The title of the exhibition “Sensation” at London’s Royal Academy of Arts in 1997 was no exaggeration. Damien Hirst’s Shark in Formaldehyde, Marcus Harvey’s portrait of serial killer Myra Hindley, the grisly works of the Chapman brothers, all seemed like a single, giant extended middle finger in the galleries of Burlington House. One of the most spectacular works was Sarah Lucas’s “Au Naturel,” which staged a post-coital scene with two melons and a bucket, a cucumber and two oranges on a bent mattress.
“Happy Gas” exhibition by Sarah Lucas at Tate Britain – Culture
