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Young British Artists - YBA - Art History - Turner Prize - UK Art - 168 Slides

Young British Artists - YBA - Art History - Turner Prize - UK Art - 168 Slides
Young British Artists - YBA - Art History - Turner Prize - UK Art - 168 Slides
Young British Artists - YBA - Art History - Turner Prize - UK Art - 168 Slides
Young British Artists - YBA - Art History - Turner Prize - UK Art - 168 Slides
Young British Artists - YBA - Art History - Turner Prize - UK Art - 168 Slides
Young British Artists - YBA - Art History - Turner Prize - UK Art - 168 Slides
Young British Artists - YBA - Art History - Turner Prize - UK Art - 168 Slides
Young British Artists - YBA - Art History - Turner Prize - UK Art - 168 Slides
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This is a complete presentation about Young British Artists and the Turner Prize. THERE ARE MANY ACTUAL SLIDES IN THE PREVIEW FOR YOUR REVIEW. THIS IS YOUR BEST GUIDE TO PRODUCT QUALITY.

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EXCERPT
- The YOUNG BRITISH ARTISTS (YBAs) met in London in the late 1980s and were in two top late twentieth century exhibitions: Freeze (1988) and Sensation (1997).
- not linked by style. Thus, they are painters, sculptors, installation and video artists, and performers.
- entrepreneurial artists who use shock tactics and are known for their wild partying.
- some of them have become very wealthy and their media-savvy natures have helped them achieve this.
- widely criticized in the media and elsewhere because of a perceived lack of artistic skill.
- one of the reasons for this criticism is that they arrived in British art as conceptual art took hold. Conceptual art embraces the idea over excellence of a certain technique.
- nevertheless, some of them are highly proficient, such as oil painter Jenny Saville.
- their work can best be classified as postmodern.
- The timing worked for this group as London in the 1980s lagged far behind New York and West Berlin in its art reputation.
- These artists saw that neglected situation as an opportunity and indeed they made London into a major art city.
- UK tabloid press coverage helped push YBA careers forward even though the coverage was derogatory of their work.
- the key was what was disliked about the art. It was extremely violent. Its sexuality met the pornographic. It exceeded every UK prior limit of decency. (In short, if this couldn’t draw in the public, nothing could.)
- Many of them studied together in the BFA program at Goldsmiths College.
- structure of Goldsmiths also pushed them forward. It did not segregate artistic training. It used mixed studios so they didn’t concentrate on a single area, like painting (and also why they did not develop high talent in any one area).
- postmodern experiments in Europe and America eliminated distinctions between the high and low of culture. The artist could appropriate materials rather than create them.
- The artist could also outright reject using fine art materials.
- focus on spectacle among the Postmodern artists was extreme.
- Thus, the YBAs were tailor made for this era. Most of their technical skill lacks would have been too big a hurdle in almost all other movements. They were very much in the right place at the right time.
- lack of coherence in their work was found to be a characteristic of postmodernism, which couldn’t have been a more fortunate occurrence for these artists.
- advertising mogul Charles Saatchi was willing to collect (buy) the YBA art plus show their art in his gallery. His advertising contacts generated huge media attention for them too. He was critical to their success. Without him there may not have been a YBA movement.
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168 pages
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