modern artists case study media 2

8/3/2019 Modern Artists Case Study Media 2

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Modern Artists


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Why does this topicinterest me?

As a student who studies art, Ialready know about parts of this

topic quite well, and I have noticedfrom studying art history, thatmodern artists dont have alot ofattention in the media as much as

they used to.

I've also noticed that the media hasgiven artists a specific steryotype of

personality and behaviour in films


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ereo yp ca v ews omodern artists

presented in the mediaOutlandish/eccentric

Very poor or very rich

Moody

Mostly male

Middle agedDress unusually

Anti-social


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Spaced Brian Topp

The lodger in the flat below Tim andDaisy's.

Brian is a rather bizarre andsomewhat angst-ridden andpretentious artist.

Quietly spoken and intense, Briangives the impression of being almostpsychotic and sociopathic; in fact, heis just very shy and timid.

Hi m in rti ti riv r n r


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Spaced Brian episode 1,beginnings

We first meet Brian whentime takes out the rubbish

at night time and brainsdoor is open, Tim askswho's there to be facedwith brain in nothing but

cowboy boots and acowboy hat.

Tim introduces brain to

daisy, she asks if he rents


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Spaced Brian episode7, ends

In the last episode of series one,Brian seems more relaxed around

the main characters however he stillseems like a strange person as hesays I see all my ex girlfriendswell not so much see, more watch

In this episode we find out that Brianhas a side which is never seen as wehear that he had sex with Marsha

after becoming very drunk.


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Banksy - exit through the gift shop

A film directed by Banksy, that tells the story of Thierry Guetta, a French immigrant in Los Angeles, andhis obsession with street art. The film charts Guetta's constant documenting of his every waking momenton film, from a chance encounter with his cousin, the artist Invader, to his introduction to a host of streetartists with a focus on Shepard Fairey and Banksy, whose anonymity is preserved by obscuring his faceand altering his voice, to Guetta's eventual fame as a street artist himself. The film premiered at the2010 Sundance Film Festival on 24 January, 2010. It is narrated by Rhys Ifans. The music is by GeoffBarrow. It includes Richard Hawley's "Tonight The Streets Are Ours". The film was nominated for theAcademy Award for Best Documentary Feature at the 83rd Academy Awards, and broadcast on Britishpublic television station Channel 4 on August 13, 2011.

There has been debate over whether the documentary is genuine or a mockumentary.

Banksy has said in interviews that editing the film together was an arduous process, noting that "I spenta year [...] watching footage of sweaty vandals falling off ladders" and "The film was made by a verysmall team. It would have been even smaller if the editors didn't keep having mental breakdowns. Theywent through over 10,000 hours of Thierry's tapes and got literally seconds of usable footage out of it."Producer Jaimie D'Cruz wrote in his production diary that obtaining the original tapes from Thierry wasparticularly complicated.

The film received overwhelmingly positive reviews, holding 96% on Rotten Tomatoes, and wasnominated for Best Documentary in the 2011 Academy Awards. One consistent theme in the reviews wasthe authenticity of the film: Was the film just an elaborate ruse on Banksy's part, or did Guetta reallyevolve into Mr. Brainwash overnight? The Boston Globe movie reviewer Ty Burr found it to be quiteentertaining and awarded it four stars. He dismissed the notion of the film being a "put on" saying "Imnot buying it; for one thing, this storys too good, too weirdly rich, to be made up. For another, themovies gently amused scorn lands on everyone." Roger Ebert gave it 3.5 stars out of 4, starting hisreview saying that "The widespread speculation that Exit Through the Gift Shop is a hoax only adds to its

fascination." However, in an interview with SuicideGirls, filmmakers Jaimie D'Cruz and Chris King deniedthat it was a hoax, and expressed their growing frustration with the speculation that it was: "For a whilewe all thou ht that was uite funn but it went on for so lon . It was a bit disa ointin when it became


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Damien Hirst

Damien Hirst Slammed byBritish Media: He Simply Cant

PaintIf it were not for his prodigious fame,

would Damien Hirsts canvases be

exhibited at Londons hallowedWallace Collection? Of course not,says Tom Lubbock in TheIndependent. The man simply cant

paint:


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Damien Hirst : The Artist as Media Celebrity http://www.artdesigncafe.com/Damien-Hirst-media-celebrity-2001

During the 1990s, Damien Hirst (b.1965) became Britains most famous, young, livingsculptor and painter, in part because of his own flair for self-promotion and thepublicity skills of his primary patron Charles Saatchi. Damien Hirst evinced marketingabilities while still studying at Goldsmiths by organizing a student show entitledFreeze (1988) in a derelict Docklands building. Once established, he continued tocurate high profile mixed exhibitions with wacky titles such as Some Went Mad, Some

Ran Away(Serpentine Gallery, 1994). Artworks presenting the corpses of creaturessuch as fish, sharks, cows and sheep floating in formaldehyde inside glass vitrinesextended the shock-horror imagery associated with Francis Bacon and attractednumerous headlines and cartoons. Further publicity resulted when one of these works"Away from the Flock" (1994) shown at the Serpentine Gallery was vandalizedand a court case followed.

