Young British Artists

will focus on the work of Manchester born and black artist Chris Ofili. Most known for his experimentation with elephant dung, Ofili communicates a humorous and rather stereotypical reaction to how an African man ‘should’ be painting, “You don’t exist, unless you start to build yourself up, and start to work” (Ofili 2010). There was much comment about Ofili becoming the first black contemporary artist whose name and work was known to a wider British public. Ofili, compared to Yinka Shoniabre, has

For this essay i have been asked to discuss a contemporary image from the last 30 years from fine art,design media or the everyday. I have decided to choose the Painting titled Plan (1993) by Jenny Saville, a contemporary British painter associated with the Young British Artists, known for her large-scale painted depictions of nude women. (fig:1) (Jenny Saville Plan 1993 Oil on canvas 274 x 213.5 cm) Jenny Saville’s ‘Plan’ from 1993 is a large scale (274x213cm), Self portrait, oil painting. The

Damien Steven Hirst is an English conceptual and installation artist. One of the richest artist in the United Kingdom, an estimated £215 million. Born on June 7, 1965, Bristol, England, a member of and most prominent of a group named Young British Artists. A group of visual artists that began to exhibit together in London. They dominated the art scene in the United Kingdom during the 1990s. He studied at Goldsmiths, University in London from ‘86 to ‘89. During Hirst’s second year Goldsmiths College

differed from previous movements as it deliberately went against the rules, artists used many different disciplines within one piece of work. A core value of postmodern art is that it is for everyone and tries to be a connection between art and everyday life. Modernism triggered post-modernism, modernism painted a perfect life and used religion and truths as a way of life (e.g. Sigmund Freud and his theories) Modernist’s artists concentrated on technique and the form of their artwork rather than complicating

entire course of history viewers have been shocked, distressed, affronted, and categorically outraged by artworks that were religiously, socially or politically thought-provoking. In general, this thought-provoking characteristic is precisely what artists are attempting to achieve in their desire to shock, and this, many would argue, is exactly the purpose of art itself, especially in our contemporary world. Indeed, when engaging with the art of today, the contemporary audience have found themselves

Introduction During the Renaissance era, beauty was portrayed as being overweight in sense of the human body and purity. Women 's figures and forms were viewed as alluring and sensuous as they were never believed to be fat but a full figure. The Renaissance period was a cultural movement that started in the 1400 's in Florence, Italy which expanded throughout most of Europe, and lasted into the early years of the 16th century. The perception of what was regarded as beautiful changed,

more profound than others. The majority of these works exhibit a distaste for conformity, therefore upsetting much of the public. But, the idea of each unique piece explores this psychological rejection in order to traffic popularity. Many of these artists, as a consequence fall into infamy- but they are obsessed over as much as the classics. Great art, however, is only achieved once the creator is successfully able to unnerve the audience. The viewer must step out of his or her’s defined boundaries

One side displays the daytime where she seems more like a woman, pampered with her make up done. The other side represents her at night with the rough charcoal texture; the time where she removes the mask of makeup, and becomes more vulnerable as a young female. This contrasts with another interpretation of the girl being self-conscious of her flaws and insecurities that she tries to hide with makeup. Picasso uses basic lines and shapes to form the body but still successfully portrays the woman both

entire course of history viewers have been shocked, distressed, affronted, and categorically outraged by artworks that were religiously, socially or politically thought-provoking. In general, this thought-provoking characteristic is precisely what artists are attempting to achieve in their desire to shock, and this, many would argue, is exactly the purpose of art itself, especially in our contemporary world. Indeed, when engaging with the art of today, the contemporary audience have found themselves

Minority Presence in Contemporary British Art "Highly visible yet evasively mute." Art critic Kobena Mercer, comments on the current position of African and Asian artists in Contemporary British Art, when he suggests that minority artists are seen and not heard. This oxymoronic position derives from a long historical legacy of European colonization and the emphasis on 'racial inferiority' and 'otherness.' On the one hand, British art is progressive, allowing some minority art in the general