important than its visual form. Key figures discussed include Duchamp, Rauschenberg, Kosuth, and LeWitt. Their works emphasized ideas and language over traditional art objects. This movement coincided with a desire to question the relationship between art and politics. Overall, conceptual art marked a shift where an idea itself could be considered a work of art rather than needing a physical art object.
The document discusses the history and evolution of the avant-garde art movement. It begins by outlining some key features of modernist avant-garde art such as shocking/transgressive subject matter and an oppositional stance to social norms. It then examines how the avant-garde changed after World War 2 with the loss of its bourgeois enemy and the rise of popular culture. More recent incarnations of avant-garde, such as the works of Jeff Koons, Sylvie Fleury and Takashi Murakami, further blurred boundaries between art and commercial culture.
Got Style? 4 Different Types of Art Styles to Trysionabart
While each artist has their own unique style, many find that they align with one of the many types of art styles out there. In this post, we’re going to go over 4 different types of art styles that many artists align with.
Form refers to the physical and visual aspects of a work of art. Content refers to the meaning of a work of art, including the subject matter, artist's intent, and viewer's interpretation. There are several major theories for analyzing and interpreting artworks based on their form and content, including formalist theories that focus on form, expressionist theories that view art as a means of expression, contextual theories that examine art within its social and historical context, Marxist theories that analyze art's relationship to economic systems and class struggle, psychoanalytic theories that view art as revealing the unconscious, and postcolonial theories that examine issues of colonialism, identity, and cultural difference.
The document discusses various components of art including subject matter, style, content, form, media, technique, and context. It provides examples to illustrate different styles such as period style, regional style, and individual style. It also discusses levels of content in works of art including subject matter, elements/composition, and underlying meanings/themes. Realism and representation in art are contrasted with expressionism and abstraction.
Conceptual art emerged in the 1960s-1970s as a reaction against commercialized art. It prioritized ideas over traditional art objects, using images and objects to convey concepts. Influenced by Duchamp's readymades, it questioned what art is. There was no set style, and works took many forms including installations, performances, and land art. Key ideas included art being conceptual rather than material, reducing objects to minimalism, and requiring viewer participation to complete works. Prominent conceptual artists profiled include Damien Hirst, known for installations using medical and domestic items to explore death, and Tracy Emin who used autobiographical works addressing sexuality and relationships.
Conceptual art emerged in the 1960s as an art movement focused on conveying ideas rather than creating traditional art objects. It was influenced by Marcel Duchamp's "readymades" and intended to challenge notions of what art could be. Key aspects of conceptual art include prioritizing concepts over physical works and questioning relationships between art, artists, and audiences. Pioneering conceptual artists included Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and members of the influential Art & Language group.
This document discusses concepts related to high and low culture in art. It introduces terms like "avant-garde" and questions assumptions around concepts like originality, genius, and the notion of art for art's sake. It provides examples of artworks to illustrate different approaches like socially committed art versus art that seeks only to expand what art is. The document encourages questioning priorities in art education around innovation, experimentation, and originality.
Basic information on abstract art. What is abstract art? What are you looking at when you see abstract art? is abstract art a type of art at all? abstract art Examples. Abstract art project/ presentation. famous abstract artworks.
Conceptual art emerged as a major art movement in the 1960s and 1970s based on the idea that art can exist solely as a concept rather than a physical object. Some key figures in conceptual art include Joseph Kosuth, Yves Klein, Piero Manzoni, and Richard Long. Conceptual art was influenced by earlier artists like Marcel Duchamp who created pieces that questioned what art is.
Conceptual art emerged in the mid-1960s and early 1970s as a reaction against formalism. It emphasizes ideas and concepts over the creation of traditional art objects. Conceptual artists use images, objects, and text to convey ideas and get viewers to think about the meaning and definition of art. Key figures like Joseph Kosuth, Damien Hirst, and Tracy Emin created conceptual works that pushed boundaries and provoked questions about the nature of art.
The document discusses the history and key concepts of postmodernism. It provides examples of how postmodernism influenced fashion design, particularly the works of designer Hussein Chalayan. Chalayan's collections from 1993 to 2000 demonstrated postmodernist themes through experimental uses of materials and questioning of social norms. His "Burka" collection from 1998 subverted expectations of modesty in Muslim dress, while "Before Minus Now" in 2000 incorporated new technologies into innovative garment shapes and forms. In summarizing Chalayan's works, the document examines how postmodernist fashion design embraces pluralism and individuality through non-traditional approaches.
The three main general styles of art as seen in class. Realism, abstract, and nonobjective. Click on each artist name to go to an outside site and learn more.
The document discusses various types of conceptual, performance, installation and new media art. It provides examples and descriptions of works by artists such as Marcel Duchamp, Sol Le Witt, Claes Oldenburg, Gordon Matta-Clark, Robert Indiana and Rachel Whiteread. It also discusses how conceptual ideas influenced the design of certain architecture like the Wexner Center and Centre Pompidou.
Pop Art was an art movement that began in the late 1950s and used imagery from popular culture and everyday life. Pop artists blurred the lines between fine art and commercial art by using images and styles from advertisements, consumer goods, celebrities and other mass media sources. Andy Warhol was one of the most famous Pop Artists, known for works like Campbell's Soup Cans that used repetition and references to popular culture to critique and comment on society. Pop Art challenged definitions of art by appropriating common objects and images and using new technologies like silkscreening. It reflected 1960s culture and had a lasting influence on contemporary art.
