She is fully clothed, wearing jeans and flat-soled boots and staring you down. In some ways this is true: Ms. Lucas is all swagger and bravado and confidence.
T he thought of Sarah Lucas on the rampage in Sigmund Freud's house feels unlikely and alarming, but also disgracefully inevitable. It isn't her style even if in some quarters, reading psycho-analytic literature has become almost mandatory for the theoretically inclined artist and critic. Her works, currently installed at the Freud Museum in Hampstead, do not give you the feeling that she is either paying homage to Freud and Freudian thought, or contesting or illustrating Freud's ideas - even if there are works here with titles like Hysterical Attack and Beyond the Pleasure Principle.
License this image. Beyond the Pleasure Principle is a sculptural installation consisting of a garment rail, a red futon mattress, a white cardboard coffin, an aluminium bucket and various lights. The mattress is suspended by one corner from the garment rail and hangs down to rest on the coffin on one side of the rail and the floor on the other.
This was originally written in for publication in the Culture Matters series of booklets at Sheffield Hallam University, and following some delays, slightly revised, and the fourth chapter added to bring the story up to date; by then, the year Unfortunately, the funding for Culture Matters was cut before the publication appeared, so this has sat around in typescript form since then, and is presented here without any further attempts at revision or updating. The first section tries to look at the then context in which the YBAs were being discussed c.
A bed can come to contain everything. A me-size shadow of sweat, surrounded by little archipelagoes of period blood and chalky haloes of come. I can still recall a post that was popular in certain corners of sad-girl Tumblr, probably almost a decade ago; it was a photograph of a mattress, quilted and faded sateen, and spray-painted.
During the exhibition Sarah Lucas: Ordinary Things our programme of lectures addresses the sculptural concerns of Lucas' artistic practice. Many exhibitions and discussions of Lucas' work have focused on her as a central player within British art in the s. This programme of academic talks and the exhibition Ordinary Thingstogether with the accompanying publication, offers a counter position of the sculptural rather than the sensational.
Sarah Lucas is an English artist. She is part of the generation of Young British Artists who emerged during the s. Her works frequently employ visual puns and bawdy humour, and include photography, collage and found objects.
Thus in every living thing, in addition to the pleasure principle which the ancient Greeks called Eros, there exists another principle, namely what lives, wants to die again. She made a number of chair sculptures some of which incorporated Freud's own furniture and in an interview at the time Sarah Lucas spoke about her use of chairs and the Freudian context of her work: " I first started using them as a stand in for bodies inlike a lot of the things I use, because they were cheap, discarded and easily available.