Odd Couple: Chapman Brothers

Highlights of the Boundary-Pushing Artists' Controversial Career

Sending up bourgeois morality with McDonalds-emblazoned ethnographic sculptures, multi-eyed kittens and painstakingly detailed apocalypse tableaux, the Chapman Brothers have built a reputation as two of the most notorious talents to emerge from the 90s YBA movement. “Throughout history it has been the heroic job of art to express with absolute certainty the existential angst of the individual,” says Jake Chapman. “We try to disrupt that—turning it all into a cacophonous mass.” Routinely outdoing even Damien Hirst in the sensationalism stakes, the Turner Prize-nominated artists recently unveiled a landmark exhibition at London's White Cube Gallery that signaled the first instance of the siblings working in isolation from each other. Nearly two decades on from their Goya-inspired 1993 breakthrough series, Disasters of War, the subversive duo have edited a new Rizzoli monograph, Flogging a Dead Horse, which pays tribute to their iconoclastic canon with 300-plus detailed reproductions. 

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