This document discusses several modern art movements including Pop Art, Expressionism, Abstract Expressionism, Environmental Art, and Installation Art. Expressionism aimed to portray subjective emotions rather than objective reality. Two influential Expressionist groups were Die Brucke and Der Blaue Reiter. Abstract Expressionism emphasized free and personal expression, with Color Field and Gestural Painting as two distinct approaches. Environmental Art was designed to surround viewers and included earthworks. Installation Art used sculptural materials to create site-specific ensemble works.
A slideshow connected to a lecture of Art Since 1950 available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Virginia Spivey.
The document provides definitions for various art styles and genres, including modernism, international style, postmodernism, grunge, op-art, pop-art, art nouveau, punk, urban art, anime, kitsch, photorealism, futuristic, cartoon, factual, editorial, lifestyle, adventure, sports, corporate, fashion, fantasy, simulation, tabloid, science fiction, and graphic novel. It concisely summarizes each term and provides one example for some terms.
Oscar Wilde was a major proponent of the aesthetic movement, which developed in France in rejection of the materialism that rose in the late 19th century embodied by Victorian society. The aesthetic artist escapes into isolation and "art for art's sake", focusing only on the work of art and beauty which only the artist can understand. Wilde established a taste and fashion as a way of being, as seen in The Picture of Dorian Gray where the cult of beauty becomes an obsession to maximize pleasure, though beauty is fleeting and doomed to decay. However, when the cult of beauty no longer provides pleasure, the hedonist seeks more, fueling Dorian Gray's degradation into a cursed obsession.
What's New in the Surreal World - Surrealism isn’t dead - Its dreaming. By Te...bienvenidobonesbanez1
This document discusses the ongoing and diverse state of surrealism as an artistic movement. It argues that surrealism never died, as some assume, but has evolved and diversified into many related styles including visionary art, fantastic art, and others that all derive from André Breton's original definition of surrealism. It provides examples of leading contemporary surrealist artists from around the world working in different mediums. The essay also discusses how surrealism has influenced other creative fields like comics, animation, and mass media like manga, and how new genres like "pop surrealism" and "massurrealism" have emerged as artists incorporate pop culture imagery. In concluding, it asserts that surrealism will
Sir Joshua Reynolds delivered a series of lectures between 1769-1790 that established British painting theory. He argued that art is an activity of the mind, not just copying what is seen. While influential, his ideas were also controversial and criticized by William Blake and the Pre-Raphaelites.
Art and Culture in the Modern and Contemporary ErasSp Lariba
This document provides an overview of modern and contemporary art styles from the 20th-21st centuries. It discusses several major movements including Fauvism, Surrealism, Cubism, and Dadaism. For each movement, it describes the key characteristics and influences, and highlights influential artists such as Matisse, Dali, Picasso, and Duchamp. The objectives are for students to learn about the different art styles of the modern eras and influential events, and to be able to analyze how styles were affected by changes in society.
This document provides an introduction to conceptual art and how it challenged traditional definitions of art. Conceptual artists asserted that the idea or concept behind a work was more important than its visual form. Key figures discussed include Duchamp, Rauschenberg, Kosuth, and LeWitt. Their works emphasized ideas and language over traditional art objects. This movement coincided with a desire to question the relationship between art and politics. Overall, conceptual art marked a shift where an idea itself could be considered a work of art rather than needing a physical art object.
The document discusses the history and evolution of the avant-garde art movement. It begins by outlining some key features of modernist avant-garde art such as shocking/transgressive subject matter and an oppositional stance to social norms. It then examines how the avant-garde changed after World War 2 with the loss of its bourgeois enemy and the rise of popular culture. More recent incarnations of avant-garde, such as the works of Jeff Koons, Sylvie Fleury and Takashi Murakami, further blurred boundaries between art and commercial culture.
Got Style? 4 Different Types of Art Styles to Trysionabart
While each artist has their own unique style, many find that they align with one of the many types of art styles out there. In this post, we’re going to go over 4 different types of art styles that many artists align with.
Form refers to the physical and visual aspects of a work of art. Content refers to the meaning of a work of art, including the subject matter, artist's intent, and viewer's interpretation. There are several major theories for analyzing and interpreting artworks based on their form and content, including formalist theories that focus on form, expressionist theories that view art as a means of expression, contextual theories that examine art within its social and historical context, Marxist theories that analyze art's relationship to economic systems and class struggle, psychoanalytic theories that view art as revealing the unconscious, and postcolonial theories that examine issues of colonialism, identity, and cultural difference.
The document discusses various components of art including subject matter, style, content, form, media, technique, and context. It provides examples to illustrate different styles such as period style, regional style, and individual style. It also discusses levels of content in works of art including subject matter, elements/composition, and underlying meanings/themes. Realism and representation in art are contrasted with expressionism and abstraction.
Conceptual art emerged in the 1960s-1970s as a reaction against commercialized art. It prioritized ideas over traditional art objects, using images and objects to convey concepts. Influenced by Duchamp's readymades, it questioned what art is. There was no set style, and works took many forms including installations, performances, and land art. Key ideas included art being conceptual rather than material, reducing objects to minimalism, and requiring viewer participation to complete works. Prominent conceptual artists profiled include Damien Hirst, known for installations using medical and domestic items to explore death, and Tracy Emin who used autobiographical works addressing sexuality and relationships.
