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The Uncomfortable is a collection of deliberately inconvenient everyday objects by Athens-based architect Katerina Kamprani.

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i-D Magazine interview with avant garde make up artists re-defining Make UP

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Hannah Rose Dalton and Steven Raj Bhaskaran first met at sewing school in Montreal. Steven identifies as gender non-binary: a thinker, a teacher and a trans-human. Hannah thinks of herself as an activist and an alien. Steven was born in Montreal, but lived in Guyana for the 10 years of their life -- an oppressive environment, surrounded by extreme poverty. Coming to Montreal exposed Steven to the possibilities of self expression through fashion and art. Hannah was born in New Zealand but grew up in Montreal. They met, bonded over their distaste for the ordinary, and banded together to create Fecal Matter -- the banner under which they make paint splattered and corseted clubland clothes, pretty intense music, and surreal photoshoots serving otherworldly looks (think yellow reptile contact lenses, pink wigs, veinlike marks streaked down their faces and shoes made out of prosthetic flesh).

Yes, their name refers to faeces, but don't let that put you off this extraordinary pair. "We want to provoke Instagram and all of it's conformist ways," they say. "We want to challenge our viewers to expand their minds. We hope to show that you don't have to live by society's rules, you can create your own lifestyle, and be free. Growing up, we were never exposed to anything like this, so we simply did not know such a life could exist. Hopefully, we can inspire people people to create their own freedom." Here they offer their notes on beauty.
Steven Raj Bhaskaran
"I first became aware of the importance of beauty when my neighbour in Guyana got acid thrown on her face by her husband because she cheated on him. This woman was very popular. Then she began isolating herself from the neighbourhood and from that moment I began to understand the importance of beauty and how desperately it needed to be challenged for those who will never fit in.

In my early teens I was overweight. I hated my body so much. I would avoid mirrors at all costs. Looking back, I suffered a lot from emotional eating. My mum did it, my sister did it, so naturally I also did it. My reasons was different then them, I was eating away my fear of being gay. I started realising that I liked men and I was afraid of coming out due to how conservative my environment was. When I hit 14, I started going to the gym, but I took it way too far. I would exhaust my body. It was a battle. Now I've finally found some type of balance. I still have bad eating habits and I still obsess over my body, but I've found peace with what I look like. I've learned to love myself for all of what I am. Right now, I'm going through a new journey regarding my gender. My self image is still evolving.

I've always had a hard time dealing with the pressure of gender beauty ideals. I never felt comfortable with my gender. I tried to look like a cis male when I was younger. I looked the part, but it never felt right. I began playing with make-up. I just never had the courage to wear it in public or even outside of my room. I was so afraid it would trigger even more bullying than what I was experiencing. It was also only when I met Hannah that I was able to start experimenting and walk outside of my room with smudged red eyes and an overdrawn black lip. Now, I have fun with it and have developed enough courage to walk on my own to meet up with Hannah. Hannah has helped me a lot because she loves me no matter what I look like and is very supportive of me in my journey.

We receive a lot of hate, online and on the street. People don't understand what we do, they want to paint the picture that we are a white privileged art duo, when in reality, I am half Sri Lankan and half Guyanese. Still today, I endure extreme violence due to my skin colour and gender expression. How we deal with the hate against us is we turn the pain into creation. When we feel hurt, we escape into our world and we fight back with a new look or photoshoot concept.

We started Fecal Matter in order to challenge censorship. We wanted a platform that would enable us to express ourselves freely without any limitations. Honesty is our main objective. We hope to promote the truth; the truth about the fashion industry, the human experience and our reality.

Hannah Rose Dalton
I grew up wearing a very strict school uniform. I didn't have a choice, but to be honest, I was always thankful to have a uniform because nobody could make fun of me based on what I was wearing. The other students couldn't judge me for what I didn't have because they were all wearing the same thing. It made us all equal. But then leaving high school, I didn't have a visual identity and I had a hard time expressing my inner self onto my outer self. The media forces a singular vision of what a woman is supposed to look like upon us.

For a while, I bought into that soulless visual identity to mask my inner self. It was almost like a protective layer in public. But in my room I was sewing, creating, doing research, thing I wouldn't dare express to others at the time. I was afraid of judgement, exclusion, questions and loneliness. A few weeks ago, I went to a high school reunion looking how I do now. Funnily enough, most appreciated and understood, but many were also concerned and asked if I had an addiction problem or was on drugs.

I actually didn't use make-up until I was 18. Growing up I perceived make-up as a mask to disguise my true self. The media presented make-up to young girls as way to attract men and look more like a "desirable woman". I hated that and didn't want anything to do with products that was promoting seduction. I was a career girl and wanted to avoid misogyny. It was only when I met Steven that I discovered the fun side of make-up, how it can be used as a tool to express.

Beauty can mean anything you want it to be. It's all perception. It has nothing to do with physical appearance and everything to do with how you feel on the inside. A beautiful mind is more important to us than a beautiful body. Beauty itself can be so limiting, that's why we like to focus on areas that are far away from it. Areas that don't depend on beauty to function. We find freedom outside of what is considered beautiful and attractive. When we say areas, we don't mean an actual physical location, we are talking about an emotional place. Places in our minds that are never visited due to fear. We find beauty in what can normally disgust the general public. We find beauty in our wounds and our injuries caused by violence and abuse. It helps us heal to turn the negative into something positive.

