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I'm getting ready to do something I've never done before. | 0:00:04 | 0:00:07 | |
I'm not sure I'm going to like this. | 0:00:15 | 0:00:17 | |
It's actually quite disgusting. | 0:00:20 | 0:00:23 | |
Outside, my collaborators are preparing for the big moment. | 0:00:30 | 0:00:36 | |
OK, if you lean forward a bit. | 0:00:38 | 0:00:40 | |
It's all rather uncomfortable and a bit baffling | 0:00:46 | 0:00:51 | |
but then I am entering the world of modern art. | 0:00:51 | 0:00:55 | |
Roll camera! | 0:00:55 | 0:00:58 | |
And action! | 0:00:59 | 0:01:01 | |
Where am I? | 0:01:05 | 0:01:08 | |
Where am I? | 0:01:09 | 0:01:10 | |
Am I outside? | 0:01:11 | 0:01:13 | |
GRUNTING | 0:01:16 | 0:01:18 | |
-WOMAN: -Help me with the face, please, Cadmus. | 0:01:23 | 0:01:26 | |
Cadmus! | 0:01:26 | 0:01:27 | |
Put the hammer down and go and get changed. | 0:01:29 | 0:01:31 | |
Changed? | 0:01:32 | 0:01:34 | |
This is the beginning of the 20th century. | 0:01:34 | 0:01:37 | |
Alphabet? | 0:01:37 | 0:01:38 | |
The 20th century, not the 1st. | 0:01:38 | 0:01:41 | |
Help me. | 0:01:41 | 0:01:44 | |
We can control the modern age with this face. | 0:01:51 | 0:01:54 | |
-CADMUS: -Face. | 0:01:54 | 0:01:56 | |
Face! | 0:01:56 | 0:01:57 | |
Be careful with it, Cadmus. | 0:01:57 | 0:02:00 | |
Cadmus play with face. | 0:02:00 | 0:02:03 | |
Be careful with it, Cadmus! | 0:02:03 | 0:02:04 | |
-Eye-balling... -DAVID: Excuse me! | 0:02:07 | 0:02:10 | |
It's slipping. Help me keep it together. | 0:02:10 | 0:02:13 | |
Now, what shall we make it say? | 0:02:13 | 0:02:17 | |
-CADMUS: -Mouth! | 0:02:18 | 0:02:19 | |
MUFFLED: Would you mind not...? | 0:02:19 | 0:02:21 | |
Mouth! Kisses! | 0:02:21 | 0:02:23 | |
Take your hand out of my mouth! | 0:02:23 | 0:02:25 | |
Cadmus! | 0:02:25 | 0:02:26 | |
Ah...! | 0:02:26 | 0:02:29 | |
I'm part of a work of art by the contemporary artist, Nathaniel Mellors. | 0:02:43 | 0:02:48 | |
He's used film, sculpture, performance | 0:02:48 | 0:02:53 | |
to make a comment on the role of television in modern society. | 0:02:53 | 0:02:57 | |
Whatever you make of it, it shows how much art has changed | 0:02:57 | 0:03:01 | |
in the last 100 years from pictures hanging in the walls of galleries | 0:03:01 | 0:03:05 | |
to this. | 0:03:05 | 0:03:07 | |
The 20th century was an age of ambition, | 0:03:07 | 0:03:11 | |
when we turned our society upside down, | 0:03:11 | 0:03:14 | |
when people felt freed from the old traditions | 0:03:14 | 0:03:17 | |
to experiment as they chose with their lives. | 0:03:17 | 0:03:20 | |
And these changes were reflected, as always, in our art. | 0:03:20 | 0:03:25 | |
At the beginning of the 20th century, | 0:04:02 | 0:04:05 | |
Britain was intent on throwing off the shackles of the Victorian era. | 0:04:05 | 0:04:09 | |
We were an urbanised, industrialised nation, | 0:04:12 | 0:04:16 | |
where new forms of transport and communication | 0:04:16 | 0:04:19 | |
promised to change everyone's life for the better. | 0:04:19 | 0:04:23 | |
But the century had hardly started before we were knocked off course | 0:04:36 | 0:04:41 | |
by an event which changed the direction of our history. | 0:04:41 | 0:04:45 | |
Modern Britain was forged in the trenches of the First World War. | 0:04:57 | 0:05:02 | |
When it started in 1914, people thought it would only go on | 0:05:02 | 0:05:05 | |
for a few months, but it lasted over four years. | 0:05:05 | 0:05:09 | |
And in the slaughter of British forces alone, | 0:05:09 | 0:05:13 | |
nearly a million lost their lives. | 0:05:13 | 0:05:16 | |
The brilliant technology designed to improve the quality of life | 0:05:21 | 0:05:25 | |
was perverted to the service of death. | 0:05:25 | 0:05:28 | |
Man had made the machines. | 0:05:37 | 0:05:41 | |
Now he was destroyed by them. | 0:05:41 | 0:05:44 | |
As always, artists were sent to the front line to record the scene. | 0:05:46 | 0:05:52 | |
But what they saw there defied their imagination. | 0:05:52 | 0:05:56 | |
It was beyond anything they'd experienced before. | 0:05:59 | 0:06:03 | |