Conceptual art emerged in the 1960s as an art movement focused on conveying ideas rather than creating traditional art objects. It was influenced by Marcel Duchamp's "readymades" and intended to challenge notions of what art could be. Key aspects of conceptual art include prioritizing concepts over physical works and questioning relationships between art, artists, and audiences. Pioneering conceptual artists included Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and members of the influential Art & Language group.
This document discusses concepts related to high and low culture in art. It introduces terms like "avant-garde" and questions assumptions around concepts like originality, genius, and the notion of art for art's sake. It provides examples of artworks to illustrate different approaches like socially committed art versus art that seeks only to expand what art is. The document encourages questioning priorities in art education around innovation, experimentation, and originality.
Basic information on abstract art. What is abstract art? What are you looking at when you see abstract art? is abstract art a type of art at all? abstract art Examples. Abstract art project/ presentation. famous abstract artworks.
Conceptual art emerged as a major art movement in the 1960s and 1970s based on the idea that art can exist solely as a concept rather than a physical object. Some key figures in conceptual art include Joseph Kosuth, Yves Klein, Piero Manzoni, and Richard Long. Conceptual art was influenced by earlier artists like Marcel Duchamp who created pieces that questioned what art is.
Conceptual art emerged in the mid-1960s and early 1970s as a reaction against formalism. It emphasizes ideas and concepts over the creation of traditional art objects. Conceptual artists use images, objects, and text to convey ideas and get viewers to think about the meaning and definition of art. Key figures like Joseph Kosuth, Damien Hirst, and Tracy Emin created conceptual works that pushed boundaries and provoked questions about the nature of art.
The document discusses the history and key concepts of postmodernism. It provides examples of how postmodernism influenced fashion design, particularly the works of designer Hussein Chalayan. Chalayan's collections from 1993 to 2000 demonstrated postmodernist themes through experimental uses of materials and questioning of social norms. His "Burka" collection from 1998 subverted expectations of modesty in Muslim dress, while "Before Minus Now" in 2000 incorporated new technologies into innovative garment shapes and forms. In summarizing Chalayan's works, the document examines how postmodernist fashion design embraces pluralism and individuality through non-traditional approaches.
The three main general styles of art as seen in class. Realism, abstract, and nonobjective. Click on each artist name to go to an outside site and learn more.
The document discusses various types of conceptual, performance, installation and new media art. It provides examples and descriptions of works by artists such as Marcel Duchamp, Sol Le Witt, Claes Oldenburg, Gordon Matta-Clark, Robert Indiana and Rachel Whiteread. It also discusses how conceptual ideas influenced the design of certain architecture like the Wexner Center and Centre Pompidou.
Pop Art was an art movement that began in the late 1950s and used imagery from popular culture and everyday life. Pop artists blurred the lines between fine art and commercial art by using images and styles from advertisements, consumer goods, celebrities and other mass media sources. Andy Warhol was one of the most famous Pop Artists, known for works like Campbell's Soup Cans that used repetition and references to popular culture to critique and comment on society. Pop Art challenged definitions of art by appropriating common objects and images and using new technologies like silkscreening. It reflected 1960s culture and had a lasting influence on contemporary art.
This document discusses several modern art movements including Pop Art, Expressionism, Abstract Expressionism, Environmental Art, and Installation Art. Expressionism aimed to portray subjective emotions rather than objective reality. Two influential Expressionist groups were Die Brucke and Der Blaue Reiter. Abstract Expressionism emphasized free and personal expression, with Color Field and Gestural Painting as two distinct approaches. Environmental Art was designed to surround viewers and included earthworks. Installation Art used sculptural materials to create site-specific ensemble works.
A slideshow connected to a lecture of Art Since 1950 available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Virginia Spivey.
The document provides definitions for various art styles and genres, including modernism, international style, postmodernism, grunge, op-art, pop-art, art nouveau, punk, urban art, anime, kitsch, photorealism, futuristic, cartoon, factual, editorial, lifestyle, adventure, sports, corporate, fashion, fantasy, simulation, tabloid, science fiction, and graphic novel. It concisely summarizes each term and provides one example for some terms.
Oscar Wilde was a major proponent of the aesthetic movement, which developed in France in rejection of the materialism that rose in the late 19th century embodied by Victorian society. The aesthetic artist escapes into isolation and "art for art's sake", focusing only on the work of art and beauty which only the artist can understand. Wilde established a taste and fashion as a way of being, as seen in The Picture of Dorian Gray where the cult of beauty becomes an obsession to maximize pleasure, though beauty is fleeting and doomed to decay. However, when the cult of beauty no longer provides pleasure, the hedonist seeks more, fueling Dorian Gray's degradation into a cursed obsession.
What's New in the Surreal World - Surrealism isn’t dead - Its dreaming. By Te...bienvenidobonesbanez1
This document discusses the ongoing and diverse state of surrealism as an artistic movement. It argues that surrealism never died, as some assume, but has evolved and diversified into many related styles including visionary art, fantastic art, and others that all derive from André Breton's original definition of surrealism. It provides examples of leading contemporary surrealist artists from around the world working in different mediums. The essay also discusses how surrealism has influenced other creative fields like comics, animation, and mass media like manga, and how new genres like "pop surrealism" and "massurrealism" have emerged as artists incorporate pop culture imagery. In concluding, it asserts that surrealism will
Sir Joshua Reynolds delivered a series of lectures between 1769-1790 that established British painting theory. He argued that art is an activity of the mind, not just copying what is seen. While influential, his ideas were also controversial and criticized by William Blake and the Pre-Raphaelites.