Steven and I help each other in every single way possible. It is a challenge being so close to someone and working with them and being in a relationship with them as well as having that person be your best friend. It creates a lot of dependence on one person but that is something we have learned such valuable lessons from. We have helped each other become better human beings.

We're still evolving. It is a constant journey. Chasing your dreams with someone else is not easy. In the beginning we were fighting this idea of being a duo. We wanted to be together but do our separate projects. As kids we didn't imagine or see the value of creating with someone else. But that was before we learned the importance of having someone who completely understands your mind in all its glory and ugliness. We help each other embrace our true selves and value how rare our relationship is.
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fecal matter are redefining beauty with their alien realness

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Hannah Rose Dalton and Steven Raj Bhaskaran first met at sewing school in Montreal. Steven identifies as gender non-binary: a thinker, a teacher and a trans-human. Hannah thinks of herself as an activist and an alien. Steven was born in Montreal, but lived in Guyana for the 10 years of their life -- an oppressive environment, surrounded by extreme poverty.

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Triadisches Ballett von Oskar Schlemmer - Bauhaus (Best Quality)

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blood sculpture.

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Alison Lapper - 4th plinth sculpture.

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National Gallery of Scotland

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S/S RTW 1999

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This show was inspired by the Arts and Crafts movement, and it ended with the model Shalom Harlow rotating on a turntable, wearing a white dress, being spray-painted by two industrial robots. Shalom Harlow trained as a ballerina.

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Jennie Livingston's Documentary on NY Drag Balls in the 80s

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Paris Is Burning 1990 VOSTFR 720p HD Full DOC

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Short clip from Jennie Livingston's Documentary on NY Drag Balls in the 80s

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The award-winning Paris Is Burning has been igniting audiences and critics across the country and all over the world with record- breaking box office performances. An unblinking behind-the-scenes story of fashion-obsessed New Yorkers who created "voguing" and drag balls, and turned those raucous celebrations into a powerful expression of fierce personal pride.

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Korean performance artist Nikki S. Lee explains her projects exploring aspects of identity in terms of ethnicity, gender, age and subculture …

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For more information and videos go to http://www.thecreatorsproject.com Archetype archeologist. Location: South Korea Profession: Artist, transformer Website: www.mocp.org/ Notables: Photography: Projects, Layers, Parts Films: A.K.A. Nikki S. Lee Vice and Intel launched The Creators Project, a global initiative bringing together the world's leading and most relevant innovators in music, art, film, design and architecture through a common passion for creativity and technology.

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makeup cosmetics funny eyeshadow body paint spray creative holidays halloween party smokey eyes howto tutorials tutorial

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NEW videos EVERY WEEK between 8pm-11pm CST! I'm Lex, and I am a 23 year old, licensed esthetician, self taught makeup artist and body painter, owner of my own business, T1D, and optimist. I know, a lot of interests and passions!

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When James Charles was named the newest face of CoverGirl, many people said it was groundbreaking.

He would be the world's first "CoverBoy," for a brand that had featured only women in its campaigns over the course of its 50-year history. He would also be one of the few men who'd appear in makeup ads and commercials after launching a successful career as a makeup blogger while he's still just a teenager.

Although a few makeup brands are starting to include men, and men are building their own communities within makeup blogging, the scope and promotion of this new campaign stands as the most obvious progress to date.

Maybe because of him, boys and gender nonconforming people who want to wear makeup will know it's OK as they walk alongside their mothers in the makeup aisles of Target or Walmart. Maybe because of him, they won't be as afraid or clueless approaching makeup for the first time. Maybe because of him, the stigma against men and gender nonconforming people wearing makeup will begin to lift.

But the thing that many may have overlooked with the announcement of Charles' role is that men wearing makeup is not new.

In fact, as with many things our society has deemed solely feminine, like wearing or caring about personal grooming, men thousands of years ago actually took part. Even in the past fifty years, there have been men who embrace makeup, from actors like Johnny Depp to drag queens like RuPaul.

So in addition to Charles making history, his public affection for makeup is also a nod to the past.

A long time coming: Makeup was documented in ancient Egypt. We see examples of this on many artifacts from the time, with both men and women wearing copious amounts of makeup, with particular attention paid to expressive eyeliner.

According to History.com, people in ancient Egypt, a civilization that's known to have started around, thought wearing makeup gave them protection from the gods Horus and Ra. Kohl eyeliner, which they made from grinding minerals like malachite and galena, served as much of a practical purpose as a spiritual one - some believed it warded of flies, infection and the harsh rays of the sun. Turns out, they weren't exactly wrong about that, with research proving that their eyeliner mixture actually had the ability to eye infections.

One of the men who was most famously a fan of this exaggerated eyeliner look was King Tutankhamen, who was regularly depicted wearing the black or green eyeliner, especially before large dinners and gatherings as a sign of power.

And if you consider nail polish to be makeup like we do, then men have actually been wearing it since 3,200 B.C., with men wearing nail polish to signify class in Babylonia during this time. Men in China and and Egypt also continued this practice as well, using colors to signify a kind of social hierarchy. Beyond Egypt, men in ancient Rome were also known to dabble in makeup, often using powder and rouge and nail polish to add a bit of flair.

