As a student who studies art, I already know about parts of this topic quite well, and I have noticed

from studying art history, that modern artists dont have alot of attention in the media as much as they used to. I've also noticed that the media has given artists a specific steryotype of personality and behaviour in films and TV programmes.

Outlandish/eccentric Very poor or very rich Moody Mostly male Middle aged Dress unusually Anti-social

The lodger in the flat below Tim and Daisy's. Brian is a rather bizarre and somewhat angst-ridden and pretentious artist. Quietly spoken and intense, Brian gives the impression of being almost psychotic and sociopathic; in fact, he is just very shy and timid. His main artistic drives are anger, pain, fear and aggression, and his art is, according to him, 'a bit more complex' than watercolours. Both his artistic drives and his social maladjustment can be traced to the death of his childhood pet dog Pom Pom, run over by a truck when playing with Brian (who used to dress him up in period costumes and photograph him). He frequently behaves in a tormented fashion, particularly when Marsha's lusting after him. He is in love with Twist, and embarked on a torrid relationship with her before they broke up towards the end of series two. Despite this, his sexuality is quite complex and frequently alluded to throughout the series, as he seems quite undecided at times. When directly asked if he is gay he replies that he is not, but in a manner that suggests he thinks he ought to be. At the start of the first series, he has a strong dislike of contemporary art, but is quite talented in its use, and by the end of the second series he overcomes his disregard and proudly displays his abstract portrait of Twist in public.

A film directed by Banksy, that tells the story of Thierry Guetta, a French immigrant in Los Angeles, and his obsession with street art. The film charts Guetta's constant documenting of his every waking moment on film, from a chance encounter with his cousin, the artist Invader, to his introduction to a host of street artists with a focus on Shepard Fairey and Banksy, whose anonymity is preserved by obscuring his face and altering his voice, to Guetta's eventual fame as a street artist himself. The film premiered at the 2010 Sundance Film Festival on 24 January, 2010. It is narrated by Rhys Ifans. The music is by Geoff Barrow. It includes Richard Hawley's "Tonight The Streets Are Ours". The film was nominated for the Academy Award for Best Documentary Feature at the 83rd Academy Awards, and broadcast on British public television station Channel 4 on August 13, 2011. There has been debate over whether the documentary is genuine or a mockumentary. Banksy has said in interviews that editing the film together was an arduous process, noting that "I spent a year [...] watching footage of sweaty vandals falling off ladders" and "The film was made by a very small team. It would have been even smaller if the editors didn't keep having mental breakdowns. They went through over 10,000 hours of Thierry's tapes and got literally seconds of usable footage out of it." Producer Jaimie D'Cruz wrote in his production diary that obtaining the original tapes from Thierry was particularly complicated. The film received overwhelmingly positive reviews, holding 96% on Rotten Tomatoes, and was nominated for Best Documentary in the 2011 Academy Awards. One consistent theme in the reviews was the authenticity of the film: Was the film just an elaborate ruse on Banksy's part, or did Guetta really evolve into Mr. Brainwash overnight? The Boston Globe movie reviewer Ty Burr found it to be quite entertaining and awarded it four stars. He dismissed the notion of the film being a "put on" saying "Im not buying it; for one thing, this storys too good, too weirdly rich, to be made up. For another, the movies gently amused scorn lands on everyone." Roger Ebert gave it 3.5 stars out of 4, starting his review saying that "The widespread speculation that Exit Through the Gift Shop is a hoax only adds to its fascination." However, in an interview with SuicideGirls, filmmakers Jaimie D'Cruz and Chris King denied that it was a hoax, and expressed their growing frustration with the speculation that it was: "For a while we all thought that was quite funny, but it went on for so long. It was a bit disappointing when it became basically accepted as fact, that it was all just a silly hoax ... I felt it was a shame that the whole thing was going to be dismissed like that really - because we knew it was true." The New York Times movie reviewer Jeannette Catsoulis wrote that the film could be a new subgenre, a "prankumentary". New York Film Critics Online bestowed its Best Documentary Award on the film in 2010. French journalist Marjolaine Gout gave it 4 stars out of 5, linking Mr. Brainwash and Jeff Koons and criticizing Thierry Guetta's art as toilet papering. It was awarded Best Movie of 2010 by Rooster Teeth Productions

Damien Hirst Slammed by British Media: He Simply Cant Paint If it were not for his prodigious fame, would Damien Hirsts canvases be exhibited at Londons hallowed Wallace Collection? Of course not, says Tom Lubbock in The Independent. The man simply cant paint: A few quick questions. 1. Are these new paintings, painted by Damien Hirst himself, any good? No, not at all, they are not worth looking at. 2. So why are you writing about them at such length? Because he is very famous. 3. And why has the Wallace Collection decided to exhibit them? Because he is very famous. 4. And why did Damien Hirst even paint them in the first place? Because he is very famous. Now let me put this at more length. Damien Hirst has painted some paintings, entirely by hand. So far he has made his name with other kinds of art: with assemblages, mainly involving dead animals and pills, and paintings, painted by other people. There have been the spot paintings, the spin paintings, paintings copied from photographs, all done by assistants. But now he has risked his fame, with some paintings done by his own hand http://www.disinfo.com/2009/10/damien-hirst-slammedby-british-media-he-simply-cant-paint/