Modern art emerged in the late 1800s as artists broke from traditional styles and subjects to experiment. Two influential modern works were Jay DeFeo's giant painting "The Jewel" from 1958-1959 and Frantisek Kupka's "Irregular Forms: Creation." While using the same medium of oil paint on canvas, the works conveyed very different feelings. DeFeo's piece was lush and organic, while Kupka's had a sense of movement and energy. Contemporary art continued experimenting with new styles, subjects, and mediums in the 20th century while also addressing social and political issues of the time.
Modernism in Art: An Introduction: Salon des refusesJames Clegg
This course provides a critical introduction to modernist artistic movements starting from the Salon des Refusés in 1863. It examines Impressionism, Cubism, Futurism, Constructivism, Dada and other avant-garde styles in their historical and cultural contexts. The course structure includes 11 weeks covering these movements and their influence in reshaping representations of the modern world.
10 Famous Modern Art Artists Who Exemplify Art to Its Finest.pdfCIOWomenMagazine
Here are 10 Famous Modern Art Artists who have left an indelible mark on the art world: 1. Pablo Picasso, 2. Jackson Pollock, 3. Frida Kahlo, 4. Yayoi Kusama, 5. Andy Warhol, etc.
The document provides information about assessment objectives for a fine art course focusing on covert and obscured works. The four assessment objectives cover developing ideas through investigations informed by context, experimenting with materials and techniques, documenting ideas and insights, and presenting a meaningful personal response. The document also provides definitions of "covert" and "obscured" and suggests using the sheet to generate ideas and respond to artworks.
This document discusses the concept of formalism in art, which emphasizes the visual form and aesthetic qualities of a work over its representational content. It describes how formalism was promoted in the early 20th century by critics like Clive Bell and Roger Fry, who argued that a work's "significant form" produced an emotional response in viewers. The document then outlines how formalism influenced Modernist art movements and was later challenged by anti-formalists who argued it had become too detached from social and political issues. It provides examples of how Minimalism, Conceptual art, and other movements reacted against the dominance of formalism.
1. James Whistler and John Ruskin held opposing views on art, with Whistler believing in "art for art's sake" without social concerns. This led to Whistler suing Ruskin for libel over criticism of one of Whistler's paintings.
2. In the late 18th century, the focus in art shifted from emulating tradition to an artist's unique vision and imagination, influenced by neoclassicism and romanticism. This established the idea of the artist as a "visionary genius."
3. Major artists like Jacques-Louis David, Francisco Goya, Eugène Delacroix, John Constable, J.M.W. Turner, Jean-Fran
This document provides an introduction to the course "Postmodernism in Art" taught at the University of Edinburgh. It discusses key concepts needed to understand postmodernism such as modernity, modernism, and Clement Greenberg's formalism. It outlines how postmodernism emerged in the 1960s through movements like Pop Art, Minimalism, and Conceptualism. The document also examines debates around defining postmodernism and discusses how postmodern art questions aspects of modernism like artistic purity and the separation of art from everyday life.
The document summarizes information on 15 famous paintings by notable artists. It provides brief descriptions of each painting including the title, artist, date, subject matter, and key details. Some of the paintings discussed include The Last Supper by Leonardo da Vinci, The School of Athens by Raphael, Mona Lisa by Leonardo da Vinci, The Starry Night by Vincent van Gogh, and Guernica by Pablo Picasso. The document aims to concisely summarize the essential facts about these iconic artworks.
This is some of the great art documentaries that can show you the meaning of the arts. You can watch more of this great videos here at https://filestubealternative.wordpress.com/
This document provides an introduction to an art history course on contemporary art since 1945. It discusses how postwar art challenged expectations of what art should look like, moving away from traditional subjects and embracing abstraction. Modernism is defined as favoring non-representational forms and the autonomy of art. However, postmodernism emerged as a reaction against some tenets of modernism, incorporating eclectic styles and questioning notions of progress. The reading explores the development of avant-garde art and its relationship to social and political currents over this period.
This document provides an overview of an art law seminar course being offered in India. It discusses various topics that will be covered related to the intersection of law and the art world, including definitions of art and art law, censorship issues, intellectual property concerns, cultural heritage and looted art. The course will examine these topics through both an international lens and using India as a case study. Student evaluation will involve class participation, presentations, and a final paper. The course aims to help map the context of art law in India while exploring global standards and issues.
This document discusses the Mystic Artists, a group of artists in the 1960s who exhibited psychedelic and mystical works at Mystic Arts World in Laguna Beach, California. It provides background on Mystic Arts World and how it emerged from the burgeoning psychedelic culture in Laguna Beach in the 1960s, which was influenced by the legal use of LSD at the time. The exhibition, Transformation and the Mystic Artists, 1967-1970, is the first to showcase works by these artists, including paintings ranging from Beat assemblage to visionary works. It aims to provide insight into this experimental cultural period in Southern California history through the art exhibited at Mystic Arts World.
Life without buildings: Institutions and ObjectionsDeborahJ
The document discusses the shift in art from Modernism to postmodernism in the 1960s-70s. Modernism valued disembodied aesthetics and formalism, while postmodernism emphasized the social and political context of artworks. Artists began creating works that were site-specific, used everyday materials, and critiqued institutions like museums. This changed the role of the artist and relationship between art objects and their environments.
Similar to Postmodernism an introduction: Artists as celebrity:Brit art and self branding (16)
The power of the image: Contemporary art, gender, and the politics of perceptionDeborahJ
The relation between visual representations and the identity of the human subject.