How did men embracing makeup fade away? Well, history here is spotty but we do know that during Queen Elizabeth I's rule in England, which lasted from 1558 until her death in 1603, makeup wasn't for one gender in particular. Both men and women cared about their own vanity, and the look of the moment was all about having a very, very white face. In order to achieve this look, unfortunately, people started slathering something known as Venetian ceruse on their faces, which is made from mixing vinegar with lead.

And if you know anything about people's affinity for lead in anything at this time, you'll know that lead equaled death. Although the reasons behind Queen Elizabeth I's death are murky, there is that the lead mixture she used on her skin and lips was directly responsible. So yeah, the most popular makeup trend at that time actually killed people.

After Queen Elizabeth I's rule, makeup fell out of favor partly because it was so dangerous and literally toxic to wear. Then came Queen Victoria, who ruled during the late 19th century, who deemed wearing excessive makeup as impolite, associating it with and shaming sex workers. So men (as well as women) backed off a bit longer until the makeup industry modernized, and by "modernized," we mean removed all the lead in the late 19th and early 20th century.

However, when it did come back in public favor in the early 20th century, makeup advertising was entirely focused on women, not men. So really, advertising is the reason why makeup has turned into an entirely gendered practice, creating a culture in which only women were targeted as makeup wearers, leaving men and everyone else out.

According to a number , this period of time is when men who did wear makeup started getting associated with a certain type of effeminacy and, in some cases, homosexuality. A stigma began, many years ago, that actually still lives on today.

Of course, there have been the outliers. Glam rockers, the rebels, the femmes and queer folk have long attempted to normalize the idea of people who identify as men wearing makeup.

Think David Bowie in the '70s and Boy George in the '80s and every single member of KISS too. The thing is that those men were members of various countercultures that existed as safe spaces for more free expression by artists and performers, from glam rock to punk. By being associated with these cultures, you avoided being labeled by society because of how you decided to express yourself.

They weren't mainstream. But you know what is mainstream? CoverGirl.

Now, not only are James Charles and male makeup aficionados like him opening the doors of possibility for men who aspire to wear or even just admire makeup, but Charles is specifically doing his best to normalize it for the men who are more likely find themselves walking through the aisles at Walmart than flipping through the pages of Vogue.

Though it's unfortunate that it's taken hundreds of years for our society to go back to practices that were acceptable in 3,000 B.C., it's progress nonetheless.

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Makeup isn't suddenly genderless. It always has been.

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When James Charles was named the newest face of CoverGirl, many people said it was groundbreaking. He would be the world's first "CoverBoy," for a brand that had featured only women in its campaigns over the course of its 50-year history.

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Eyebrow Art

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Born in 1963, London
Lives and works in London

SOLO EXHIBITIONS

2017
The Memory of your Touch, Xavier Hufkens, Brussels
The Line - One Artist Per Time, Dio Horia, Mikonos

2016
New Monotypes, Carolina Nitsch Contemporary Art, New York

2015
Nudes.Blue, Galerie Fluegel-Roncak, Nuremberg

2014
New editions., Galerie Fluegel-Roncak, Nuremberg
The Last Great Adventure is You, White Cube, London, UK

2013
Angel without You | Knight Exhibition Series, ICA Miami

2011
Love is What You Want, Hayward Gallery, London
Do Not Abandon Me, Hauser & Wirth, London (with Louise Bourgeois)

2010
Praying To A Different God, Amanda Love Art, Sydney
Walking With Tears, Royal Academy of Art, London
Why Be Afraid?, Galleria Lorcan O'Neil, Rome

2009
Only God Knows I'm Good, Lehmann Maupin, New York
Tracey Emin: Those Who Suffer Love , White Cube, London
Tracey Emin 20 Years, Kunstmuseum Bern, Bern

2008
Tracey Emin 20 Years, Centro de Arte Contemporáneo, Málaga
Liverpool Cathedral Commission, Liverpool
Tracey Emin: 20 Years, Scottish National Gallery of Modern Art, Edinburgh

2007
Tracey Emin: You Left Me Breathing, Gagosian Gallery, Beverly Hills, CA.
Tracey Emin: Borrowed Light, British Pavillion, 52nd International Biennale di Venezia

2006
More Flow, Galleria Lorcan O'Neill, Rome

2005
I Can Feel Your Smile, Lehmann Maupin, New York
When I Think About Sex..., White Cube, London
Death Mask, National Portrait Gallery, London

2004
Tracey Istanbulda, Platform Garanti Contemporary Art Center, Istanbul
Tracey Emin, BP British Art Displays, Tate Britain, London
I'll Wait For You In Heaven, Galleria Lorcan O'Neill, Rome
Can't See Past My Own Eyes, Sketch, London
Fear, War And The Scream, Roslyn Oxley, Sydney and City Gallery, Wellington

2003
Menphis, Counter Gallery, London
Tracey Emin, Art Gallery of New South Wales, Sydney

2002
This is Another Place, Modern Art Oxford, Oxford
Ten Years. Tracey Emin, Stedelijk Museum, Amsterdam
I Think it's in my head, Lehmann Maupin, New York
Tracey Emin Showreel, The Genesis Cinema, London
Tracey Emin, Haus der Kunst, Munich

