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 Object
Famous quotes containing the word contemporary:
“I have the strong impression that contemporary middle-class women do seem prone to feelings of inadequacy. We worry that we do not measure up to some undefined level, some mythical idealized female standard. When we see some women juggling with apparent ease, we suspect that we are grossly inadequate for our own obvious struggles.”
—Faye J. Crosby (20th century)
“Literature that is not the breath of contemporary society, that dares not transmit the pains and fears of that society, that does not warn in time against threatening moral and social dangers—such literature does not deserve the name of literature; it is only a façade. Such literature loses the confidence of its own people, and its published works are used as wastepaper instead of being read.”
—Alexander Solzhenitsyn (b. 1918)
“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)