Abstract
This essay examines the work and careers of the ‘Young British Artists’ –
most notably Damien Hirst – and their infamous benefactor. The ‘YBAs’ came
to public attention in the late 20th century with the staging of a landmark
exhibition called ‘Sensation’ at the Royal Academy in London. This exhibition
showcased the collection of the most important art patron of his generation,
the advertising mogul Charles Saatchi. Fans and critics alike have remarked
on the similarity between Saatchi’s own commercial work and the art that
he collected – both were eye-catching, witty, irreverent and designed to shock. Although the extent and value of Saatchi's influence on his stable of artists remains open to debate, both can be said to exemplify the culture of late capitalism and the importance and ubiquity of the ‘brand’.
most notably Damien Hirst – and their infamous benefactor. The ‘YBAs’ came
to public attention in the late 20th century with the staging of a landmark
exhibition called ‘Sensation’ at the Royal Academy in London. This exhibition
showcased the collection of the most important art patron of his generation,
the advertising mogul Charles Saatchi. Fans and critics alike have remarked
on the similarity between Saatchi’s own commercial work and the art that
he collected – both were eye-catching, witty, irreverent and designed to shock. Although the extent and value of Saatchi's influence on his stable of artists remains open to debate, both can be said to exemplify the culture of late capitalism and the importance and ubiquity of the ‘brand’.
| Original language | English |
|---|---|
| Pages (from-to) | 33-47 |
| Number of pages | 15 |
| Journal | Conhecimento & Diversidade |
| Volume | 9 |
| Issue number | 17 |
| DOIs | |
| Publication status | Published - Jan 2017 |
Keywords
- ART
- brands
- Advertising