Contemporary
Throughout the 1990s, the Young British Artists (YBAs) made extensive use of found "objects", often with very strong press reaction. Damien Hirst exhibited a shark preserved in formaldehyde in a glass tank and called it The Physical Impossibility of Death in the Mind of Someone Living. He has taken this to extremes by presenting in the same way a cow and calf cut into sections, and, in A Thousand Years, a rotting cow's head, maggots and flies. Tracey Emin exhibited a tent covered with appliquéd names, titled Everyone I Have Ever Slept With 1963–1995, and then her own unmade bed with sweat-stained sheets, surrounded by items such as her slippers, period-stained underwear and drink bottles, titled My Bed. Sarah Lucas enlarged to a giant size a lurid tabloid press cutting; she also exhibited a mattress with two melons, a bucket and a cucumber, representing female and male genitalia.
Found art can also occur on the internet, where an image found on the internet can become the core component of a larger artwork made by modifying the image through basic computer graphic tools.
Read more about this topic: Found Objects
Famous quotes containing the word contemporary:
“Anyone who has invented a better mousetrap, or the contemporary equivalent, can expect to be harassed by strangers demanding that you read their unpublished manuscripts or undergo the humiliation of public speaking, usually on remote Midwestern campuses.”
—Barbara Ehrenreich (b. 1941)
“The shift from the perception of the child as innocent to the perception of the child as competent has greatly increased the demands on contemporary children for maturity, for participating in competitive sports, for early academic achievement, and for protecting themselves against adults who might do them harm. While children might be able to cope with any one of those demands taken singly, taken together they often exceed children’s adaptive capacity.”
—David Elkind (20th century)
“That nameless and infinitely delicate aroma of inexpressible tenderness and attentiveness which, in every refined and honorable attachment, is contemporary with the courtship, and precedes the final banns and the rite; but which, like the bouquet of the costliest German wines, too often evaporates upon pouring love out to drink, in the disenchanting glasses of the matrimonial days and nights.”
—Herman Melville (1819–1891)