It soon became clear that traditional painting couldn't capture | 0:06:07 | 0:06:11 | |
the full horror of modern warfare. | 0:06:11 | 0:06:13 | |
One elderly painter, who'd made a career | 0:06:13 | 0:06:16 | |
of battle scenes, cavalry charges and the like | 0:06:16 | 0:06:18 | |
put it rather well, saying, "The gallant plumage, | 0:06:18 | 0:06:21 | |
"the glint of gold and silver had given way to universal grimness." | 0:06:21 | 0:06:28 | |
It took a new generation of painters to rise to the challenge. | 0:06:28 | 0:06:32 | |
They were known as modernists, | 0:06:32 | 0:06:34 | |
and, for them, modernism meant | 0:06:34 | 0:06:36 | |
having the courage to look at the harsh reality of the world, | 0:06:36 | 0:06:39 | |
however grim it was, | 0:06:39 | 0:06:41 | |
and then to paint not precisely what they saw, but what they felt. | 0:06:41 | 0:06:45 | |
GUNFIRE | 0:06:50 | 0:06:51 | |
And up here at this end is perhaps the grimmest painting of the First World War, | 0:07:13 | 0:07:19 | |
Paul Nash's Menin Road. | 0:07:19 | 0:07:21 | |
Nash had served as a soldier, | 0:07:35 | 0:07:37 | |
and this shows the battlefield of Flanders as it was | 0:07:37 | 0:07:41 | |
once war had passed over it. | 0:07:41 | 0:07:43 | |
The soft green fields obliterated | 0:07:43 | 0:07:46 | |
and, instead, a kind of horrific moonscape of mud, | 0:07:46 | 0:07:51 | |
pitted with shell holes full of fetid water | 0:07:51 | 0:07:55 | |
and strange bits of detritus in it. | 0:07:55 | 0:07:58 | |
The trees, their branches all gone, just standing, | 0:07:58 | 0:08:03 | |
forlorn trunks, robbed of life. | 0:08:03 | 0:08:07 | |
Even the colours are unreal. | 0:08:09 | 0:08:12 | |
This sort of pink box there floating in the water. | 0:08:12 | 0:08:18 | |
And then these shafts of blue and greeny-blue light | 0:08:18 | 0:08:24 | |
coming through the black clouds. | 0:08:24 | 0:08:28 | |
A burst of smoke | 0:08:28 | 0:08:29 | |
from a shell here and a shell there. | 0:08:29 | 0:08:32 | |
And there's nobody in this landscape | 0:08:35 | 0:08:37 | |
except for these four figures, | 0:08:37 | 0:08:40 | |
stumbling back to what they hope will be safety. | 0:08:40 | 0:08:44 | |
Nash said that with this painting, he wanted to rob warfare | 0:08:48 | 0:08:53 | |
of its last shred of glory and its last shine of glamour, | 0:08:53 | 0:08:58 | |
and he certainly succeeds. | 0:08:58 | 0:09:01 | |
The war had taken its toll on everyone in Britain - | 0:09:17 | 0:09:22 | |
men and women of all classes of society. | 0:09:22 | 0:09:26 | |
When it ended, | 0:09:26 | 0:09:28 | |
the plan was that everyone would share in the fruits of victory. | 0:09:28 | 0:09:32 | |
Britain would become "a land fit for heroes". | 0:09:32 | 0:09:36 | |
New homes were built. | 0:09:39 | 0:09:41 | |
Technology was harnessed to liberate families from domestic slavery, | 0:09:46 | 0:09:52 | |
able to enjoy new freedoms. | 0:09:52 | 0:09:54 | |
Of all the freedoms of the 20th century, | 0:10:05 | 0:10:08 | |
the most valued was the freedom of the open road. | 0:10:08 | 0:10:11 | |
Cars had been around since the end of the previous century, | 0:10:15 | 0:10:18 | |
but they were only for the rich. | 0:10:18 | 0:10:21 | |
And then along came this... | 0:10:21 | 0:10:23 | |
...the Austin Seven, one of the greatest cars ever made. | 0:10:26 | 0:10:30 | |
The Austin Seven was designed by Herbert Austin. | 0:10:41 | 0:10:44 | |
He'd been an armaments manufacturer in the war | 0:10:44 | 0:10:46 | |
and decided that after the war what was needed was a small family car | 0:10:46 | 0:10:50 | |
and nothing as small as this had ever been seen. | 0:10:50 | 0:10:53 | |
In 1922, when it came out, the Austin Seven sold for £165. | 0:10:58 | 0:11:04 | |
"Motoring for the million," it was called. | 0:11:04 | 0:11:07 | |
"So cheap to run, it makes walking foolish." | 0:11:07 | 0:11:11 | |
And the astonishing thing about it is | 0:11:12 | 0:11:14 | |
that though from the outside it looks so tiny, | 0:11:14 | 0:11:18 | |
actually, when you get inside, | 0:11:18 | 0:11:20 | |
it's really very comfortable. | 0:11:20 | 0:11:22 | |
