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==Reaction== ===Positive=== Richard Cork (at one time art critic of ''The Times'') has been a staunch advocate of the artists, as has art writer [[Louisa Buck]], and former ''Time Out'' art editor, [[Sarah Kent]]. Sir [[Nicholas Serota]] has validated the artists by the nomination of several of them for the [[Turner Prize]] and their inclusion in the [[Tate]] collection. [[Maureen Paley]] said, "The thing that came out of the YBA generation was boldness, a belief that you can get away with anything."<ref>Duguid, Hannah. [https://www.independent.co.uk/arts-entertainment/art/features/women-at-work-as-the-older-generation-of-ybas-grows-up-a-new-set-of-female-creators-is-taking-over-1777991.html "Women at work"], ''[[The Independent]]'', 28 August 2009. Retrieved 15 August 2010.</ref> Speaking in 2009, [[Iwona Blazwick]], the director of the [[Whitechapel Art Gallery]], said, "The YBA moment is definitely now dead, but anyone who thinks they were a cut-off point is wrong. They began something which has continued to grow ever since. It's not over."<ref>Hannah Duguid, "[https://www.independent.co.uk/arts-entertainment/art/features/women-at-work-as-the-older-generation-of-ybas-grows-up-a-new-set-of-female-creators-is-taking-over-1777991.html Women at work: As the older generation of YBAs grows up, a new set of female creators is taking over]" [[The Independent]], 28 August 2009.</ref> ===Negative=== In 1998, John Windsor in ''[[The Independent]]'' said that the work of the YBAs seemed tame compared with that of the "[[shock art]]" of the 1970s, including "kinky outrages" at the [[Nicholas Treadwell]] Gallery, amongst which were a "hanging, anatomically detailed leather straitjacket, complete with genitals", titled ''Pink Crucifixion'', by Mandy Havers.<ref name=windsor>Windsor, John. [https://www.independent.co.uk/life-style/art-98-collecting--let-the-love-affair-begin-1139220.html "Art 98: Collecting—Let the love affair begin"], ''[[The Independent]]'', 17 January 1998. Retrieved 14 August 2010.</ref> In 1999 the [[Stuckism|Stuckists]] art group was founded with an overt anti-YBA agenda.<ref>Blanché, Ulrich (2018). Damien Hirst. Gallery Art in a Material World. Baden-Baden, Tectum Verlag, p. 193f.</ref> In 2002 Britart was heavily criticised by the leading conductor Sir [[Simon Rattle]], who was, in return, accused of having a poor understanding of [[Conceptual art|conceptual]] and [[Visual arts and design|visual]] art.<ref>{{Cite news |last1=Connolly |first1=Kate |last2=Hill |first2=Amelia |date=2002-08-25 |title=Rattles fires parting shot at Brit Art bratpack |url=https://www.theguardian.com/uk/2002/aug/25/arts.artsnews |access-date=2025-01-16 |work=The Observer |language=en-GB |issn=0029-7712}}</ref> Playwright [[Tom Stoppard]] made a public denunciation, and [[Brian Sewell]] (art critic of the ''Evening Standard'') was consistently hostile,<ref>{{Cite news |last=Jones |first=Jonathan |date=2024-09-26 |title=London Standard's AI imitation of Brian Sewell proves art critics cannot be easily replaced |url=https://www.theguardian.com/media/2024/sep/26/london-standards-ai-imitation-of-brian-sewell-proves-art-critics-cannot-be-easily-replaced |access-date=2024-10-17 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> as was [[David Lee (art critic)|David Lee]], the editor of ''Jackdaw''. [[Rolf Harris]], the television presenter and artist, singled out Tracey Emin's ''My Bed'' as the kind of installation that put people off art. "I don't see how getting out of bed and leaving the bed unmade and putting it on show and saying that's worth, I don't know £31,000 ... I don't believe it, I think it's a con." For [[James Heartfield]], "The 1990s art boom encouraged sloppiness. The Young British Artists preferred the inspired gesture to patient work. They added public outrage to their palettes, only to find that it faded very quickly."<ref>[http://www.heartfield.org/Creativity_Gap.pdf James Heartfield: the creativity Gap. 2005. p. 23]</ref> Members of the group are parodied in a regular cartoon strip by Birch, titled "Young British Artists", in the British satirical magazine ''[[Private Eye]]''.{{Cn|date=April 2025}} The scene is also parodied in [[Jilly Cooper]]'s 2002 bonkbuster ''[[Pandora (2002 novel)|Pandora]]''.