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Simultaneously admiring her forebears’ genuine achievements while making them into occasions for a pratfall, nods go to Jasper Johns, Dan Flavin, John Chamberlain, Louise Bourgeois and Modern “old masters” Henry Moore and Constantin Brancusi, among others. She laid down the law.Ī raft of other artists catches Lucas’ love-hate acknowledgment as well. Lucas, who declined to participate in the competition, coughed up an inert, impenetrable block of concrete building material for her stodgy, gray, eminently un-telegenic sculpture. By then, the commercially driven network had whipped up a promotional media frenzy around the event, turning art into a kind of “Survivor” reality game show. “The Law” came a few years after the Turner Prize had been taken over by Channel 4 television. “The Law” is a second Whiteread referent, this one a chunky concrete cast of a television monitor standing directly on the floor, as well-behaved Minimalist doctrine insists sculpture must do. (Her “Untitled (Double Amber Bed)” was shown at the Hammer in 2010.) She snared Britain’s controversial, closely watched Turner Prize - the first woman to receive the decade-old award - just a year before Lucas made “Au Naturel.”
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Several mattresses are among her sober, widely admired sculptures of ordinary objects - plus the negative space around and within them - which Whiteread cast in resin, rubber, concrete and other industrial materials. The scrunched-up mattress cannot help but recall Minimalist sculptor Rachel Whiteread, Lucas’ respected London colleague. Perhaps that’s because Lucas injects the abashing scene with a submerged note of esteem. Pathos probably shouldn’t happen in the face of it - but it does. Yet, the humor also introduces an essential element of fun into the bedroom tableau. That couple’s worldly hopelessness has been elegantly enshrined by countless artists but an inexplicable poignancy arises from a tacky bunch of ordinary fruits and vegetable - plus that flabbergasting bucket - that enact a fraught and intimate scenario.īroad physical comedy makes a fundamental, private act into a fearless image of public embarrassment. On the other side, two big, ripe melons burst from slits cut into the mattress to form voluptuous breasts, while a tipped-over metal bucket lined up across from those male genitals offers a gaping female counterpart.Ī Roman mythological theme like Cupid and Psyche, doomed but immortal love between a male god and a female human, gets a giant side-eye in Lucas’ riotous sculpture. On one side of the bed, a pair of oranges resting at the base of an upright cucumber stands in for excited male genitals. A tatty mattress is pushed up against the wall, one end curled up as if the bed were a slumped figure. The 1994 sculpture “Au Naturel” is composed from found objects. The retrospective is titled “Sarah Lucas: Au Naturel” - natural or naked - and the titular work is emblematic. It appears that she had had enough of that establishment milieu - and of something in particular about its social and cultural underpinnings. (Don’t miss her nifty human skull with a flashy set of gold teeth.) Her profile has been high ever since the so-called Young British Artists, or YBAs, began to be identified as a loose agglomeration determined to upend the placid London art scene in the early 1990s. Lucas is a burlesque maker of double-entendre objects that mow down stereotypes, often around art and sexuality and glancing off the inescapable fact of death. More than 130 works in sculpture, photography, collage and video made over the last three decades are brought together in the show, slightly trimmed from its debut last year at the New Museum in New York, where it was organized. That seems to be one motor driving Sarah Lucas, the cheeky British Conceptual artist whose always smart, often deliriously funny retrospective exhibition is at the UCLA Hammer Museum. As a motivation for making art, sometimes enough is enough.