The ideas and research that have informed this lecture are grounded in the areas of queer theory, gender studies, critical race theory, and feminist studies.
The global image. from consumer culture to the digital revolution DeborahJ
The Global Image: From Consumer Culture to the Digital Revolution is focused on the way we engage with images in the post-Internet era, when they can be shared, reproduced, altered, and distributed more easily than ever before in human history.
Beyond the visual: The Body in Contemporary ArtDeborahJ
When we think of the Body in Contemporary Art we could consider a number of different and relevant aspects. For instance, the body - the human form - is central in art, traditionally the body was often used to explore allegory, beauty and sexuality and so on. But in the twentieth century there was a significant shift in both how the body was perceived, and how it was used to create art across a range of media, from painting and sculpture to installation, photography, video art, performance and participatory art. By considering the different roles played by the body in art, we can identify that there has been a shift from being the subject, for example, in a portraiture, to becoming an active presence in live and participatory events. Alongside this there has also been a significant transformation of the role of the audience, broadly speaking, from passive viewer to active participant.
Self Organise: Reflections on Labour and ProductivityDeborahJ
This document discusses how work and labor are changing in capitalist societies. It explores ideas like anarcho-syndicalism, which focuses on worker control, and how our jobs inform our identities. Many workers must sell their labor to survive but have little control over their lives. New forms of work are emerging that are less tangible and more service-based. Social movements are creating alternative narratives and economies that are less focused on consumerism and more about sharing wealth, power, and finding meaningful work.
This presentation crutinises how art practitioners are navigating the artworld, which in our contemporary, late capitalist society is arguably, increasingly regulated by free market conditions, managed in the artworld by the same bureaucrats, curators, dealers and gallery owners, roles that have encroached on the career of artists themselves.
Self-organization is reflected in history and theory. It is both local and global, taking the form of grassroots revolts. Self-organization involves institutional critique and opposition to established hierarchies. It is youth-led and aims to protest conditions while empowering individuals and communities through collective action and do-it-yourself practices.
Debates around the idea that the interrelation or the interaction between artwork and viewers has been modified with the practice of Relational Aesthetics.
How Art Works Week 9: Revolutionism Case Studies: Romanticism ImpressionismDeborahJ
Romanticism emerged in the late 18th and early 19th centuries as a reaction against the rationalism of the Enlightenment and the Industrial Revolution. Key aspects of Romanticism included a focus on emotion, nature, individualism, imagination, exoticism, and revolution. Notable Romantic artists and works included David's Napoleon at Saint-Bernard, Delacroix's Arabs Skirmishing in the Mountains, Blake's Newton as a divine geometer, Turner's Rain, Steam and Speed, and Constable's Flatford Mill. The Impressionists in the late 19th century, such as Monet, Renoir, Pissarro, and Cassatt, painted everyday life and focused on the
How Art Works: Week 6 Classicism Case Studies: Greek and Roman CanonsDeborahJ
The document provides an overview of classicism in Greek and Roman art. It discusses how Greek artists in the 5th-4th centuries BCE established ideals of beauty that emphasized symmetry, proportion and the human form. Key Greek sculptors like Polykleitos developed canons of proportion based on the ideal human body. The Greeks also captured perfection in their representations of gods. Roman art emulated and spread these classical ideals throughout their empire.
How Art Works: Week 5 The Rise of the ismsDeborahJ
This lecture will:
Examine how artists sought to find a language that would adequately express the changes and disruptions associated with modern life
Attempt to capture the dialectical relationship between each movement and its predecessors
Make connections between historical events and art genres
Encouraged you to think of styles as useful tools for exploration and analysis, rather than as hard and fast academic definitions, and to relate to the art itself rather than to a merely conceptual idea
Is a picture worth 1,000 words? Textual AnalysisDeborahJ
This lecture will introduce semiotics or the semiology of art, a mechanism for deriving meaning that is considered to a more inclusive development of Panofsky’s Iconography
How Art Works: Week 3 What makes Art Different? Comparative Analysis DeborahJ
1. The document discusses theories of art history analysis proposed by Heinrich Wölfflin and Erwin Panofsky, including Wölfflin's principles of formal analysis and Panofsky's three levels of meaning in works of art.
2. It also provides guidelines for writing an art history compare/contrast essay, focusing on identifying the key attributes of the works being analyzed.
3. The roots of art history teaching involved lectures with or without visual aids, leading to the development of magic lantern slides to illustrate concepts.
How Art Works: Week 2 What is Art made of?DeborahJ
This document provides an overview of various methods used in art history, including formal analysis, connoisseurship, new art history approaches, and the concept of the art historical canon. It discusses how these methods have developed over time from traditional to revisionist approaches. Key periods and styles of art history are addressed, from antiquity through the Renaissance, 16th-17th century developments, 18th century aesthetics, 19th century empirical and idealist views, and modern/postmodern eras. Formal analysis is emphasized as the fundamental way for art historians to describe visual elements and compositions without contextual information.
How Art Works: Week 1 The ‘unruly discipline’ DeborahJ
This lecture will:
introduce ways to think about art and its history and help you to understand how art historians go about their practice
look at some of the issues and debates that make up the disciple of Art History
offer some reconsiderations of art history
consider the importance of the gallery and museum
This document provides an overview of collaboration and collectivity in art. It discusses how art students working collaboratively take an oppositional stance to the lone artist model and how their work is assessed individually. It also mentions how economic conditions are linked to material production, including art production. Additionally, it discusses plural authorship in works by artists like Duchamp, Rauschenberg, Langlands & Bell, Abramovic and Ulay, Clark and Oiticica. The document also analyzes different approaches to collaboration from the 1960s that celebrated unified ideas versus more contemporary collaborations that encourage differences between collaborators. It examines collaborations in relation to political and activist art as well.
