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Here, Rizzoli presents a a career retrospective that`s not only definitive, but aesthetically pleasing, with over 300 colour images, an introduction by Nick Cave and informative essays from Jeffrey Deitch and Michael Bracewell. |
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“The pair achieved cult status aided by sales of merchandise at the Saatchi Gallery.”
Tim Noble and Sue Webster, British Rubbish, 2011. Page 103, Sunset over Manhattan, 2003. Cigarette packets, tin cans shot by air gun pellets, wooden bench, light projector, 110 x 31 x 75 cm. Photo Credit: Andy Keate. Courtesy of the artist.
British Rubbish
Ian Pemberton
Tim Noble and Sue Webster famously gave the finger to the YBA movement (metaphorically, of course) with their exhibition “British Rubbish” in 1996 at the ISA.
Here, Rizzoli presents a a career retrospective that`s not only definitive, but aesthetically pleasing, with over 300 colour images, an introduction by Nick Cave and informative essays from Jeffrey Deitch and Michael Bracewell.
The book opens with Noble and Webster’s first light sculpture Excessive Sensual Indulgence (1996), a fountain of fairground-style light bulbs that was brilliantly kitsch. This is followed by Forever, which started its life on top of a bus shelter in North London but quickly made its way into a private collection, via a New York auction house and the small matter of $150,000. The following year saw the unveiling of a more elaborate light work, Toxic Schizophrenia. The pair achieved cult status aided by sales of merchandise at the Saatchi Gallery, which, ironically, was the spiritual home of the YBA scene.
After their 1997 “Home Chance” exhibition they achieved their first major sales. Toxic Schizophrenia and Miss Understood and Mr Meanour were sold to Charles Saatchi. Dirty White Trash (with Gulls) and the Walk On Water neon were soon thereafter exhibited at Shave.
Three years in the making `The New Barbarians` were released into the community at the solo exhibition at the Chisenhale Gallery, London in 1999, as always self – promoted by Tim and Sue in their inimitable artists in art style. As a result of this success an exhibition titled `I Love You` was pencilled in for February – March 2000 in New York courtesy of gallery owner Jeffrey Deitch. The exhibition was a resounding success bringing Tim and Sue numerous plaudits.
Tim Noble and Sue Webster, British Rubbish, 2011. Page 127, The Spikey Thing, 2005, Welded scrap metal, light projector, 95.3 x 75 x 180.3 cm Photo Credit: Andy Keate. Courtesy of the artist.
Invited to `Apocalypse` at the Royal Academy in September 2000, they presented `The Undesirables` and `The Muthafucka`, both examples of their fascination with youth culture and chaos. They purchased 2-4 Chance Street, East London in early 2001, it was around this time that things were very stressful between Tim and Sue and this was reflected in `Falling Apart` a very dark, sinister piece of work.
As demand for their work soared, Noble and Webster produced Instant Gratification, a double self-portrait for Larry Gagosian crafted from dollar bills. The light sculpture A Pair of Dollars and a larger version of Forever were also shown in Beverley Hills at Gagosian in 2001. A period of macabre fascination in 2002 led to the Black Magic series of thirteen paintings inspired by Fred and Rose West.
In 2002, the pair moved into Chance Street and sculpted Real Life is Rubbish from the remnants of their old Rivington Street studio. They soon pushed boundaries further with Kiss of Death made from assorted taxidermy. This piece, after being shown at the Serpentine Gallery, became part of the permanent Guggenheim collection.
On a lighter note, Noble and West created a pair of attitude-fuelled tattooed youths in a large neon form titled Puny Undernourished Kid and Girlfriend From Hell (2004), a fiery and aggressive, yet humorous, in-your-face work. In the same year at Modern Art Is Dead, they exhibited constructed metal sculptures. These, however, found a mixed reception.
After seeing Jeff Koons’ Puppy installation at the Rockefeller in 2000, they were determined to produce a performance sculpture on a grand scale. Finally, in 2008 they unveiled Electric Fountain at the same venue. This took shape in trademark neon forms topping 35 feet, which was a tribute to both pop and classical iconography.
British Rubbish is delicious book that will both shock and please. More importantly it will contribute to the recognition richly deserved by the most original pair of gunslingers in the West.
*** This article was published by NY Arts Magazine, 2011. NY Arts Magazine is published by Abraham Lubelski. Sponsored by Broadway Gallery, NYC and World Art Media.
