hand painted illustration of a man driving a cart stuck through the centre of the record deck player where a vinyl would go

Name

Jake & Dinos Chapman

Title

The wheels on the bus go round and round, round and round....

medium

Hand-colored etching AP on turntable

year

2018

dimensions

11.5 x 45 x 38.5 cm

The wheels on the bus go round and round, round and round, round and round, the wheels on the bus go round and round aaaaaaaaaaaaaaaaaaaaaaaaall daaaaaaaaaaaay long

Young British Artists Jake and Dinos Chapman create iconoclastic sculptures, prints, and installations that examine contemporary politics, religion, and morality with searing wit. They first gained recognition with their first solo installation, We Are Artists (1992), in which they stenciled an anti-aesthetic manifesto onto a mud-splattered wall at the Institute of Contemporary Art (ICA) in London.

From their etchings of Goya-esque piles of body parts to naked child mannequins whose facial features are replaced with genitalia, the Chapman brothers explore the poles of beauty and pain, humor and horror, the sublime and perverse, the diabolical and the infantile, in ways that shock and confront viewers with their own voyeurism.

artist

Jake & Dinos Chapman

title

The wheels on the bus go round and round, round and round....

medium

Hand-colored etching AP on turntable

year

2018

year

11.5 x 45 x 38.5 cm

The wheels on the bus go round and round, round and round, round and round, the wheels on the bus go round and round aaaaaaaaaaaaaaaaaaaaaaaaall daaaaaaaaaaaay long

Young British Artists Jake and Dinos Chapman create iconoclastic sculptures, prints, and installations that examine contemporary politics, religion, and morality with searing wit. They first gained recognition with their first solo installation, We Are Artists (1992), in which they stenciled an anti-aesthetic manifesto onto a mud-splattered wall at the Institute of Contemporary Art (ICA) in London.

From their etchings of Goya-esque piles of body parts to naked child mannequins whose facial features are replaced with genitalia, the Chapman brothers explore the poles of beauty and pain, humor and horror, the sublime and perverse, the diabolical and the infantile, in ways that shock and confront viewers with their own voyeurism.