Let's see how it goes. | 0:11:26 | 0:11:28 | |
HORN HOOTS | 0:11:28 | 0:11:29 | |
The Austin Seven is a work of art in its own right - simple and beautiful. | 0:11:39 | 0:11:44 | |
Oh! | 0:11:45 | 0:11:47 | |
Its admirers still club together to go on nostalgic trips into the past. | 0:11:47 | 0:11:53 | |
Poop-poop! TOOTING | 0:11:59 | 0:12:02 | |
The first car I ever owned was an Austin Seven like this. | 0:12:06 | 0:12:09 | |
Mine didn't have a roof, so you were always out in the open. | 0:12:09 | 0:12:13 | |
You could hear the birds sing, you could smell the fields going past, | 0:12:13 | 0:12:17 | |
and when it rained, you got wet. | 0:12:17 | 0:12:19 | |
And when it snowed, you were well advised to give up. | 0:12:19 | 0:12:21 | |
If you got to a very steep hill, you had to go up in reverse, | 0:12:25 | 0:12:29 | |
because reverse gear was lower than first gear. | 0:12:29 | 0:12:32 | |
In the same year the Austin Seven was launched, | 0:13:01 | 0:13:04 | |
another miracle of technology appeared, | 0:13:04 | 0:13:07 | |
one that would open a window on the world about us. | 0:13:07 | 0:13:11 | |
'Hello, radio terminal. BBC here. Are you getting ready for our broadcast?' | 0:13:11 | 0:13:16 | |
A group of pioneering companies came together to form the BBC. | 0:13:17 | 0:13:22 | |
'This is the National Programme. | 0:13:23 | 0:13:26 | |
'The BBC Symphony Orchestra, conductor Adrian Boult, | 0:13:26 | 0:13:30 | |
'will play Beethoven's 5th Symphony.' | 0:13:30 | 0:13:34 | |
ORCHESTRA STRIKES UP | 0:13:36 | 0:13:38 | |
# LUDWIG VAN BEETHOVEN: Symphony No. 5 In C Minor | 0:13:43 | 0:13:45 | |
From the start, radio captured the public imagination. | 0:13:58 | 0:14:02 | |
Many more people subscribed for licences | 0:14:02 | 0:14:04 | |
than was expected. I don't know what it was. | 0:14:04 | 0:14:07 | |
Maybe it was the magic of voices coming over the airwaves, | 0:14:07 | 0:14:10 | |
perhaps it was regular news bulletins, weather forecasts, | 0:14:10 | 0:14:14 | |
maybe it was something as simple as everybody in the country | 0:14:14 | 0:14:17 | |
for the first time being able to set their clocks and watches by Big Ben. | 0:14:17 | 0:14:21 | |
Whatever it was, radio became the new religion, | 0:14:21 | 0:14:24 | |
a spirit reflected in the design of the BBC's first headquarters. | 0:14:24 | 0:14:30 | |
Broadcasting House, completed in 1931, | 0:14:41 | 0:14:45 | |
was a hymn to modernity. | 0:14:45 | 0:14:47 | |
It was designed in the fashionable Art Deco style, | 0:14:50 | 0:14:54 | |
often described as an ocean liner | 0:14:54 | 0:14:57 | |
anchored at the top of London's Regent Street. | 0:14:57 | 0:15:00 | |
The BBC called it "a temple to the arts", | 0:15:05 | 0:15:08 | |
and, like all temples, it wasn't just functional, | 0:15:08 | 0:15:11 | |
it had to have decoration to say what its purpose was. | 0:15:11 | 0:15:15 | |
Here, the sculptor Eric Gill was commissioned to make two figures | 0:15:15 | 0:15:19 | |
that stand over the doorway. | 0:15:19 | 0:15:21 | |
Some people looking at it think it's the figure of God and Christ, | 0:15:21 | 0:15:28 | |
but in reality it's from Shakespeare's Tempest, | 0:15:28 | 0:15:32 | |
the figure of Ariel and Prospero. | 0:15:32 | 0:15:35 | |
Ariel, the fairy spirit, carrying the radio waves around the world, | 0:15:35 | 0:15:39 | |
guided by Prospero, who presumably is the broadcaster. | 0:15:39 | 0:15:44 | |
This is where it all began. | 0:16:14 | 0:16:16 | |
This is the very first BBC radio transmitter. | 0:16:16 | 0:16:20 | |
BEEPING, DISTANT VOICES | 0:16:22 | 0:16:24 | |
-AMERICAN MAN: -'I received that signal. It is OK.' | 0:16:28 | 0:16:31 | |
-BRITISH MAN: -'Will you go ahead five seconds from now?' | 0:16:31 | 0:16:34 | |
It started broadcasting on the evening of the 14th of November 1922 | 0:16:34 | 0:16:40 | |
with the famous call sign "2LO calling, London calling." | 0:16:40 | 0:16:45 | |
'This is 2LO calling.' | 0:16:45 | 0:16:46 | |
'This is London calling.' | 0:16:46 | 0:16:48 | |
'This is the BBC Home And Forces Programme.' | 0:16:48 | 0:16:50 | |
