Art & Outrage: Provocation, Controversy and the Visual Arts
(eBook)

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Published
Pluto Press, 1998.
Status
Available Online

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Format
eBook
Language
English
ISBN
9781783718221

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APA Citation, 7th Edition (style guide)

John A. Walker., & John A. Walker|AUTHOR. (1998). Art & Outrage: Provocation, Controversy and the Visual Arts . Pluto Press.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

John A. Walker and John A. Walker|AUTHOR. 1998. Art & Outrage: Provocation, Controversy and the Visual Arts. Pluto Press.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

John A. Walker and John A. Walker|AUTHOR. Art & Outrage: Provocation, Controversy and the Visual Arts Pluto Press, 1998.

MLA Citation, 9th Edition (style guide)

John A. Walker, and John A. Walker|AUTHOR. Art & Outrage: Provocation, Controversy and the Visual Arts Pluto Press, 1998.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work ID2310b4e6-1379-b86b-cbad-72dd70a517ed-eng
Full titleart and outrage provocation controversy and the visual arts
Authorwalker john a
Grouping Categorybook
Last Update2024-05-15 02:00:54AM
Last Indexed2024-06-01 02:45:24AM

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    [synopsis] => When art hits the headlines, it is usually because it has caused offence or is perceived by the media to have shock-value. Over the last fifty years many artists have been censored, vilified, accused of blasphemy and obscenity, threatened with violence, prosecuted and even imprisoned. Their work has been trashed by the media and physically attacked by the public.





In Art & Outrage, John A. Walker covers the period from the late 1940s to the 1990s to provide the first detailed survey of the most prominent cases of art that has scandalised. The work of some of Britain's leading, and less well known, painters and sculptors of the post-war period is considered, such as Richard Hamilton, Bryan Organ, Rachel Whiteread, Reg Butler, Damien Hirst, Jamie Wagg, Barry Flanagan and Antony Gormley. Included are works made famous by the media, such as Carl Andre's Tate Gallery installation of 120 bricks, Rick Gibson's foetus earrings, Anthony-Noel Kelly's cast body-parts sculptures and Marcus Harvey's portrait of Myra Hindley. 





Walker describes how each incident emerged, considers the arguments for and against, and examines how each was concluded. While broadly sympathetic to radical contemporary art, Walker has some residual sympathy for the layperson's bafflement and antagonism. This is a scholarly yet accessible study of the interface between art, society and mass media which offers an alternative history of post-war British art and attitudes.
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