Aims of todays lecture:
To analyse the conditions in which contemporary art is produced
To (re) evaluate your function as an artist within a broad context
Address making a living in the current climate of instability and enforced austerity
Consider issues of free labour, particularly internships, in the cultural sector
This document outlines the schedule and content for an introduction to visual culture course. The course will cover topics such as ways of seeing, dominance of images, showing seeing, what is visual culture, art history, art appreciation, connoisseurship and taste, and new ways of seeing. It will examine how images are analyzed in relation to cultural, social, and historical context and how vision is a cultural construction.
Postmodernism an introduction: Artists as celebrity:Brit art and self branding
1. Postmodernism in Art: An Introduction Artist as celebrity: Brit art and self branding
2. New Labour put the ‘Creative Industries’ at the heart of its vision for the future of Britain.
3. “Jonnie ShandKyddd, a relative of Princess Diana, has produced a book of photographs of artists idling on the scene, drinking and falling about…The very fact that this book of banal and poorly taken photographs was published, and by a major publisher at that, is a register of the extent to which the artists themselves have become a focus for curiosity as personalities, as stars.” Julian Stallabrass, High Art Lite
9. Damien Hirst’s steel and glass vitrines had the rational structure and polished finish of minimal art but inside was dead flesh. The vitrines that protected viewers from the smells of corpses and chemicals were paradoxical because they enabled viewers to see inside but not to enter, smell or touch. Gordon Burn discerned a connection with celebrity: “Celebrity is about control and distance; it is about adding space to the space that inevitably exists between human beings and remaining apart from the flock. It is about degrees of separation and personal insulation and choosing, as Jeff Koons apparently did, to place the flesh cell of your person inside a second, more unbreachable container tank.” Gordon Burn. (31 August 1996). Hirst world. Guardian (Weekend), pp. 10-14
10.
11. “Art’s about life and the art world’s about money, and money and celebrity are just tiny aspects of life. So if you keep your perspective on that, it’s fine. I think art should be able to deal with celebrity. I don’t think you should ever let celebrity become more important than art but I think it’s a part of it. I think a desire to be famous is a desire to live forever which is very fundamental to art.” Steve Beard. (1-7 September 1977). Nobody’s fool [interview with Damien Hirst]. Big Issue, pp. 12-4.
12. Damien Hirst In and Out of Love (1991) This work was symptomatic of various recent developments on the British art scene. Non-art objects, or beings, brought into contact with traditional fine-art materials and modes of display.
13. Stallabrass has argued that Hirst’s work now functions like a logo for the artist’s personality and that he is able to market his work successfully because of his celebrity status.
14. Gavin Turk Relic (Cave) The original blue plaque from 'Cave' installation encased in a Beuysianvitrine. In the summer of 1991 for his graduation show from the Royal College of Art, the artist exhibited a blue Heritage plaque in an otherwise empty studio which commemorated his own presence as a sculptor. The title Cave refers to an allegorical picture of Plato, which describes a model of perception. A group of prisoners have been chained in a cave since childhood with no experience of reality other than the flickering shadows cast by the people and things moving along a path in front of a fire situated behind them. In the plaque, the artist was represented by a retrospective view of his life.
15. A waxwork portrait of Gavin Turk as Sid Vicious singing Sinatra’s My Way in The Rock n’Roll Swindle, in the pose of Elvis playing the part of a cowboy in a movie as a silk screen by Andy Warhol… Gavin Turk Pop (1993)
16. Turk highlights the Duchampian idea that questions the connections between artists and the work: “In the beginning I tried to create an artists who had the same name as me. I was interested in the cliché of art, the myth of the artist, stereotyping, all art as types of signature. And at first there was a quite clear and comfortable degree of separation. The artist Gavin Turk had a studio and made art under a certain kind of licence. Now it has become much more problematic to sustain a separation between myself and the artist Gavin Turk.”
17. ‘Sensation’ exhibition at London’s Royal Academy of Art in 1997 was a public airing of the private collector Charles Saatchi, the only major collector of contemporary art in Britain during this period whose dealings affected the entire art market.
18. Marcus Harvey, ‘Myra’ (1995) Marc Quinn, ‘Self’ (1991) Populist, careerist? Does this mean that there was a complicit and wilful avoidance of difficult, theoretical or ideological work?
19. Hirst’s says of celebrity status: “You’ve got to become a celebrity before you can undermine it, take it apart, show people that there’s no difference between celebrities and real life. Celebrity is a fucking lie. It’s like; I’ll do a magic trick, and I want it to be amazing. But if anyone asks me how to do it, I’ll show them exactly how to do it. I want you to be amazed twice. Once you’re amazed because it seems impossible, and then, you’re amazed because it’s fucking easy. That’s what it’s like.” Damien Hirst quoted by Gordon Burn. (6 Sept 1997) The height of morbid manner. Guardian (Weekend), pp14-21
20. Blimey! flaunts a breezy, irreverent style that can be, by turns, just like the art: absorbing, accessible, and outrageous--or utterly, embarrassingly banal. Collings invented the perfect voice to complement yBa: He makes an impact without (crucially) ever appearing to try too hard. Blimey! From Bohemia to Britpop (1997), Matthew Collings.