2001
Tracey Emin You forgot to kiss my soul, White Cube, London

2000
Love is a Strange Thing, Fig.1, London
What Do You Know About Love, Carlier/Gebauer, Berlin

1999
Tracey Emin Every Part of Me's Bleeding, Lehmann Maupin, New York

1998
Sobasex (My Cunt is Wet with Fear), Sagacho Exhibition Space, Tokyo
Cunt Vernacular, Carlier Gebauer, Berlin
I Need Art Like I Need God, Gesellschaft für Aktuelle Kunst, Bremen
Tracey Emin, Galerie Philippe Rizzo, Paris

1997
Solo Exhibition, Moo Gallery, Helsinki
I Need Art Like I Need God, South London Gallery, London
Istanbul Biennial, Pera Palace Hotel, Turkey

1996
It's not me that's crying, it's my soul, Galerie Mot & Van den Boogaard, Brussels
Exorcism of the Last Painting I Ever Made, Galleri Andreas Brändström, Stockholm
Solo Exhibition, Habitat, London

1995
Tracey Emin Museum, 221 Waterloo Road, London SE1 (closed 1998)

1994
Art Cologne, Sponsored Artist, Jay Jopling/White Cube, Cologne
Exploration of the Soul - Journey Across America, Readings at the following locations: Rena Bransten, San Francisco; Regen Projects, Los Angeles; Museum of Contemporary Art, San Diego; David Klein Gallery, Detroit; Mattress Factory, Pittsburgh; Sandra Gering Gallery, New York and White Columns, New York

1993
My Major Retrospective, Jay Jopling/White Cube, London
From Army to Armani, Analix Gallery, Geneva (with Sarah Lucas)
The Shop, 103 Bethnal Green Road, London (with Sarah Lucas)

GROUP EXHIBITIONS

2019
MOMART Christmas Cards, Alpha 137 Gallery
Valentine for Mr./Ms. Wonderful: Unforgettable Fine Art Gifts, Alpha 137 Gallery
Collectible Artist Books: "I have always thought of Paradise as a kind of library" - Jorge Luis Borges, Alpha 137 Gallery
The Female Emperor, Alpha 137 Gallery
Works for $2,500 & under, Alpha 137 Gallery, New York
Artists Skates, Plates & Design Objects, Alpha 137 Gallery
Small Sculptures Big Artists, Alpha 137 Gallery

2018
Christmas Exhibition and Carols, Tanya Baxter Contemporary, London
Staff Favorites II, Alpha 137 Gallery, New York
Staff Favorites I, Alpha 137 Gallery, New York
Autumn Contemporary - Gstaad, Switzerland, Maddox Gallery, Gstaad
Contemporary Magic : A Tarot Deck Art Project, ART CAPSUL, New York
Remembering Tomorrow: Artworks and Archives, White Cube, Hong Kong
Rare, Collectible and Historic Modern & Contemporary Art Posters, Alpha 137 Gallery
Summer Contemporary - Westbourne Grove, Maddox Gallery, London
A Time Capsule, Parkett, Zurich
Made in Britain (Figurative), Fairhead Fine Art Limited
Pop Art, MLTPL
Hang-Up Collections Spring Edition 2018, Hang-Up Gallery, London
The Art of Money, Alpha 137 Gallery
Gifts of Love for Lovers of Art, Alpha 137 Gallery
Dedicated by the Artist, Alpha 137 Gallery
BRIT ART, Rhodes, London
Winter Exhibition: Post-War Meets Today, Robert Fontaine Gallery

2017
IN FACT, Elgiz Museum, Istanbul
Christmas Exhibition, Tanya Baxter Contemporary, London
Reasons to be cheerful!, Robert Eagle Fine Art, London
Recent Acquisitions, Faurschou Foundation, Nordhavn
WORD UP, EHC Fine Art
Rare Art Historical Ephemera from our private collection, Alpha 137 Gallery
Proof of Life, Neues Museum Weserburg Bremen, Bremen, Germany

2016
Festive Christmas Exhibition, Tanya Baxter Contemporary, Hong Kong
Christmas Exhibition, Tanya Baxter Contemporary, London
britARTnia, Opera Gallery, London
Frieze Collector's Preview, Tanya Baxter Contemporary, London
ICON, Candida Stevens Gallery, Chichester, West Sussex
Inaugural Exhibition | TRUST ME IF YOU CAN'T, SABSAY, Copenhagen
GLASSFEVER - Contemporary Art in Glass, Fondazione Berengo, Dordrecht
Post Revolution Meets Post-War Contemporary, Tanya Baxter Contemporary, Hong Kong

2015
Summer Exhibition 2015, Royal Academy of Arts, London
Summer-Accrochage 2015, Galerie Fluegel-Roncak, Nuremberg
Accrochage - Spring Group Show 2015, Galerie Fluegel-Roncak, Nuremberg

2014
Readykeulous by Ridykeulous: This is What Liberation Feels Like™, ICA Philadelphia, Philadelphia

2013
The Art of Chess, NextLevel Galerie, Paris

2012
Together we connect, Anima Gallery, Doh

2011
Saatchi Gallery In Adelade: British Art Now, Art Gallery Of South Australia, Australia
Crossing Centuries, ASC Gallery, London
Text/Video/Female: Art After 60's, PKM Gallery, Seoul
Watercolour, Tate Britain, London
The Shape We're In (Camden), 176 Zabludowicz, London
Moving Portraits, De La Warr Pavillon, Bexhill-on-Sea

