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Review
I cannot help but endorse his analysis of the high art lite tendency ... its abject willingness to be f**ked up by the 1990s cult of celebrity; f**ked over by the 1990s boom in consumerism; f**ked sideways by its adoption of the styles and modes of popular culture; and f**ked to buggery by its co-option by the new Labourite idiotology. --Will Self, New Statesman
A withering attack on the avant-garde pretensions of current British Art. --Sunday Times
A lacerating analysis of the reactionary tendencies of high art lite itself. --Financial Times
A withering attack on the avant-garde pretensions of current British Art. --Sunday Times
A lacerating analysis of the reactionary tendencies of high art lite itself. --Financial Times
Product Description
This searing book has become the authoritative account of the new British art of the 1990s, its legacy in the 21st century, and what it tells us about the fate of high art as a whole in contemporary society. High Art Lite provides a sustained analysis of the phenomenal success of YBAs, young British artists obsessed with commerce, mass media and the cult of personality - Damien Hirst, Tracey Emin, Jake and Dinos Chapman, Marcus Harvey and Sarah Lucas, among others. In this fully revised and expanded edition, Julian Stallabrass explores how YBA lost its critical immunity in the new millennium, and looks at the ways in which figures such as Hirst, Emin, Wearing and Landy have altered their work in recent years.
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Most Helpful Customer Reviews
16 of 17 people found the following review helpful
Format:Hardcover
Now there's a strange thing: Guardian critic Adrian Searle did slag this book off when he first reviewed it but a few weeks later, in an article about various young British art shows, he ends up restating its conclusions, and even borrowing some of its witticisms--all unacknowledged, of course. A critical book like this was always going to get up the nose of those who bought into the work of Damien Hirst and his followers, and there's nothing they'd like better than to dismiss it out of hand. In fact, Stallabrass holds 'high art lite' up to a piercing light, and it's not surprising some fainter hearts should shrink from it. The prose is precise, sometimes vicious, often funny. If you want to know the way to White Cube, by all means read Louisa Buck. If you want to know what's really going on, read this.
8 of 9 people found the following review helpful
Format:Hardcover
This book was long overdue. In the swamp of affirmative 'low-brow' lullabies written by people who are almost without exception directly involved with the Britart players and practitioners, this is a much-needed breath of fresh air. Its eye-opening critique is firmly intellectually grounded and even if one might not necessarily agree with everything, its a must for anyone seriously interested in contemporary British art - and a feast for those who have resisted buying into the hype and prevalence of YBA...
8 of 10 people found the following review helpful
Format:Hardcover
A brilliant and beautifully written book about Hirst, Emin, Lucas and the others. It's detailed, clear and best of all gives you a compelling alternative to the hype of the newspapers critics.
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Most Recent Customer Reviews
I love this book
I don't know what the last person is talking about...the essays in General Release and in the Sensation catalogue pale in comparison. Read more
Published on 7 Jun 2007 by Capri
Adrian Searle was right. Useless
Without doubt the worst of the slew of books on British Art in the 90s, even beating Louisa Buck's 'Moving Targets'. Read more
Published on 20 April 2000
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