<ref name=":02">{{Cite news |last=MacFarlane |first=Robert |date=2002-05-05 |title=Laughing all the way to the bonk |url=https://www.theguardian.com/books/2002/may/05/fiction.features2 |access-date=2025-04-15 |work=The Observer |language=en-GB |issn=0029-7712}}</ref> === Feminism within the YBAs === Female artists were distinctly a minority amongst the male dominated environment of the Young British Artists. Individuals such as [[Sarah Lucas]], [[Jenny Saville]] and [[Rachel Whiteread]] have varied levels of neglect within their media portrayals, as well as incomparable in notoriety to male YBA peers such as Hirst.<ref name=":0">{{Cite web|title = Tracey Emin, Sarah Lucas & Rachael Whiteread: Did feminism feature as a part of Young British Art?|url = https://chalkjournal.wordpress.com/2012/04/19/emin-lucas-whiteread/|website = Chalk| date=19 April 2012 |access-date = 7 December 2015}}</ref> The University of Sussex's Art Society Journal describes how feminists in the 1980s influenced the female members of the Young British Artists' artwork through the strategy of subverting feminine stereotypes.<ref name=":0"/> Other discourse around female YBA work include a discussion of [[Rachel Whiteread]]'s sculpture practice. Whiteread has been said to disrupt the 'clear' concept of women making 'female work'.<ref name=":1">{{Cite web|url = http://danploy.com/Assets/Art_History_photos/A841_Project.pdf|title = Rachel Whiteread's Nine Tables: Formalist Object, Feminist Critique or Something In-Between?|date = 2010|access-date = 7 December 2015|website = Dan|publisher = Danploy|last = Ogilvie|first = Daniel|archive-date = 17 August 2016|archive-url = https://web.archive.org/web/20160817134506/http://danploy.com/Assets/Art_History_photos/A841_Project.pdf|url-status = dead}}</ref> Her work ''Nine Tables'' attempts to exist within a third space, where the forms can't be physically gendered, but still viewed as a feminine objects.<ref name=":1" /> Daniel Ogilivie has expressed how [[Judith Butler]]'s concept of which "…the mere act of 'doing', of casting the object, that expresses the gender and it is not any anthropomorphic association in the artwork itself," creates the feminine within Whiteread's work.<ref name=":1" /> With the prevalence of feminist ideology in society and the contemporary art, critics have argued that female artists like [[Jenny Saville]] in the 1990s investigated the contrived idea of 'feminity' made by the Patriarchal Structure.<ref>{{Cite web|title = Jenny Saville: The Body Recovered {{!}} CUJAH|url = http://cujah.org/past-volumes/volume-vi/essay-13-volume-6/|archive-url = https://web.archive.org/web/20130623020951/http://cujah.org/past-volumes/volume-vi/essay-13-volume-6/|url-status = dead|archive-date = 23 June 2013|website = cujah.org|access-date = 7 December 2015}}</ref> While attending art school in Cincinnati, Saville's feminist passion was conceived through a realisation of gender within art history. In her own words, she discovered that, "I'd always wondered why there had been no women artists in history. I found there had been – but not reported. I realized I'd been affected by male ideas, going through a male-dominated art college".<ref name=":2">{{Cite web|title = Interview: This is Jenny, and this is her Plan: Men paint female|url = https://www.independent.co.uk/life-style/interview-this-is-jenny-and-this-is-her-plan-men-paint-female-beauty-in-stereotypes-jenny-saville-1426296.html|website = The Independent| date=March 1994 |access-date = 11 December 2015|language = en-GB}}</ref> Now consciously aware of institutional patriarchy, Saville began to paint female nudes that were not idealised. Rather than continue the recognised historical male view of female bodies, Saville created depictions of natural women with genuine flaws. Pubic hair trailing up stomachs and around thighs, discoloured skin and areas of excess flesh.<ref name=":2" /> Deconstructing the feminine body, Saville has stated that, "I'm not trying to teach, just make people discuss, look at how women have been made by man. What is beauty? Beauty is usually the male image of the female body. My women are beautiful in their individuality."<ref>{{Cite web|title = Interview: This is Jenny, and this is her Plan: Men paint female|url = https://www.independent.co.uk/life-style/interview-this-is-jenny-and-this-is-her-plan-men-paint-female-beauty-in-stereotypes-jenny-saville-1426296.html|website = The Independent| date=March 1994 |access-date = 7 December 2015|language = en-GB}}</ref>
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