The Challenging of Institutions Within the Art World Essay Example

dung that have been varnished, the artwork by Ofili depicts an African American Madonna. The Madonna is covered in drapery that is reminiscent of the Renaissance style. The piece, titled The Holy Virgin Mary, appropriates and recontextualizes the traditional depiction of the Virgin Mary. This is achieved not only through the use of the dung as a material but also through the juxtaposition of innocence and purity represented by cherubs. Instead of cherubs, Ofili substitutes their physicality on the canvas with photographs of female genitalia. By doing so, the artist challenges the idea that women should embody complete chastity while simultaneously embracing and celebrating their sexuality. This highlights the hypocrisy present in Catholicism.

The Holy Virgin Mary disrupts the Catholic Church by presenting a new interpretation of the Virgin Mary, a revered figure in Catholicism. The way individuals perceive each piece within gallery institutions can vary. The statement made by Rudolph Giuliani, the Mayor of New York, expressed his objection to government funding being used for disrespectful depictions of religious symbols. The Holy Virgin Mary infuriated Giuliani due to its explicit imagery, unconventional painting materials, and its use of elephant dung as a support.

The artwork was interpreted by Guliani as an insulting and blasphemous attack on the holy status of the Virgin Mary. However, Ofili perceives the piece as a work of beauty, with the elephant dung showcasing the natural phenomenon of life, representing purity in its own right. Through his art, Ofili consistently explores religion as a subject, not because of his own religious beliefs, but to depict the impact of societal changes on religion's position.

Institutions have conditioned

society to approach museum works with contemplation and reflection. However, each individual interprets artworks differently, pushing the boundaries of both individual tolerance and the institution as a whole. Damien Hirst's artwork, The Physical Impossibility in the Mind of Something Living, challenges the concept of death with a hypocritical perspective.

The usage of a deceased shark as a representation of death and fear by Hirst is highly provocative. Viewers of this artwork may question the typical associations linked to this animal while directly confronting it, observing its tranquil and speechless presence. The implementation of formaldehyde in preserving the external remains of the shark prompts the audience to contemplate not just the internal state of the shark, but also their own psychological state in physical death. Damien Hirst's pursuit of pushing boundaries is both uninteresting and lacking empathy. Whether Hirst personally killed the animals or passively allowed their mass slaughter for his own unjustifiable entertainment is irrelevant. Sharks are a natural part of our ecosystem and should be allowed to thrive in their wild habitat instead of being destroyed for something banal and uninspiring." (Quote from Same Glover, PETA) PETA's response to Hirst's artwork was one of condemnation, deeming him barbaric and cruel, refusing to accept his works as true art.

Displayed in a gallery, the unconventional art form of suspending subject matter and materials within a glass tank serves to challenge both the gallery institution and the public. The piece, titled "The Shark," elicits a reaction that conveys the shark as both a representation of life and death. The New York Times describes it as demonic and deathlike, evoking a profound impact on

the audience when viewed up close in the gallery space. This challenges the limits of audience and gallery tolerance while questioning the space it is exhibited in. In the realm of art within institutions, it aims to influence attitudes and beliefs or resonate with those who share similar life experiences. Arthur Danto suggests that the purpose of art is not just to create masterpieces, but to serve a socially urgent endeavor. Tracey Emin's work, My Bed, exemplifies this approach by exploring issues of identity, sexuality, and morality through a brutally honest contemplation of suicide. Emin's work boldly confronts audiences by inviting them into her world to explore the most challenging yet pivotal moments in her life.

In comparison to Hirst and Ofili's artwork, this subject matter in Emin's work is more delicate. This is because it focuses on a personal struggle in Emin's life rather than the themes of mortality in Hirst's work or the juxtaposition of traditional and modern elements explored by Ofili.

The traditional design of the gallery as a place for a 'masterpiece' is questioned by displaying a personal item like a bed. According to The Telegraph, Emin brings items from the real world into the art gallery without much alteration, emphasizing her connection to individuals dealing with depression and suicidal thoughts. By placing such an intimate item in a gallery space and transforming it into her own room, Emin challenges the institution of the gallery and creates a more personal experience for those who have gone through similar hardships. This also blurs the boundaries between private and public expression. Artworks, including Emin's, aim to challenge institutions and push the boundaries of

tolerance while representing a generation of diverse and controversial artists.

The Holy Virgin Mary by Chris Ofili, The Physical Impossibility of Death in the Mind of Something Living by Damien Hirst, and My Bed by Tracey Emin all push the limits of acceptance for galleries, religion, society, and death, using various media and following postmodern conventions. Each artwork redefines the gallery space by challenging the historical context, transforming institutions into places that challenge rather than uphold traditional, 'classical' art.

Artworks have challenged institutions such as PETA, religion, governments, and the public. These challenges have resulted in the redefinition of these institutions and the testing of their limitations.
Bibliography: 27/2/13, retrieved from the world wide web, Sensation Saatchi Collection, Records of the Department of Public Information,
https://www.brooklynmuseum.org/opencollection/exhibitions/683/Sensation%3A_Young_British_Artists_from_the_Saatchi_Collection
27/2/13, retrieved from the world wide web, Saatchi Gallery, unknown,
http://www.saatchi-gallery.co.uk/aipe/sensation_royal_academy.htm
27/2/13, retrieved from the world wide web, My Bed, unknown,
http://en.wikipedia.org/wiki/My_Bed
27/2/13, retrieved from the world wide web, The Physical Impossibility of Death in the Mind of Someone Living, unknown,
http://en.wikipedia.org/wiki/The_Physical_Impossibility_of_Death_in_the_Mind_of_Someone_Living
27/2/13, Visual Arts Assignment Term 1, Ascham, Australia