Young British Artists

monde de l’Art Contemporain brouillard et confus, un monde sans repère. Je commence par démontrer cette épaisse confusion en citant deux extraits d’un article sur le lancement “mondial” de deux expositions simultanées à Genève et Londres de deux artistes le plus au “top” de cette Contemporanité: Jeff Koons et Damien Hirst. Je cite les mots d’Elizabeth Couturier dans le magazine Paris Match (comme lieu de la vulgarisation on ne pouvait pas trouver mieux). Elle démontre le manque de repères de leur

very innovative in various ways but think about the Royal Academy in the 18th century; it also was a huge event. One of the first schools to train artists, with no tuition fees, and exhibits work of living artists, as well as administrating charitable trust to help the distressed artists and their dependants. It was a real new facility for British artists to show examples of their work in public exhibition and sell them. But the Grosvenor Gallery, as well as taking the inspiration from the Royal Academy

Dawn. The famous Silver Ghost and Phantom took over the prestigious Silver Dawn , Silver Cloud and Silver Shadow show monocoque and hydropneumatic suspension Citroën (1965). In 1975 is born the Rolls -Royce Camargue, bodied by Pininfarina . The British manufacturer of military equipment purchases Vickers company in 1980. It was at this time that the out Silver Spirit (short version) and Silver Spur (long version ), replaced the Shadow models. The Corniche, appeared in 1971 ( and replaces the coupes

œuvres lors de son séjour à Paris à la galerie Paul Rosenberg. Les dessins d'après Picasso de cette époque, visibles dans ses carnets, montrent ainsi la façon dont Bacon s'en est inspiré, et les similitudes avec le travail de celui-ci. Bacon est un artiste autodidacte. Parmi ses influences, on reconnaît non seulement Picasso mais aussi Vélasquez, Poussin ou encore Rembrandt. Lors d'un entretien, il affirma que l'influence du surréalisme sur son travail ne provenait pas de la peinture mais des films

|[pic] | |Après le Pop Art il faudra attendre la fin des 1980’s | | |pour qu’un groupe, « Young British Artists » replace la | | |peinture anglaise sur la scène artistique | | |internationale :

discipline qui permet un choix judicieux, planifié, organisé et efficace d’archives qui témoignent pleinement de toutes les composantes de la société. En matière d’évaluation, l’archiviste ne peut plus être ce professionnel intuitif: «... something of an artist ... equipped with ... passion and an intuitive confident.» (Meinert, 1939: in Booms, 1987, p. 93) Au passage, Booms élabore aussi sur le travail de l’historien qui devrait refuser de se contenter des ressources que le hasard lui laisse 6. En définitive

male and female modernists is consistent with the interrogation of gender roles that occurred in the modern period. As Miller noted, the modernists worked to “make it new”. “They made it new as a revolutionary reaction to centuries of stolid, British calm. They made it new in an attempt to respond to and reflect the radically, catastrophically altered world pre-, during and post- First World War. They evoked new, interior, idiosyncratically personal voices, within new narrative structures. And

been published in American. LONDON -- For more than 20 years, author Doris Lessing has lived on a quiet block in North London, in a brick Hampstead house among a row of such homes, as straight and steady as a line of toy soldiers. Long favored by artists and intellectuals, her neighborhood is an ideal mix of solitude and activity, just a short, uphill walk from shops and cafes and busy, curving streets, a place that on this warm afternoon could convince you the world is but one long coffee break.

would life be like there without swamis and without reggae, without Olympic Games and ‘the Japanese model’? In the end, it seems, we are all being creolised. --Ulf Hannerz, “The World in Creolisation” Among a new generation of post-colonial artists who are exploring the Caribbean as a microcosm of “the future world whose signs are already showing” (Bernabé, Chamoiseau, Confiant 892) is the Jamaican-born poet, essayist, and novelist Michelle Cliff. Like many of her Caribbean literary counterparts

ignored or considered as marginal individual literary enterprises. The paper aims above all at raising a few issues about this new born offshoot of North African Literature. These writings may not be best sellers, they may not belong to the canon of British or American academia but they, nevertheless, represent the first harbingers of a new era where silenced cultures acquire an English voice. In North Africa, French, the language of the former colonizer, is used by a number of Maghrebi intellectuals