'This is the BBC Home Service...' | 0:16:50 | 0:16:53 | |
Now, the way it was received to start with was not the radio set, | 0:16:59 | 0:17:03 | |
of course, but the crystal set. | 0:17:03 | 0:17:05 | |
This is a typical crystal set | 0:17:05 | 0:17:08 | |
that most people had at the beginning in the '20s. | 0:17:08 | 0:17:11 | |
I had one of these when I was at school. | 0:17:11 | 0:17:13 | |
They were very, very difficult to get to work. | 0:17:13 | 0:17:15 | |
You fiddled around with that till you got a signal. | 0:17:15 | 0:17:18 | |
You put the headphones on, you spun the dial | 0:17:18 | 0:17:21 | |
and if you were lucky, you could very faintly pick up music | 0:17:21 | 0:17:25 | |
or the sound of a voice. | 0:17:25 | 0:17:27 | |
Quite soon, that gave way to these impressive machines. | 0:17:27 | 0:17:33 | |
These are full-blown radios with valves inside. | 0:17:33 | 0:17:37 | |
The whole family could sit in the living room listening to the radio. | 0:17:37 | 0:17:41 | |
And that was the point - it became a family event. | 0:17:41 | 0:17:44 | |
And the design of them was important too, | 0:17:44 | 0:17:46 | |
because the design had to carry the message of what radio was about. | 0:17:46 | 0:17:50 | |
Radio is about light entering your world. | 0:17:50 | 0:17:53 | |
A sun with the rays of sunlight through the clouds. | 0:17:53 | 0:17:58 | |
Radio is about a beacon transmitting like a lighthouse does. | 0:17:58 | 0:18:03 | |
So here's the lighthouse and the rays of light. | 0:18:03 | 0:18:06 | |
But this perhaps is the most beautiful of all. | 0:18:07 | 0:18:11 | |
This is the circular radio, | 0:18:11 | 0:18:14 | |
designed by the architect Wells Coates in 1932. | 0:18:14 | 0:18:19 | |
He was obsessed with things being beautiful, | 0:18:19 | 0:18:22 | |
not just functional. | 0:18:22 | 0:18:23 | |
So, whether it was a house or a flat or the design of a radio, | 0:18:23 | 0:18:27 | |
it had to look good, it had to look exciting, it had to please the eye. | 0:18:27 | 0:18:32 | |
It's a kind of shrine to radio, this. | 0:18:32 | 0:18:36 | |
It's rather magical, | 0:18:36 | 0:18:38 | |
because you almost feel you could listen carefully | 0:18:38 | 0:18:42 | |
and hear all these voices of the past coming out of these sets. | 0:18:42 | 0:18:47 | |
-EDWARD VIII: -'A few hours ago, | 0:18:47 | 0:18:49 | |
'I discharged my last duty as King and Emperor...' | 0:18:49 | 0:18:55 | |
ADOLF HITLER SPEAKING ON RADIO | 0:18:55 | 0:19:01 | |
-NEVILLE CHAMBERLAIN: -'As long as war has not begun, | 0:19:01 | 0:19:04 | |
'there is always hope that it may be prevented. | 0:19:04 | 0:19:06 | |
Just think how many voices these radio sets must have transmitted. | 0:19:06 | 0:19:09 | |
-WINSTON CHURCHILL: -'I speak to you for the first time as Prime Minister | 0:19:09 | 0:19:14 | |
'in a solemn hour for the life of our country and, above all, | 0:19:14 | 0:19:19 | |
'of the cause of freedom.' | 0:19:19 | 0:19:21 | |
WHISTLE BLOWS | 0:19:27 | 0:19:29 | |
Broadcasting was a revolutionary idea - | 0:19:37 | 0:19:40 | |
culture for the people. | 0:19:40 | 0:19:42 | |
The problem was very little was actually known about the people. | 0:19:44 | 0:19:48 | |
Who were they? What did they want? | 0:19:48 | 0:19:51 | |
In 1937, | 0:20:01 | 0:20:03 | |
an odd combination of a poet, a painter and an anthropologist | 0:20:03 | 0:20:09 | |
came together and agreed that not enough was known | 0:20:09 | 0:20:13 | |
about the real people of Britain. | 0:20:13 | 0:20:16 | |
And they decided to set up | 0:20:16 | 0:20:17 | |
what they called a "science of ourselves". | 0:20:17 | 0:20:21 | |
The idea was to record in detail | 0:20:21 | 0:20:24 | |
the minutest observations of ordinary life. | 0:20:24 | 0:20:27 | |
What people did, how they talked, | 0:20:27 | 0:20:29 | |
how they drank and ate, and where they went, and all the rest of it. | 0:20:29 | 0:20:33 | |
It was called Mass Observation. | 0:20:33 | 0:20:36 | |
Mass Observation chose for its base the industrial city of Bolton. | 0:20:44 | 0:20:49 | |
They gave it a code name - Worktown. | 0:20:50 | 0:20:54 | |
