The Young British Artists, or YBAs — also referred to as Brit artists and Britart — is the name given to a loose group of visual artists who first began to exhibit together in London, in 1988. Many of the artists graduated from the BA Fine Art course at Goldsmiths, in the late 1980s.
The scene began around a series of artist-led exhibitions held in warehouses and factories, beginning in 1988 with the Damien Hirst-led Freeze and, in 1990, East Country Yard Show and Modern Medicine. The acronym term "YBA" (or "yBa") was not coined until 1996 (in Art Monthly magazine). It has become a historic term, as most of the YBAs were born in the mid-1960s. They are noted for "shock tactics", use of throwaway materials, wild-living, and an attitude "both oppositional and entrepreneurial." They achieved considerable media coverage and dominated British art during the 1990s—international survey shows in the mid-1990s included Brilliant! and Sensation.
Many of the artists were initially supported and collected by Charles Saatchi. Leading artists of the group include Damien Hirst and Tracey Emin. Key works include Hirst's The Physical Impossibility of Death in the Mind of Someone Living, a shark preserved in formaldehyde in a vitrine, and Emin's My Bed, a dishevelled double bed surrounded by detritus.
Read more about Young British Artists: Revitalization of British Art Scene, Becoming The Establishment, The YBAs Since 1997, Personal Lives, Artists Exhibited in Freeze, Artists Exhibited in Brilliant!, Other YBAs
Famous quotes containing the words young, british and/or artists:
““Darling,
will you come home today
after a few hours,
or at noon,
or a little later,
or when the whole day’s passed?”
A young wife
with tearful words stuck in her throat
spoils the departure of her man
who wishes to go to a land
that takes a hundred days
to reach.”
—Amaru (c. seventh century A.D.)
“In New York—whose subway trains in particular have been “tattooed” with a brio and an energy to put our own rude practitioners to shame—not an inch of free space is spared except that of advertisements.... Even the most chronically dispossessed appear prepared to endorse the legitimacy of the “haves.””
—Gilbert Adair, British author, critic. “Cleaning and Cleansing,” Myths and Memories (1986)
“For us artists there waits the joyous compromise through art with all that wounded or defeated us in daily life; in this way, not to evade destiny, as the ordinary people try to do, but to fulfil it in its true potential—the imagination.”
—Lawrence Durrell (1912–1990)