As Sarah Lucas’s mammoth new exhibition opens at Tate Britain, co-curator Dominique Heyse-Moore unpacks six key pieces from the artist’s illustrious career
As Sarah Lucas’s mammoth new exhibition opens at Tate Britain, co-curator Dominique Heyse-Moore unpacks six key pieces from the artist’s
has always been a master of suggestion: in her hands, domestic furniture transforms into bodies, nylon tights become skin, raw chickens represent vaginas, while burnt-out cars embody their driver. A Goldsmiths student alongside, she arrived on the art scene in the late 1980s as an original member of the YBAs – that new generation of artists who became notorious for their anti-establishment approach to imagery and materials.
Here, to mark the exhibition’s opening, co-curator Dominique Heyse-Moore talks us through six of the show’s key works.Collection Museum of Contemporary Art Chicago, Gift of the D.Daskalopoulos Collection donated jointly to the Museum of Contemporary Art Chicago and the Solomon R. Guggenheim Museum, 2022.
It’s important to note here though that Sarah’s self-portraits are always taken by someone else – she sees them as being about relationships, about accident and spontaneity.”“As I mentioned, Lucas introduces a real exuberance with her later Bunnies. There’s an intention to that shift in her feminism over the years; she talks a lot about the politicising moment when she read Andrea Dworkin in the late 80s, and suddenly felt rage – but she didn’t want to hold onto that rage.