Editor's Notes
yBas were packaged alongside the Britpop wave in music.
“Jonnie ShandKyddd, a relative of Princess Diana, has produced a book of photographs of artists idling on the scene, drinking and falling about…The very fact that this book of banal and poorly taken photographs was published, and by a major publisher at that, is a register of the extent to which the artists themselves have become a focus for curiosity as personalities, as stars.”
Damien Hirst was one of the art stars to emerge from the fine art course at Goldsmiths College in South London, which he attended between 1986 and 1989. Conceptual art was a pervasive influence and so it was the artist’s ideas that counted most: any medium could be used and the task of making the art works was a secondary matter that could be delegated to assistants once finances permitted. It was due to tutors such as Richard Wentworth, Jon Thompson and Michael Craig-Martin that students came to regard themselves as professional artists and to focus on cracking the commercial gallery system. To promote himself and his friends, Hirst organised a now legendary student show called Freeze (1988)In 1988, at a time when public funding for art was not readily available (and had been reduced by the Thatcher government), a group of 16 artists, were invited by Hirst to take part in the exhibition. Most of the commercial galleries in London showed a lack of interest in Hirst's project at the time, which led to the show being held in a Docklands warehouse. The event resonated with the 'Acid House' warehouse rave scene prevalent at the time, and drew significant publicity by the connection. It also gave rise to a huge interest on the part of many artists in being curators. Suddenly it seemed Hirst had single handedly created a new career-path and possibility for unknown artists to put a cool-sounding new job-title on their resumés and CVs. Artist-run exhibition spaces and galleries sprang up in the mid 1990's in London based on this idea.
The label yBa turned out to be a powerful brand and marketing tool, but of course it concealed huge diversity. The art writerJulian Stallabrass prefers the more sarcastic and disparaging label “High Art Lite” to the acronymyBAIn his book Stallabrass critiques the lack of complexity in the work of the young British artists.Stallabrass states that there is certainly no common programme to this art: there are no manifestos, no group statements, and no shared style. Yet there are distinguishing characteristics that he identifies as: An overtly contemporary flavour to the art, despite it’s ‘Britishness’ is not provincial and thus appeals to an international market The artists have a new and distinctive relation to the mass media and frequently use materials drawn from mass cultureThey present conceptual work in a visually accessible and spectacular form
To Take Stallabrass’s point that” An overtly contemporary flavour to the art, despite it’s ‘Britishness’ is not provincial and thus appeals to an international market Validated by 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.”
Stallabrass“To court a wider audience, high art lite took on an accessible veneer, building in references and forms that people without specialist knowledge would understand – and even sometimes , in its use if mass culture, incorporating material that those with specialist knowledge would generally not understand…” (p9)The opening of The Tate Modern,London in May 2000, further fueled the spread of enthusiasm for the work of the yBa artists.One particular artists involved in both the 'Freeze' and 'Sensation' exhibitions was Tracey Emin. Her later work entitled 'My Bed' caused a great deal of shock, when shortlisted for the 1999 Turner prize. Charles Saatchi later bought this piece for £150,000.In 1999 Emin was shortlisted for the prestigious Turner Prize, causing a raging controversy in the art world over her piece entitled, "My Bed." Critics were scathing in their censure of the piece, but it did have its supporter as well. "My Bed" (Figure 4) was a double bed, ostensibly Emin's actual bed in which she had lain for four days while contemplating suicide. The bed had no frame and was instead a mattress laid atop a box made of wood. The soiled sheets are ripped halfway off, exposing the striped ticking of the mattress beneath. A small bedside table rests on a blue, soiled rug next to the bed. On the table is an ashtray overflowing with cigarette butts as well as photographs, over- the- counter medications and condoms. The rug is also strewn with other artifacts from Emin's life, including her dirty, bloodied underwear, Polaroid photographs, stuffed animals, a tube of KY Jelly, empty cigarette cartons, crumpled papers, used condoms and empty vodka bottles. The final touch is a rope noose hanging above the bed, a silent testament to Emin's pain and narcissistic exhibitionism. It is not only Emin's artwork that evokes pop culture and the world of celebrity. For Tracey Emin has not been content to remain within the sphere of the art world, but has become a demi-celebrity herself.
What really made Damien Hirst famous far beyond the art world were shock-horror sculptural installations using dead animals— cows, lambs, fish and sharks—presented whole or sliced into parts, preserved in formaldehyde in large vitrines. (The animals were "presented", not "re-presented"; hence, no modelling skills were required. Hirst’s aim was to introduce reality into art directly, not to depict it.) As Hirst pointed out, humans have often killed animals in order to look at them (but was this any reason to continue the practice?). These works resembled exhibits found in natural history museums and were easy to understand and so became popular but they also attracted vandals, cartoonists, and parodic advertisements and angry protests by animal rights activists. Damien Hirst’s steel and glass vitrines had the rational structure and polished finish of minimal art but inside was dead flesh. The vitrines that protected viewers from the smells of corpses and chemicals were paradoxical because they enabled viewers to see inside but not to enter, smell or touch. Gordon Burn discerned a connection with celebrity: “Celebrity is about control and distance; it is about adding space to the space that inevitably exists between human beings and remaining apart from the flock. It is about degrees of separation and personal insulation and choosing, as Jeff Koons apparently did, to place the flesh cell of your person inside a second, more unbreachable container tank.”
