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.