Damien Hirst : The Artist as Media Celebrity http://www.artdesigncafe.com/Damien-Hirst-mediacelebrity-2001 During the 1990s, Damien Hirst (b.1965) became Britains most famous, young, living sculptor and painter, in part because of his own flair for self-promotion and the publicity skills of his primary patron Charles Saatchi. Damien Hirst evinced marketing abilities while still studying at Goldsmiths by organizing a student show entitled Freeze (1988) in a derelict Docklands building. Once established, he continued to curate high profile mixed exhibitions with wacky titles such as Some Went Mad, Some Ran Away (Serpentine Gallery, 1994). Artworks presenting the corpses of creatures such as fish, sharks, cows and sheep floating in formaldehyde inside glass vitrines extended the shock-horror imagery associated with Francis Bacon and attracted numerous headlines and cartoons. Further publicity resulted when one of these works"Away from the Flock" (1994) shown at the Serpentine Gallery was vandalized and a court case followed. By 1994, Damien Hirst had become so well known that the BBC TV arts strand Omnibus was willing to devote a whole programme to him. The following year, the British arts establishment endorsed him by awarding him the Turner Prize organized by the Tate Gallery and sponsored by Channel 4 TV. Once Hirst was earning money, he diversified. Like his patron, he became a businessman by investing in London restaurants and bars, such as The Pharmacy, Notting Hill Gate, which he then "branded" by displaying examples of his art. Hirst also expanded in terms of media: he devised a billboard image, an advertisement for Absolut Vodka, a commercial for cable television and a trailer featuring live rats for an opera. His "spot" paintings were reproduced on dresses and he directed a narrative film entitled Hanging Around (1996). He designed the book Snowblind (1998)a limited edition text about cocaine costing 1000 a copyand collaborated with the band Blur to make a pop music video. He designed a multiple consisting of a bowl, mug and plate set with cow illustrations and assisted the Welsh actor and comedian Keith Allen to issue records of the football anthems Vindaloo (1998) and Jerusalem (2000). In 1999, one of his paintings was even included in a British spacecraft dispatched to Mars.

Damien Hirst Absolut Vodka advert

Tracey Karima Emin is a British artist of English and Turkish Cypriot origin. She is part of the group known as Britartists or YBAs (Young British Artists). In 1997, her work Everyone I Have Ever Slept With 19631995, a tent appliqud with names, was shown at Charles Saatchi's Sensation exhibition held at the Royal Academy in London. The same year, she gained considerable media exposure when she appeared drunk and swearing on a live Channel 4 TV discussion. In 1999, she was a Turner Prize nominee and exhibited My Bed an installation, consisting of her own unmade dirty bed with used condoms and blood-stained underwear. There has been an ongoing dispute with former boyfriend, artist Billy Childish, particularly over the Stuckism movement, founded in 1999 and named after an insult by her. In 2004, her tent artwork was destroyed in the Momart warehouse fire. In March 2007, Emin was chosen to join the Royal Academy of Arts in London as a Royal Academician. She represented Britain at the 2007 Venice Biennale. Her first major retrospective 20 Years was held in Edinburgh 2008, and toured Europe until 2009. Tracey opened the Turner Contemporary art gallery in Margate with Jools Holland in April 2011. She has been a major supporter of the project from its inception and it has been suggested she will exhibit there in the future. In May 2011, Emin's largest major solo exhibition in a public space was held at Hayward Gallery, London titled Love Is What You Want. Emin is a panelist and speaker: she has lectured at the Victoria and Albert Museum in London,bthe European Graduate School in Saas-Fee, Switzerland, the Art Gallery of New South Wales in Sydney (2010), the Royal Academy of Arts (2008), and the Tate Britain in London (2005) about the links between creativity and autobiography, and the role of subjectivity and personal histories in constructing art. Emin's art takes many different forms of expression including needlework and sculpture, drawing, video and installation, photography and painting.

In 2004, the tent was destroyed in a fire at the East London Momart warehouse, along with two of Emin's other works and some 100 more from Saatchi's collection, including works by Damien Hirst, Jake and Dinos Chapman and Martin Maloney. Many other works were also lost, including major pieces by Patrick Heron and William Redgrave. The public and media reaction was not one of sympathy but of mockery and scorn, focusing on the YBAs, Damien Hirst, the Chapman Brothers, and Emin, with particular attention to her tent. Tabloid papers, The Sun and the Daily Mail, both stated they had already created their own replacement tents, and the latter's Godfrey Barker asked, "Didn't millions cheer as this 'rubbish' went up in flames?" The same implication gained applause on BBC Radio 4's Any Questions?; Hugh Rifkind in The Times thought similarly to The Independent's Tom Lubbock, who wrote:"It's odd to hear talk about irreplaceable losses. Really? You'd have thought that, with the will and the funding, many of these works were perfectly replaceable. It wouldn't be very hard for Tracey Emin to re-stitch the names of Every One I Have Ever Slept With on to a little tent (it might need some updating since 1995.)" Emin took a phlegmatic view of her work's destruction, saying, "The news comes between Iraqi weddings being bombed and people dying in the Dominican Republic in flash floods, so we have to get it into perspective." She was, though, upset at the public reaction to the fire, pointing both to lack of cultural understanding "The majority of the British public have no regard or no respect to what me and my peers do, to the point that they laugh at a disaster like a fire." and to lack of compassion "It is just not fair and it's not funny and it's not polite and it's bad manners. I would never laugh at a disaster like that I just have some empathy and sympathy with people's loss." She also stated that she could not remake the tent, because "I had the inclination and inspiration 10 years ago to make that, I don't have that inspiration and inclination now ... My work is very personal, which people know, so I can't create that emotion again it's impossible." At her 2008 Edinburgh retrospective show, she said that after the fire she had been offered 1 million (the amount of the insurance payment) by the Saatchi Gallery to remake the tent, but that, although she had recreated some small pieces for the retrospective, to have remade the tent "would just be silly".