It stood as an example of the great cities of the North, | 0:20:56 | 0:20:59 | |
which supplied much of the nation's wealth, | 0:20:59 | 0:21:02 | |
but had a long history of being ignored by the South. | 0:21:02 | 0:21:05 | |
The founders of Mass Observation had an absolutely insatiable appetite for facts. | 0:21:10 | 0:21:15 | |
Every day, they sent out teams of volunteers with a question to be answered. | 0:21:15 | 0:21:20 | |
One time, it was how many people in the high street are wearing brown shoes | 0:21:20 | 0:21:25 | |
and how many are wearing black? | 0:21:25 | 0:21:27 | |
And another time, it was how many chips are there | 0:21:27 | 0:21:29 | |
in the average portion of takeaway? | 0:21:29 | 0:21:32 | |
The answer was 25 and one sixth. | 0:21:32 | 0:21:36 | |
You see, nothing was too trivial for them to note it down. | 0:21:36 | 0:21:39 | |
The spies employed by Mass Observation eavesdropped | 0:21:47 | 0:21:51 | |
and recorded what they heard. | 0:21:51 | 0:21:54 | |
They wanted to know what people talked about. | 0:21:54 | 0:21:58 | |
Armed with concealed cameras, photographers took pictures of | 0:22:06 | 0:22:11 | |
people going about their business, unaware they were being watched. | 0:22:11 | 0:22:15 | |
'This is a film about the way people spend their spare time.' | 0:22:35 | 0:22:39 | |
The pioneering use of documentary film also served the cause, | 0:22:39 | 0:22:44 | |
this one by one of the founders of Mass Observation - | 0:22:44 | 0:22:47 | |
Humphrey Jennings. | 0:22:47 | 0:22:49 | |
'Between work and sleep comes the time we call our own. | 0:22:49 | 0:22:54 | |
'What do we do with it?' | 0:22:54 | 0:22:57 | |
'As things are, spare time | 0:22:58 | 0:23:00 | |
'is a time when we have a chance to do what we like, | 0:23:00 | 0:23:03 | |
'a chance to be most ourselves.' | 0:23:03 | 0:23:06 | |
GENERAL CHATTER | 0:23:08 | 0:23:11 | |
One of Mass Observation's obsessions was with public houses. | 0:23:13 | 0:23:17 | |
They worked out that more time and more money was spent in pubs | 0:23:17 | 0:23:22 | |
than was spent in churches, dancehalls, meeting places, | 0:23:22 | 0:23:25 | |
politics...all put together. | 0:23:25 | 0:23:27 | |
And they published a book, The Pub And The People, | 0:23:28 | 0:23:32 | |
which analysed the way people behaved in pubs. | 0:23:32 | 0:23:35 | |
They wrote down the statistics of how many people got drunk, | 0:23:37 | 0:23:41 | |
how many people smoked in the pub. | 0:23:41 | 0:23:44 | |
They talked about the way people spat in pubs. | 0:23:44 | 0:23:47 | |
They even talked about people flirting with the barmaids. | 0:23:47 | 0:23:51 | |
It was a complete record of human life as seen through the public bar. | 0:23:51 | 0:23:56 | |
Does this happen in your pub? | 0:23:58 | 0:23:59 | |
"Man, aged about 40, says, 'I drink beer, cos I think it does me more good | 0:23:59 | 0:24:03 | |
"'than doctor's medicine. It keeps my bowels in good working order.' " | 0:24:03 | 0:24:07 | |
I'm sure it will! | 0:24:07 | 0:24:08 | |
Mass Observation's very interesting. It began as a kind of curiosity | 0:24:17 | 0:24:21 | |
of artists wanting to know what other people were like, | 0:24:21 | 0:24:25 | |
an element of sort of slightly nosy curtain-twitching about it. | 0:24:25 | 0:24:31 | |
It ended rather impressively as something that got the attention | 0:24:31 | 0:24:35 | |
of governments and made not just artists, but politicians, | 0:24:35 | 0:24:38 | |
realise you couldn't just tell people what to do. | 0:24:38 | 0:24:41 | |
You actually had to listen to what they were saying. | 0:24:41 | 0:24:45 | |
SIREN WAILS | 0:24:45 | 0:24:47 | |
Halfway through the 20th century, | 0:24:49 | 0:24:51 | |
progress was once again halted by war. | 0:24:51 | 0:24:54 | |
It lasted from 1939 to 1945. | 0:24:56 | 0:25:00 | |
For the first time in 1,000 years, | 0:25:04 | 0:25:07 | |
British people were under foreign attack in their own homes. | 0:25:07 | 0:25:11 | |
They faced the mass bombing raids called the Blitz. | 0:25:13 | 0:25:18 | |
People were desperate to escape the death raining down on them from the skies. | 0:25:25 | 0:25:30 | |