Saatchi was Hirst’s main patron and ensured that his favourite received plenty of press coverage. Hirst also had a flair for self-promotion and marketing. Like his patron, he was an entrepreneur who curated mixed exhibitions with absurd titles and undertook a variety of business ventures.
When giving interviews Damien Hirst tends to make contradictory statements and admits his opinions may be different the next day so any quotes must be read with caution. About art, fame and celebrity, Hirst has remarked:“Art’s about life and the art world’s about money, and money and celebrity are just tiny aspects of life. So if you keep your perspective on that, it’s fine. I think art should be able to deal with celebrity. I don’t think you should ever let celebrity become more important than art but I think it’s a part of it. I think a desire to be famous is a desire to live forever which is very fundamental to art.”
In and Out of Love (1991) In this work canvases were hung with chrysalises in a closed room; the butterflies, hatched, fed off sugared water, flew, bred and died – some inadvertedly by art lovers. In a separate room, their bodies were painted into the bright colours of other canvases. The work was symptomatic of various recent developments on the British art scene. Non-art objects, or beings, brought into contact with traditional fine-art materials and modes of display, such as the gallery and private views.
like Andy Warhol, Damien Hirst was willing to endorse products, such as Absolut Vodka, and to make advertisements for billboards and television, to direct pop music videos (Country House for Blur) and to design record cover albumsStallabrass has argued that Hirst’s work now functions like a logo for the artist’s personality and that he is able to market his work successfully because of his celebrity status.Hirst: work and identity are not strictly seperable, he is the pioneer of this approach and its most prominent exponent.(This is different from the celebrity artists enjoyed by British artists in the past, there have of course been previous isolated examples in Britain and the USA) Hirst: unusually for a contemporary artist receives a great deal of mass media attention and not for the usual reason that contemporary art gathered column inches in the past, that public money has been wasted on it. He is as much known for his lifestyle as for his art and he takes care to ensure they are thoroughly entangled.
In the summer of 1991 for his graduation show from the Royal College of Art, the artist exhibited a blue Heritage plaque in an otherwise empty studio which commemorated his own presence as a sculptor. The title Cave refers to an allegorical picture of Plato, which describes a model of perception. A group of prisoners have been chained in a cave since childhood with no experience of reality other than the flickering shadows cast by the people and things moving along a path in front of a fire situated behind them. In the plaque, the artist was represented by a retrospective view of his life.
A waxwork portrait of Gavin Turk as Sid Vicious singing Sinatra’s My Way in The Rock n’Roll Swindle, in the pose of Elvis playing the part of a cowboy in a movie as a silk screen by Andy Warhol…
Turk highlights the Duchampian idea that questions the connections between artists and the work:“In the beginning I tried to create an artists who had the same name as me. I was interested in the cliché of art, the myth of the artist, stereotyping, all art as types of signature. And at first there was a quite clear and comfortable degree of separation. The artist Gavin Turk had a studio and made art under a certain kind of licence. Now it has become much more problematic to sustain a separation between myself and the artist Gavin Turk.”
‘Sensation’ exhibition at London’s Royal Academy of Art in 1997 was a public airing of the private collector Charles Saatchi, the only major collector of contemporary art in Britain during this period whose dealings affected the entire art market.
Populist, careerist? Does this mean that there was a complicit and wilful avoidance of difficult, theoretical or ideological work?Self promotionThe yBas are credited with the revival of the knowing ‘shock’ tactic.MARCUS HARVEY and his painting of Myra Hindley, a serial killer whose victims were young children. “Myra” is made from the hand prints of a child whose age matched those of Hindley's victims. The juxtaposition of opposites- of life and death, innocence and corruption- creates unbearable poignancy. This work provoked such outrage when it was shown in “ Sensation” in 1997 that it was splattered with eggs and ink. Harvey is not glorifying the monster but asking how a set of features becomes an icon of evil.MARC QUINNGained instant notoriety with a self-portrait: “Self” (1991) . It consists of nine pints of blood (that is the amount contained in a human body) taken from his veins over a period of five months, poured into a cast of his features and frozen solid. Instead of conferring immortality like a portrait n stone or marble would, “Self” is fundamentally unstable. “Dependent on a life-support system it emphasizes the fragility and transience of life. Unplug the refrigerator unit and the sculpture would disappear.yBa, a media confection, elaborately crafted? Did it lack coherence other than the drive to ride the wave of attention? It seems to have its roots in art education and in responses to the recession, which from the 1990s put the art market into prolonged hibernation.A product of 90s recession; commercial galleries scaled down, relocated or closed; career and financial expectations of artists changed; empty premises, warehouses.
Hirst’s says of celebrity status: “You’ve got to become a celebrity before you can undermine it, take it apart, show people that there’s no difference between celebrities and real life. Celebrity is a fucking lie. It’s like; I’ll do a magic trick, and I want it to be amazing. But if anyone asks me how to do it, I’ll show them exactly how to do it. I want you to be amazed twice. Once you’re amazed because it seems impossible, and then, you’re amazed because it’s fucking easy. That’s what it’s like.”Damien Hirst quoted by Gordon Burn. (6 Sept 1997) The height of morbid manner. Guardian (Weekend), pp14-21
Blimey! flaunts a breezy, irreverent style that can be, by turns, just like the art: absorbing, accessible, and outrageous--or utterly, embarrassingly banal. Collings invented the perfect voice to complement YBA: He makes an impact without (crucially) ever appearing to try too hard