2010
The Body in Women's Art Now, New Hall Art Collection, Cambridge
Contemporary Magic: A Tarot Deck Art Project, The National Arts Club, New York
Make Room, New Art Gallery, Walsall
No New Thing Under the Sun, Royal Academy of Arts, London
Move: Choreographing You, Hayward Gallery, London
House of the Noble Man, Zabludowicz Collection, London
Just Love Me, MUDAM, Luxembourg
Do Not Abandon Me, Carolina Nitsch Project Space, New York
Cream, KIASMA, Helsinki
The Body in Women's Art Now, Rollo Contemporary Art, London
Kupferstichkabinett: Between Thought and Action, White Cube, London
The Tell-Tale Heart (Part 2), James Cohan Gallery, New York
Emporte-moi/Sweep me off my feet , Musée d'Art Contemporain du Val de Marne, Vitry en Seine
Naked, Jensen Art Gallery, Auckland
I Love You, Aarhus Kunstmuseum, Aarhus
Peeping Tom, Vegas Gallery, London
Desire, Blanton Museum of Art, Texas
Mat Collishaw, Tracey Emin & Paula Rego: At the Foundling, Foundling Museum, London, Foundling Museum, London
Sur le Dandysme Aujourd'hui, Centro Galego de Arte Contemporanea, Santiago de Compostela

2009
Earth: Art of A Changing World GSK Contemporary, Royal Academy of Art, London
Performa 09 Biennial, New York
In Stitches, Lelia Taghinia-Milani Heller Gallery, New York
Cocker Spaniel and Other Tools for International Understanding, Kunsthalle zu Kiel, Kiel
Coeur de Femme, Galerie Sophie Scheidecker, Paris
A Room of Her Own, McClain Gallery, Texas
Pop Life, Tate Modern, London
Emporte-moi/Sweep me off my feet , Musée National des Beaux-Arts de Québec, Québec
Collecting Lines: Selected Works from the Geoff & Vicki Ainsworth Collection , Maitland Regional Art Gallery, New South Wales
Once Upon a Time...Artists and Storytelling, Courtauld Institute of Art, Somerset House, London
Eat Me, Drink Me , Goss-Michael Foundation Collection, Dallas.
Making of Art, Schirn Kunsthalle, Frankfurt
The Kaleidoscopic Eye. Thyssen-Bornemisza Art Contemporary Collection, Mori Art Museum, Tokyo
Inspired , Mitchell Library, Glasgow
Silent Writings, Louis Vuitton Espace, Paris
'With You I Want to Live: An Exhibition of Paintings, Sculpture, and Photographs from the Collections of Gordon Locksley & George T. Shea and Francie Bishop Good & David Horvitz', Museum of Art, Fort Lauderdale, Florida
Being British, Stephen Lawrence Gallery, London
HARD/Soft, National Arts Club, New York, NY
Talk Dirty to Me, Larissa Goldston Gallery, NY
JEFFMUTE, Musee d'Art Moderne et Contemporain / MAMCO, Geneva
Tracey Emin, Guy Limone, DeAnna Maganias, Jorge Pardo, Angelo Plessas, Rebecca Camhi Gallery, Athens
Swingtime: Freestyle, Charlotte Fogh Contemporary, Aarhus

2008
Creative Cities, (piece from Fourth Plinth), Kunstmuseet Køge Skitsesamling, Denmark
ShContemporary 2008 The Asia Pacific Art Fair, Shanghai
Folkestone Triennial: Tales of Time and Space, Folkestone, Kent.
Summer Exhibition 2008, (Curator) Royal Academy of Arts, London
You Dig The Tunnel, I'll Hide The Soil, White Cube Hoxton Square and Shoreditch Town Hall, London.
Love, Touring show: National Gallery, London; Laing Art Gallery, Newcastle and Bristol's Museums, Galleries & Archives
Five Portraits, De Hallen, Haarlem, Netherlands
Drawn from the Collection: 400 Years of British Drawing, Tate Britain, London
Coriander Plus (curated by Sir Peter Blake), Intercontinental Park Lane, London
Fourth Plinth, National Gallery, London

2007
True Romance, Kunsthalle Wien, Vienna
Summer Exhibition 2007, Royal Academy of Arts, London
The Naked Portrait, Scottish National Gallery, Edinburgh
Lights, Camera Action: Artists' Films for the Cinema, Whitney Museum of American Art, Whitney
Mima Collection: Selected Works, Middlesbrough Institute of Modern Art, Middlesbrough

2006
Aftershock: Contemporary British Art 1990-2006, Guangdong Museum of Art, Guangzhou; Capital Museum, Beijing
Touch My Shadows, Centre for Contemporary Art Ujazdowski Castle, Warsaw
In the darkest hour there may be light: Works from Damien Hirst's murderme collection, Serpentine Gallery, London
I'm Sorry, Pilar Parra & Romero Galeria de Arte, Madrid
Hot/Cold - Summer Loving, Zacheta National Gallery of Art, Warsaw
Motion on Paper, Ben Brown Fine Arts, London
Summer Exhibition 2006, Royal Academy, London
The Other Side #2 - Radical Pursuits: Delights in the subversive and sublime, Tony Shalfrezi Gallery, New York
Youth of Today, Schirn Kunsthalle, Frankfurt
The Devil of the Fireplace, Claudia Gian-Ferrari, La Triennale di Milano
Drawing Inspiration, Abbot Hall Art Gallery, Kendal
For All Audiences, Sala Rekalde, Bilbao
You'll Never Know. Drawing and Random Interference, Harris Museum and Art Gallery, Preston; Glynn Vivian Gallery, Swansea; The Lowry, Salford; New Art Gallery, Walsall; Tullie Mouse Museum and Art Gallery, Carlisle
LOVE!, Ferragamo Gallery, New York