If you had a back garden, you could build a shelter. | 0:25:30 | 0:25:34 | |
But most people didn't - they lived in blocks of flats. | 0:25:34 | 0:25:37 | |
The government came in with a scheme | 0:25:37 | 0:25:39 | |
to build public shelters in the street which families could go to. | 0:25:39 | 0:25:43 | |
But they were overcrowded, they were unsanitary. | 0:25:43 | 0:25:46 | |
Above all, though, they were unsafe. | 0:25:46 | 0:25:49 | |
They'd been so badly built that some people died while taking shelter in them. | 0:25:49 | 0:25:53 | |
As public anger grew, | 0:25:53 | 0:25:55 | |
people decided to take matters into their own hands. | 0:25:55 | 0:25:58 | |
For those who lived in London, the obvious solution | 0:26:12 | 0:26:16 | |
was to take cover in the network of tunnels that made up the Underground. | 0:26:16 | 0:26:20 | |
The government had originally forbidden the use of | 0:26:25 | 0:26:28 | |
the underground as a shelter, but people got round it. | 0:26:28 | 0:26:31 | |
They simply came to the station, bought a ticket, | 0:26:31 | 0:26:34 | |
went down to the platform and refused to leave. | 0:26:34 | 0:26:37 | |
Realising they couldn't win, the government gave way. | 0:26:37 | 0:26:41 | |
At the height of the Blitz, nearly 200,000 people | 0:27:09 | 0:27:12 | |
would cram into tube stations for a night's sleep. | 0:27:12 | 0:27:16 | |
One evening in late 1940, at the very height of the Blitz, | 0:27:25 | 0:27:29 | |
the artist Henry Moore got trapped down in the tubes by an air raid. | 0:27:29 | 0:27:33 | |
He spent an hour down here and he was transfixed by what he saw. | 0:27:33 | 0:27:37 | |
He described it later as like seeing a whole city | 0:27:37 | 0:27:41 | |
in the bowels of the Earth. | 0:27:41 | 0:27:43 | |
He said the rows and rows of people reminded him of slaves | 0:27:43 | 0:27:47 | |
being transported from Africa to America, with no control over their own lives. | 0:27:47 | 0:27:54 | |
He was so moved by the sight that time and again | 0:27:54 | 0:27:58 | |
he returned underground and filled books of drawings with what he saw. | 0:27:58 | 0:28:03 | |
Moore's pictures reveal a subterranean world. | 0:28:09 | 0:28:13 | |
Ghostly figures huddled together for comfort. | 0:28:15 | 0:28:19 | |
People sleeping in long lines along the tunnels. | 0:28:19 | 0:28:24 | |
Henry Moore's pictures were put on show at the National Gallery at the time | 0:28:45 | 0:28:49 | |
and they were immensely popular. | 0:28:49 | 0:28:51 | |
They might have shown a kind of dismal scene underground, | 0:28:51 | 0:28:56 | |
but they had a warmth and humanity about them. | 0:28:56 | 0:28:59 | |
And they embodied what people thought of as a kind of Blitz spirit. | 0:28:59 | 0:29:03 | |
They might spend the night here under attack, | 0:29:03 | 0:29:06 | |
but in the morning, they'd rise again and not be defeated. | 0:29:06 | 0:29:10 | |
-Good morning. -Good morning. | 0:29:15 | 0:29:18 | |
-See you tonight. -Rightio. | 0:29:18 | 0:29:19 | |
Come on, Betty. | 0:29:19 | 0:29:20 | |
The wartime mood of shared suffering, | 0:29:22 | 0:29:24 | |
of making do, inspired the radical notion of a welfare state, | 0:29:24 | 0:29:29 | |
where every citizen would be looked after from cradle to grave. | 0:29:29 | 0:29:36 | |
At the very height of the Blitz, the economist William Beveridge | 0:29:36 | 0:29:40 | |
was asked to work out how this might be delivered. | 0:29:40 | 0:29:44 | |
The famous Beveridge Report of 1942 came up with a whole host of ideas | 0:29:49 | 0:29:54 | |
about how Britain might emerge from the war | 0:29:54 | 0:29:57 | |
into the sunlit uplands of a better society. | 0:29:57 | 0:30:00 | |
Among the many recommendations it made was a key one, | 0:30:00 | 0:30:04 | |
that there should be free medical support for everybody, | 0:30:04 | 0:30:07 | |
one of the jewels in the crown - the National Health Service. | 0:30:07 | 0:30:12 | |
After the war, the dream became a reality. | 0:30:20 | 0:30:22 | |
The National Health Service Act of 1946 led to the creation | 0:30:22 | 0:30:27 | |