By 1994, Damien Hirst had become so well known that the BBC TV arts strand

Omnibus was willing to devote a whole programme to him. The following year, theBritish arts establishment endorsed him by awarding him the Turner Prize organizedby the Tate Gallery and sponsored by Channel 4 TV. Once Hirst was earning money,he diversified. Like his patron, he became a businessman by investing in Londonrestaurants and bars, such as The Pharmacy, Notting Hill Gate, which he then"branded" by displaying examples of his art. Hirst also expanded in terms of media:he devised a billboard image, an advertisement for Absolut Vodka, a commercial forcable television and a trailer featuring live rats for an opera. His "spot" paintingswere reproduced on dresses and he directed a narrative film entitled Hanging Around(1996). He designed the book Snowblind (1998)a limited edition text about cocaine
http://www.artdesigncafe.com/Damien-Hirst-media-celebrity-2001http://www.artdesigncafe.com/Damien-Hirst-media-celebrity-2001http://www.artdesigncafe.com/Damien-Hirst-media-celebrity-2001http://www.artdesigncafe.com/Damien-Hirst-media-celebrity-2001http://www.artdesigncafe.com/Damien-Hirst-media-celebrity-2001


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DamienHirst

AbsolutVodkaadvert


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Tracy Emin

Tracey Karima Emin is a Britishartist of English and Turkish Cypriot

origin. She is part of the groupknown as Britartists or YBAs (YoungBritish Artists).

In 1997, her work Everyone I HaveEver Slept With 19631995, a tentappliqud with names, was shown atCharles Saatchi's Sensation

exhibition held at the Royal


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Momart fire

In 2004, the tent was destroyed in a fire at the East London Momart warehouse, along with two ofEmin's other works and some 100 more from Saatchi's collection, including works by DamienHirst, Jake and Dinos Chapman and Martin Maloney. Many other works were also lost, includingmajor pieces by Patrick Heron and William Redgrave.

The public and media reaction was not one of sympathy but of mockery and scorn, focusing onthe YBAs, Damien Hirst, the Chapman Brothers, and Emin, with particular attention to her tent.Tabloid papers, The Sun and the Daily Mail, both stated they had already created their own

replacement tents, and the latter's Godfrey Barker asked, "Didn't millions cheer as this 'rubbish'went up in flames?" The same implication gained applause on BBC Radio 4's Any Questions?;Hugh Rifkind in The Times thought similarly to The Independent's Tom Lubbock, who wrote:"It'sodd to hear talk about irreplaceable losses. Really? You'd have thought that, with the will and thefunding, many of these works were perfectly replaceable. It wouldn't be very hard for Tracey Eminto re-stitch the names of Every One I Have Ever Slept With on to a little tent (it might need someupdating since 1995.)"

Emin took a phlegmatic view of her work's destruction, saying, "The news comes between Iraqiweddings being bombed and people dying in the Dominican Republic in flash floods, so we haveto get it into perspective." She was, though, upset at the public reaction to the fire, pointing bothto lack of cultural understanding "The majority of the British public have no regard or norespect to what me and my peers do, to the point that they laugh at a disaster like a fire." andto lack of compassion "It is just not fair and it's not funny and it's not polite and it's badmanners. I would never laugh at a disaster like that I just have some empathy and sympathywith people's loss."

She also stated that she could not remake the tent, because "I had the inclination and inspiration10 years ago to make that, I don't have that inspiration and inclination now ... My work is very


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Does the media merely reflect the identity ofthis group, or does it construct a new collectiveidentity.

The Hypodermic Needle Theory, alsoknown as the Magic Bullet Theory,was the first major theoryconcerning the effect of themass media on society. Originatingin the 1920s, the theory was based

on the premise of an all-powerfulmedia with uniform and directeffects on the viewer or audience.

The Hypodermic Needle Theory is
http://www.lotsofessays.com/essay_search/Hypodermic_Needle.htmlhttp://www.lotsofessays.com/essay_search/Bullet_Theory.htmlhttp://www.lotsofessays.com/essay_search/mass_media.htmlhttp://www.lotsofessays.com/essay_search/Needle_Theory.htmlhttp://www.lotsofessays.com/essay_search/Needle_Theory.htmlhttp://www.lotsofessays.com/essay_search/mass_media.htmlhttp://www.lotsofessays.com/essay_search/Bullet_Theory.htmlhttp://www.lotsofessays.com/essay_search/Hypodermic_Needle.html

modern artists case study media 2

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