Alexander McQueen<\/a> and Damien Hirst.<\/p>\nIt will spotlight young artistic talent that emerged during the period and give audiences the opportunity to reconsider the time as a turning point in British art. The exhibition will include artists whose work drew attention to those largely excluded from the dominant Cool Britannia narrative of the time.<\/p>\n
Young Pink Kate, London (1998). Photograph: Juergen Teller\/PA<\/p>\n
Among the works featured is Steve McQueen\u2019s first major film, Bear (1993), a cinematic portrayal of an intimate face-off between two men; Ofili\u2019s Turner prize-winning painting No Woman, No Cry (1998), which he made in tribute to the Lawrences; and video by Keith Piper reflecting on sport and national identity.<\/p>\n
Tate said the exhibition would open with an exploration of the period\u2019s \u201cdo it yourself\u201d attitude, with photography by Corinne Day, Nigel Shafran and Juergen Teller \u2013 who were at the forefront of defining the \u201canti-fashion\u201d grunge style \u2013 for publications including i-D and Dazed & Confused.<\/p>\n
Barbara Walker, Jenny Saville and Gillian Wearing, who used real people as muses, will also feature, as well as Tracey Emin, Sam Taylor\u2011Johnson and Sarah Lucas, who captivated the public with their anarchic spirit and frank work tackling agency, identity and class.<\/p>\n
The decade\u2019s youthful attitude will be captured in film and photography, from Mark Leckey\u2019s 1999 film Fiorucci Made Me Hardcore to images documenting young people at club nights including the Ha\u00e7ienda in Manchester and Bagley\u2019s in London.<\/p>\n
The exhibition will also explore its conceptual movements, including Hamad Butt\u2019s response to the impact of the Aids crisis and Hirst\u2019s formaldehyde-filled sculptures.<\/p>\n
An Alexander McQueen fashion show in 1998. Photograph: Guy Marineau\/Vogue\/Conde Nast\/PA<\/p>\n
There is work from visionary designers who blurred the lines between art and fashion, from Alexander McQueen\u2019s provocative presentations to Hussein Chalayan\u2019s clothing inspired by everyday objects.<\/p>\n
The exhibition will end with artists and designers who reckoned with Britain\u2019s past and future, such as Yinka Shonibare and Maud Sulter, who asked questions of diversity and representation, and Vivienne Westwood and John Galliano, who interrogated style, class and national mythology.<\/p>\n
Enninful said the year of 1990 was a \u201cmoment of transition\u201d, adding: \u201cLondon at the time wasn\u2019t the polished global capital it is today \u2013 it was raw, unstable and full of possibility. There was a sense that something was shifting, even if we didn\u2019t have the language for it.<\/p>\n
Edward Enninful, who is curating the exhibition. Photograph: David Levene\/The Guardian<\/p>\n
\u201cWhat defined that period for me was not a single movement, but an energy \u2013 a refusal of hierarchy and a belief that new voices could and should be heard across art, fashion, music and image making.\u201d<\/p>\n
He said as a young black man from Ladbroke Grove in London, the moment was also about access and \u201cfinding a place within spaces that hadn\u2019t been built with you in mind\u201d.<\/p>\n
\u201cThe 1990s established conditions that are still with us,\u201d Enninful said. \u201cThe merging of high and low culture, the politicisation of fashion and image and the emergence of diversity as a creative force.<\/p>\n
\u201cAnd perhaps, most importantly, it reminds us the questions we were asking then remain urgent now \u2013 questions of visibility, access and who gets to be seen.\u201d<\/p>\n
The exhibition, Enninful added, was \u201can invitation, not to look back, but to look again, to reconsider that decade, not as a closed chapter, but as something still unfolding\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"Steve McQueen\u2019s first major film, a Chris Ofili painting in tribute to Doreen and Stephen Lawrence and images…\n","protected":false},"author":2,"featured_media":634356,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[449,458,459,64,63,460,134],"class_list":{"0":"post-634355","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-design","8":"tag-arts","9":"tag-arts-and-design","10":"tag-artsanddesign","11":"tag-au","12":"tag-australia","13":"tag-design","14":"tag-entertainment"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts\/634355","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/comments?post=634355"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts\/634355\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/media\/634356"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/media?parent=634355"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/categories?post=634355"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/tags?post=634355"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}