2005
Women's Film Festival, ICA, London
IMAGINE A WORLD..., Bargehouse, London
Looking at Words. The Formal Presence of Text in Modern and Contemporary Works on Paper, Andrea Rosen Gallery, New York
Sketch in Motion: A Group Exhibition of Artists' Animation, Sketch, London
The Wonderful Fund On Tour, Le Musée de Marrakech, Marrakech
Video II: Allegory, NRW-Furum Kultur und Wirtschaft, Dusseldorf
Super!: First Triennial for Contemporary Art, Fashion and Design, Z33, Hasselt
Realit;)t. 30 Videoarbeiten aus der Sammlung Goetz in München. Von Olaf Breuning bis Sam Taylor-Wood, Seedamm Kulturzentrum, Pfaffikon
Summer Exhibition 2005, Royal Academy of Arts, London
Body: New Art from the UK, Vancouver Art Gallery, Vancouver
Kiss the Frog! The Art of Transformation, National Museum of Art, Oslo
Identity and Nomadism, Palazzo delle Papesse, Siena
25. Twenty-five Years of the Deutsche Bank Collection, Deutsche Guggenheim, Berlin
Revelation. Reflecting British Art in the Arts Council Collection, Laing Art Gallery, Newcastle and The Lowry, Manchester
Death Mask by Tracey Emin, National Portrait Gallery, London
God Is Bored Of Us II, FMCG, London
Enchante Chãteau, MAMCO, Geneva
Munch Revisited, Henie Onstad Kunstcenter, Oslo
On Love, Museum Het Domein, Sittard
'Bock mit Inhalt' - Summer Exhibition, Stedelijk Museum, Amsterdam
London Calling. Y[oung] B[ritish] A[rtists] Criss-Crossed, Galleri Kaare Berntsen, Oslo
Vivisección, Dibujo Contemporáneo, Museo de Arte Carrillo Gil, Mexico City
Mé-tissages, MIAT, Museum voor Industriële Archeologie en Textiel, Ghent
Top Spot, Berlin Film Festival, Berlin
Critic's Choice, FACT, Liverpool

2004
The Christmas Exhibition 2004, Edinburgh Printmakers, Edinburgh
Fonetography, AOP Gallery, London
1st International Biennial of Contemporary Art of Sevilla, Monastry of the Cartuja of Sanat Maria de las Cuevas, Seville
Printers Inc.: Recent British Prints, Manchester Art Gallery, Manchester; Brewhouse Theatre; Arts Centre, Taunton and Park Gallery, Falkirk
Seven Sins, Museo d'Arte Moderna e Contemporanea, Bolzano
Einleuchten, Museum der Moderne, Salzburg
Summer Exhibition, Royal Academy of Arts, London
The Other Flower Show, Victoria & Albert Museum, London
Stranger Than Fiction, Leeds Art Gallery, Leeds; Tulie House, Carlisle; Ferens Art Gallery, Hull; Nottingham Castle, Nottingham; Brighton Museum and Art Gallery, Brighton
La Collection d'Art Contemporain d'Agnes B, Les Abattoirs, Toulouse
Tracey Emin and David Hockney Drawings, Museo de Bellas Artes, Santiago
Tracey Emin, Gillian Wearing and Dick Matena, Frans Hals Museum, Haarlem
See It...Read It, Draíocht, Dublin
Secrets of the '90s, Museum voor Moderne Kunst Arnhem, Arnhem
Social Strategies. Redefining Social Realism, Schick Art Gallery, Skidmore College, New York

2003
Social Strategies. Redefining Social Realism, The Richard E. Peeler Art Center, DePauw University, Greencastle (Indiana); University Art Museum, University of California, Santa Barbara; University Galleries, Illinois State University,Normal (Illinois); Schick Art Gallery, Skidmore College, New York, The Newcomb Art Gallery, Tulane University, New Orleans and University Art Museum, Santa Barbara
Tracey Emin, Luigi Ontani, Kiki Smith, Cerith Wyn Evans,Galleria Lorcan O'Neill, Rome
Flexible 4: Identities, Whitworth Art Gallery, Manchester; Nederlands Textielmuseum, Tilburg, Kunsthalle Brandts Klaedefabrik, Odense and Landesgalerie Linz am Oberösterreichischen Landesmusem, Linz
Happiness: A Survival Guide for Art and Life, Mori Art Museum, Tokyo
Fast Forward - Media Art, ZKM, Karlsruhe
FRESH: Contemporary British Artists in Print, Edinburgh Printmakers, Edinburgh
Just Love Me; Post-Feministic Art of the 1990s, Bergen Art Museum, Bergen
A Bigger Splash: British Art from Tate 1960-2003, OCA & ITO, São Paulo
Game Over, Grimm Rosenfeld, Munich
Independence, South London Gallery, London
The Happy Couple, Cartwright Hall Art Gallery, Bradford
Il racconto del filo, Museo di Arte Moderna, Trento
Europe Exists, Macedonian Museum of Contemporary Art, Thessaloniki
Let's See the Nature in You, Pepperton Gallery, London
Tactics of the Ego, Stiftung Wilhelm Lehmbruck Museum, Duisburg
Micro/Macro, The Budapest Kunsthalle, Budapest
Words from the Arts Council Collection, The Harris Museum and Art Gallery, Preston
The Map Is Not The Territory III, James Hockey Gallery, Farnham and The Surrey Institute of Art & Design, Franham
En Route, De Hallen, Haarlem