of state-funded hospitals where anyone could be treated. | 0:30:27 | 0:30:32 | |
One artist who was particularly passionate about the NHS was Barbara Hepworth. | 0:30:42 | 0:30:46 | |
It wasn't just because she supported it politically, which she did, | 0:30:46 | 0:30:50 | |
but she was grateful to doctors | 0:30:50 | 0:30:51 | |
who'd operated on her own daughter, who had a dangerous bone disease. | 0:30:51 | 0:30:56 | |
And so, in 1947, when the NHS was being set up, | 0:30:56 | 0:31:00 | |
she sought and was given permission to shadow surgeons at their work. | 0:31:00 | 0:31:05 | |
In just two years, | 0:31:16 | 0:31:17 | |
Hepworth produced over 100 pictures of operating teams. | 0:31:17 | 0:31:22 | |
She celebrates surgeons and nurses | 0:31:25 | 0:31:29 | |
as though they were saints in an Italian Renaissance painting. | 0:31:29 | 0:31:33 | |
She focuses on the eyes and hands of the surgeons and nurses, | 0:31:40 | 0:31:44 | |
rather than the blood and guts on the operating table. | 0:31:44 | 0:31:48 | |
Barbara Hepworth wrote, | 0:31:54 | 0:31:56 | |
"From the moment I entered the operating theatre, | 0:31:56 | 0:31:59 | |
"I became completely absorbed by the beauty of purpose | 0:31:59 | 0:32:03 | |
"and co-ordination between human beings dedicated to the saving of life." | 0:32:03 | 0:32:08 | |
And she captured with almost religious intensity | 0:32:08 | 0:32:12 | |
the power and the mystery of healing | 0:32:12 | 0:32:16 | |
and, of course, her thrill at the setting-up of the NHS. | 0:32:16 | 0:32:21 | |
Reserve segments five and eight. | 0:32:33 | 0:32:36 | |
Pick up six and seven. | 0:32:36 | 0:32:37 | |
Can I ask what you're doing or is it not a good moment? | 0:32:38 | 0:32:41 | |
No, it is, you're very welcome to ask. | 0:32:41 | 0:32:43 | |
I'm marking the line of division of the liver now. | 0:32:43 | 0:32:46 | |
-This is where you're going to cut? -Where I'm going to divide the liver. | 0:32:46 | 0:32:49 | |
When Hepworth was doing her studies of surgery, | 0:32:49 | 0:32:52 | |
she talked about the co-ordination, | 0:32:52 | 0:32:55 | |
how beautiful the co-ordination was between the team. | 0:32:55 | 0:32:59 | |
Is that at the heart of it, co-ordination? | 0:32:59 | 0:33:02 | |
Yes, I think it is. It's a team effort. Everyone has a role. | 0:33:02 | 0:33:05 | |
You rely on everybody else to do their bit. | 0:33:05 | 0:33:07 | |
Very much so. | 0:33:07 | 0:33:09 | |
I couldn't do this job without the people I work with. | 0:33:09 | 0:33:12 | |
And is she, to you, just a body or have you met her? | 0:33:13 | 0:33:18 | |
No, no, no, I've seen her and counselled her in great detail | 0:33:18 | 0:33:21 | |
about what we're going to do. | 0:33:21 | 0:33:23 | |
-So you know whose liver this is? -Oh, yes, very much so. | 0:33:23 | 0:33:26 | |
I think the day you start working as a factory worker, | 0:33:26 | 0:33:29 | |
you should go and be a factory worker. It's not that kind of job. | 0:33:29 | 0:33:33 | |
MONITOR BEEPS | 0:33:33 | 0:33:36 | |
-I think I'd better leave you to it. -That's OK. | 0:33:36 | 0:33:39 | |
-Thank you very much indeed. -You're very welcome. | 0:33:39 | 0:33:41 | |
By the end of the 1940s, a kind of socialist idea of art | 0:34:02 | 0:34:06 | |
was widely accepted, that the artist should be at the service of society. | 0:34:06 | 0:34:11 | |
Then came along a new generation who said that was all claptrap. | 0:34:11 | 0:34:15 | |
They had no intention of serving society - | 0:34:15 | 0:34:18 | |
they wanted to be artists in their own right, doing what they wanted to do. | 0:34:18 | 0:34:22 | |
And their stamping ground was right here, in Soho. | 0:34:22 | 0:34:25 | |
We take self-expression for granted now, but in the '40s and '50s, | 0:34:38 | 0:34:43 | |
Soho was one of the few places where you could be and do what you liked. | 0:34:43 | 0:34:48 | |
Here, there was a mix of cultures and people... | 0:34:48 | 0:34:52 | |
..continental restaurants... | 0:34:57 | 0:34:59 | |
..nightclubs, dancing till dawn. | 0:35:01 | 0:35:03 | |
A magnet for free spirits. | 0:35:05 | 0:35:08 | |
Oh, lovely. | 0:35:09 | 0:35:11 | |
