#yba

[vortexstreet]

Glenn Brown, Architecture and Morality, 2004, Oil on panel, 140 x 98 cm

[skf-fineart]

TRACEY EMIN (British, b. 1963) "I Followed You into The water Knowing I would Never Return", 2011 Neon, 84.1 x 185.3 cm

[x-heesy]

𝙼𝚘𝚝𝚑𝚊𝚝𝚛𝚞𝚌𝚔𝚒𝚗𝚐 𝙶𝚎𝚗𝚒𝚞𝚜 𝙳𝚊𝚖𝚒𝚎𝚗 𝙷𝚒𝚛𝚜𝚝

Damien Steven Hirst (/hɜːrst/; né Brennan; born 7 June 1965) is an English artist and art collector. He is one of the Young British Artists (YBAs) who dominated the art scene in the UK during the 1990s. He is reportedly the United Kingdom's richest living artist, with his wealth estimated at US$384 million in the 2020 Sunday Times Rich List. During the 1990s his career was closely linked with the collector Charles Saatchi, but increasing frictions came to a head in 2003 and the relationship ended.

𝙿𝚊𝚛𝚝1 𝙿𝚊𝚛𝚝2 𝙿𝚊𝚛𝚝3 𝙿𝚊𝚛𝚝4 𝙿𝚊𝚛𝚝6 𝙿𝚊𝚛𝚝7 𝙿𝚊𝚛𝚝8 𝙿𝚊𝚛𝚝9

𝙵𝚊𝚋𝚕𝚎𝚜 & 𝙵𝚊𝚒𝚛𝚢𝚝𝚊𝚕𝚎𝚜 - 𝙳𝚎𝚗𝚒𝚣 𝙺𝚞𝚛𝚝𝚎𝚕 𝚁𝚎𝚖𝚒𝚡 𝚋𝚢 𝙽/𝚊, 𝚁𝚘𝚜𝚒𝚗𝚊

[bitter69uk]

A gang of us went to see Tracey Emin’s latest exhibit (entitled ‘I followed you to the end’) yesterday at White Cube Bermondsey (19 September – 10 November 2024). It’s described on White Cube’s website as “a presentation of new paintings and sculptures that journey through love and loss, mortality and rebirth. Drawing from a recent, transformative experience, Emin continues her exploration of life’s most profound and intimate moments, with renewed intensity.” Quick thoughts: the show is dark, despairing and profoundly un-consoling. I dug it! The fiercely confrontational Emin has been typically brutally candid about the hardships of life post-cancer. She’s never sugar-coated anything, and it’s most definitely NOT her job to make anyone feel better! Utilizing a deliberately limited colour palette (and featuring lots of crimson paint splatters evoking dripping blood), the latest works includes titles like ‘I don’t want to have sex because my body feels dead’, ‘The End of Love’, ‘Tears of Blood’ and ‘I Kept Crying’. Many appear to be what I assume are autobiographical portraits of agonized women splayed out in bed, often with their pet cat hovering protectively nearby (which made me reflect how my own cat Eartha Kitten would NEVER deign to do this for me). The White Cube was absolutely thronging on a Sunday – and bizarrely, loads of people were snapping perky smiling selfies in front of the works! Pictured: ‘I Waited So Long – Too Long’ (2024).

[mrmemefellow]

[kunstarchiv]

Some photos I took at the Albertina in Vienna in May 2022, from the exhibition "Edvard Munch in Dialogue". These are all recent paintings by Tracey Emin

[pepperf]

‘Dicing with death’: the lethal, terrifying art of Hamad Butt – and the evacuation it once caused

Blending science and the supernatural, high art and gothic horror, Hamad Butt made work that was literally dangerous, in one case sparking f

I hadn't remembered the artist's name, but I saw this picture and it instantly brought back a vivid memory of seeing the installation on show (I don't remember where, but I assume it was the Rites of Passage show at the Tate in 1995), and the terrifying humour, peril, temptation, shock of it:

Cradle was a monumental variation on the desk toy Newton’s Cradle, but rather than metal balls that knock against each other, it comprised 18 vacuum-sealed glass baubles filled with lethal chlorine gas which would smash if set in motion. Hypostasis consisted of three vicious-looking bowed glass spears with orange liquid bromine tips. The third work was Substance Sublimation Unit – a perilous ladder with rungs made from vials containing heat lamps and iodine crystals, which transformed into a gorgeous violet vapour as they were heated, ascending like an otherworldly stairway. Butt’s dark humour is evident in these visceral sculptures that invite participation but can also kill.

Because seriously, you see these big glass baubles strung from the ceiling, swaying ever so slightly with the movement of air in the room, and even knowing how fragile they are, and that they're full of poisonous gas, they do tempt you to set them in motion, just once...

I'm glad I have more context now, and sad that we lost this artist so young (he died in 1994, age 32), because even without knowing more, it has stuck in my memory for thirty years.

Dominic Johnson, professor at London’s Queen Mary University, is writing a book on Butt, whose work he considers “the most sophisticated response we have in British art to HIV/Aids”. “He produces these environments that are both fearful and seductive, and that just seems so fertile for thinking about sexuality in that moment. At the same time he’s thinking about his own body as a vector of fear, as an HIV-positive body, a brown body, a Muslim-appearing body – all these other ways in which he’s this fearful outsider figure,” he says. “All that makes the work very powerful; it’s also really beautiful.” In uniting seemingly opposing ideas such as science and the supernatural, emotion and intellect, the sacred and profane, high art and gothic horror, Butt’s work feels astonishingly fresh and resonant today. Restlessly curious, he understood that science did not have all the answers and was equally invested in art and alchemy. In a poignant moment of [his brother] Jamal’s home video, Butt laments the disappearance of demons, familiars and magic in the shift from “medieval alchemical witchcraft to modern rationalistic chemistry”. Despite his weak condition, he laughs, saying: “It’s this dangerous spirit that I like and think should be revived.”

[naranyajirga]

Guido Mister in all of its old glory, i need help in drawing arms, guns and perspective x)