2002
Face Off, Kettle's Yard, Cambridge
Rapture: Art's Seduction by Fashion Since 1970, Barbican Art Gallery, London
The Ink Jetty, Neon Gallery, London
Shine, St Pancras Chambers, London
The Glory of God: New Religious Art, St. Peter's Church, Liverpool
Disturb, 1st Public School of Hydra, Hydra
Die Wohltat der Kunst: PostFeministische Positionen der neunziger Jahre aus der Sammlung
Goetz, Staatliche Kunsthalle, Baden-Baden
Fusion Cuisine, Deste Foundation, Centre for Contemporary Art, Athens
Public Affairs. Von Beuys bis Zittel: Das Offentliche in der Kunst, Kunsthaus, Zurich
New Religious Art 1992-2002, Henry Peacock Gallery, London
Landscape, Saatchi Gallery, London
The Rowan Collection. Contemporary British & Irish Art, Irish Museum of Modern Art, Dublin

2001
Trans Sexual Express, Centro de Arte de Santa Monica, Barcelona; Palacio Municipal de Exposiciones, Corunna and Mucsarnok, Budapest
For the Love of Dog, Pump House Gallery, London
Printers Inc., The Gallery, Stratford-upon-Avon
Read-Only Memory, Mead Gallery, Warwick Arts Centre, University of Warwick, Coventry
Televisions, Kunsthalle Wien, Vienna
Video Project Space, Anthony Wilkinson Gallery, London
In Formation, Percy Miller Gallery, London
For the love of dog, Pump House Gallery, London
At Sea, Tate Liverpool, Liverpool
Tattoo Show, Modern Art Inc., London
Summer Exhibition, Royal Academy of Arts, London
Freestyle. Werke Aus der Sammlung Boros, Museum Morsbroich, Leverkusen
Century City, Tate Modern, London
Insider Trading: Profit Without Honour, Mandeville Hotel, London
London Nomad, Beit Zeinab Khatoun, a seminar on Contemporary Curatorial Practice at the American University Cairo Biennale, Cairo

2000
Peter Blake: About Collage, Tate Gallery, London
Nurture and Desire, Hayward Gallery, London
Sex and the British: Slap & Tickle - A perspective on the sexual content of British Art since the 1960s, Gallerie Thaddaeus Ropac, Salzburg and Gallerie Thaddaeus Ropac, Paris
Gut Aufgelegt, Kunsthaus, Hamburg
Drawings, Sommer Contemporary Art, Tel Aviv
Drawings, Taché-Lévy Gallery, Brussels
Potent Present. Selections from the Vicki and Kent Logan Collection, Logan Galleries, California College of Arts and Crafts, San Francisco
ManMoMa. A Thick Bloke Kicking a Dog to Death, The International 3 Summer Fête, Fairfield, Manchester
From Face to Face. Mimics - Gestures - Emotions, Städtisches Museum Leverkusen Schloß Morsbroich, Leverkusen
Out There, White Cube, London
Art in Sacred Spaces, St. Mary's Church
The British Art Show 5, The Scottish National gallery of Modern Art, Edinburgh (National Touring Exhibitions)
Diary, Cornerhouse, Manchester, (Toured to Firstsite, Colchester)

1999
Hundstage, Gesellschaft für Aktuelle Kunst, Bremen
Imagen em Movimento. Moving Image, Chiva [S]ynergies Art, São Paulo
Art Lovers, The Liverpool Biennial of Contemporary Art, Compton House, Liverpool
Turner Prize, Tate Gallery, London
Now It's My Turn to Scream. Works by Contemporary British Artists from the Logan Collection, Haines Gallery, San Francisco
Self Evident, Vaknin Schwartz, Atlanta
Temple of Diana, The Blue Gallery, London
Sweetie, The British School at Rome, Rome
Video Festival, Riccione TTV, Riccione

1998
Printers Inc.: Recent British Prints, Hayward Gallery, London; Edinburgh College of Art, Edinburgh; Rhyl Library, Museum and Art Centre, Rhyl; The Gallery, Stratford-Upon-Avon; Bury Art Gallery & Museum, Bury; Manchester Art Gallery, Manchester; Brewhouse Theatre, Arts Centre, Taunton and Park Gallery, Falkirk
10 SupaStore Supastars, SupaStore at Tomato, London
Made in London. An exhibition of works by London based artists made in the 1990s, Museu da Electricidade, Lisboa
Pandaemonium, London Electronic Arts Gallery, London
UK Maximum Diversity, Galerie Krinzinger, Benger Fabrik Bregenz, Bregenz
The Colony Room 50th Anniversary Art Exhibition, A22 Projects, London
Hidden Desires And Images, Art Dynamics, Tayayo Lida, Tokyo
Emotion. Young British and American Art from the Goetz Collection, Deichtorhallen, Hamburg
Personal Effects, Spacex Gallery, Exeter and Angel Row Gallery, Nottingham
Loose Threads, Serpentine Gallery, London
Life is a Bitch, De Appel, Amsterdam
La Biennale de Montreal: Dream Catchers, Centre International D'Art Contemporain de Montreal, Montreal
Sam Taylor-Wood, Tracey Emin, Gillian Wearing, Marc Quinn, Galerija Dante Marino Cettina, Umag
Live and Let Die Apex Art C.P., New York
Beach Life, Upper Street, London (one day event)
Real Life, Galleria S.A.L.E.S., Rome
The Human Factor, Achenbach Kunsthandel, Düsseldorf
English Rose in Japan, Ginza Art Space Shiseido, Tokyo
Art from the UK: Angela Bulloch, Willie Doherty, Tracey Emin, Sarah Lucas, Sam Taylor-Wood, Sammlung Goetz, Munich

1997
Ca-Ca Poo-Poo, Kölnischer Kunstverein, Cologne
History. Image-based work in Britain in the late 20th Century, The Ferens Art Gallery, Kingston Upon Hull (and UK tour)
Craft, Richard Salmon, London
Real Art for Real Women, ICA, London
Absolute Secret, Royal College of Art, London
Private Face. Urban Space, Old Gasworks, Athens and Rethymnon Centre for Contemporary Art, Rethymnon
Kunst..Arbeit, 1st Presentation of the Bnks Collection, Südwest LB, Stuttgart
Tales from the City, Stills Gallery, Edinburgh
Sensation, Royal Academy of Arts, London and Hamburger Bahnhof, Berlin, 1998-99 between the devil and the deep (blue) sea, MUU Gallery, Helsinki
Package Holiday, Hydra Workshops, Hydra
Time Out, Kunsthalle Nürnberg, Nuremberg
Summer Love, Fotouhi Cramer Gallery, New York
Urban Legends, Staatliche Kunsthalle, Baden-Baden
Dissolution, Laurent Delaye Gallery, London
Such is Life, (Video programme), Serpentine Gallery Bookshop, London and Palais des Beaux Arts, Brussels
Hypermnesiac Fabulations, The Power Plant, Toronto
Slight, Norwich Gallery, Norwich and Collective Gallery, Edinburgh

1996
Full House, Kunstmuseum Wolfsburg, Wolfsburg
Sad, Gasworks, London
Life/Live, Musée d'Art Moderne de la Ville de Paris, Paris and Centro de Exposições do Centro Cultural de Belém, Lisbon
The Aggression of Beauty, Galerie Arndt & Partner, Berlin
Yerself is Steam, 85 Charlotte St., London
A Grapefruit in the World Park, Transmission Gallery, Glasgow
Other Men's Flowers, Aurel Scheibler, Cologne and The British School at Rome, Rome
Faustrecht der Freiheit (Volkmann Collection), Kunstsammlung Gera, Berlin and Neues Museum Weserburg, Bremen
Co-operators, Southampton City Art Gallery, Southampton
Loosy, Galerie Philippe Rizzo, Paris

1995
Brilliant: New Art from London, Walker Art Centre, Minneapolis and Contemporary Arts Museum, Houston
Brill: Works on Paper by Brilliant Artists, Montgomery Glasgow Fine Art, Minneapolis
Mysterium Alltag, Kampnagel, Hamburg
Minky Manky, South London Gallery, London and Arnolfini, Bristol
Art for Aids, Gallerie Nicoli Walner, Copenhagen
I Confess, Nikolaj Contemporary Art Centre, Copenhagen
Whistling Women, Chelsea Room, Royal Festival Hall, London
The Friendly Village, Milwaukee Institute of Art and Design, Milwaukee
Other Men's Flowers, IceBox, Athens

1994
Gramercy Park Hotel, Art Fair, New York
Karaoke & Football, Portikus, Frankfurt
Other Men's Flowers, Joshua Compston/London Portfolio 33 Coronet Street, London

1993
Hotel Carlton Palace Chambre 763, Hotel Carlton Palace, Paris

1992
The Phone Box, Various venues, London and Liverpool

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Born in 1963, London Lives and works in London 2017 The Memory of your Touch, Xavier Hufkens, Brussels The Line - One Artist Per Time, Dio Horia, Mikonos 2016 New Monotypes, Carolina Nitsch Contemporary Art, New York 2015 Nudes.Blue, Galerie Fluegel-Roncak, Nuremberg 2014 New editions., Galerie Fluegel-Roncak, Nuremberg The Last

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Rhythm 0 (1974)

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Join us in creating MAI by clicking the “Tip This Video” button below!

Directed, Produced, and Edited by Milica Zec

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A Thousand Years (1990)

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Instant artist statement | Arty Bollocks Generator

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If you're an artist and have been slaving away for hours at your artist statement - and it's still going nowhere - then this website is for you. One-click artist statements, for free.

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Archive of podcasts

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Yoko Ono's influential and provocatice participatory performance

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Tracey Emin's sculpture shortlisted for the Turner Prize in 1999

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Takes a tour round his retrospective exhibition

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Grayson Perry and Sarah Thornton discuss contemporary art and artists

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What Makes an Artist? Grayson Perry in Conversation with Sarah Thornton | Tate Talks

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Grayon Perry responds to the question 'What is art?'

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Philosopher Alain de Botton's short animated film explore the function of art…