No, I'm filming, actually, | 0:35:11 | 0:35:12 | |
so I can't come and see your naked ladies. | 0:35:12 | 0:35:14 | |
Very nice offer, all the same. | 0:35:14 | 0:35:16 | |
RINGS DOORBELL | 0:35:21 | 0:35:23 | |
There's your Sex on the Beach, David. | 0:35:41 | 0:35:43 | |
Thank you, Trisha. | 0:35:43 | 0:35:45 | |
Drinking clubs were at the very heart of Soho's culture. | 0:35:45 | 0:35:49 | |
Back in the '40s, the licensing laws meant | 0:35:49 | 0:35:51 | |
pubs couldn't stay open in the afternoon, | 0:35:51 | 0:35:53 | |
to stop excessive drinking, | 0:35:53 | 0:35:55 | |
and so a whole host of private drinking clubs opened up - | 0:35:55 | 0:35:59 | |
down a flight of stairs, into a dark room, | 0:35:59 | 0:36:03 | |
and it stayed open all afternoon, a kind of vampire's lair. | 0:36:03 | 0:36:07 | |
And it was in clubs like this | 0:36:07 | 0:36:09 | |
that dissatisfied artists of that generation started to meet. | 0:36:09 | 0:36:14 | |
The king of Soho's drinking clubs was Francis Bacon, | 0:36:19 | 0:36:24 | |
a troubled and rebellious genius who became recognised as | 0:36:24 | 0:36:29 | |
one of the greatest painters of the 20th century. | 0:36:29 | 0:36:32 | |
In a warehouse, one of Bacon's works | 0:36:45 | 0:36:48 | |
is waiting to be rehung by the Tate, after returning from a show abroad. | 0:36:48 | 0:36:53 | |
It was first exhibited at the end of the war in 1945, just as Britain | 0:36:55 | 0:37:01 | |
was discovering the grim reality of Nazi concentration camps. | 0:37:01 | 0:37:06 | |
This is possibly Francis Bacon's greatest work. | 0:37:14 | 0:37:18 | |
It's certainly the work that made his name. | 0:37:18 | 0:37:20 | |
It's called Three Studies For Figures At The Base Of A Crucifixion. | 0:37:23 | 0:37:28 | |
He used the idea of the crucifixion | 0:37:29 | 0:37:31 | |
to talk about man's inhumanity to man, | 0:37:31 | 0:37:35 | |
and these horrendous, repulsive figures show what man is capable of. | 0:37:35 | 0:37:43 | |
You can't at first glance tell what they are, they're so grotesque. | 0:37:46 | 0:37:50 | |
Here's a strange figure with hair over its face, I suppose, | 0:37:50 | 0:37:54 | |
and a bit of nose there, on a sort of platform. | 0:37:54 | 0:37:58 | |
And here, these teeth bared out at you and the blindfold, | 0:37:59 | 0:38:05 | |
so whatever this creature is, it can't see what it's pursuing, | 0:38:05 | 0:38:09 | |
but just baring its teeth. | 0:38:09 | 0:38:12 | |
And here, one letting out a terrible, almost primeval scream or yowl. | 0:38:12 | 0:38:18 | |
Bacon was obsessed with the mouth. | 0:38:21 | 0:38:24 | |
He wanted to paint mouths, he said once, like Monet painted sunsets. | 0:38:24 | 0:38:28 | |
All art reflects in some way or other the world as it is, | 0:38:35 | 0:38:38 | |
it doesn't just come from nowhere, and these paintings by Bacon | 0:38:38 | 0:38:43 | |
do reflect a particular attitude to the world, | 0:38:43 | 0:38:46 | |
a kind of mixture of despair | 0:38:46 | 0:38:49 | |
at the horror of what man does to man, a fear about the future. | 0:38:49 | 0:38:54 | |
And it chimes not just with the mood after the Second World War, | 0:38:54 | 0:38:58 | |
but of course with our mood today, when we look at the world as it is. | 0:38:58 | 0:39:03 | |
And that's why Bacon still has a hold over our imagination. | 0:39:03 | 0:39:09 | |
With his horrific but exciting work, | 0:39:19 | 0:39:22 | |
Bacon was an artist ahead of his time. | 0:39:22 | 0:39:26 | |
For the most part, though, the '50s were a dull, | 0:39:29 | 0:39:33 | |
stick-in-the-mud decade, | 0:39:33 | 0:39:35 | |
where to be young was already to be middle-aged, | 0:39:35 | 0:39:39 | |
and I was no exception. | 0:39:39 | 0:39:41 | |
I was a teenager in the 1950s, | 0:39:45 | 0:39:47 | |
and in a way it was rather a dreary time to be growing up. | 0:39:47 | 0:39:50 | |
Britain was rather impoverished after the war, still posing as a great power, | 0:39:50 | 0:39:54 | |
and the result was a kind of conformity, a staid way of living. | 0:39:54 | 0:39:59 | |
You were expected to toe the line. | 0:39:59 | 0:40:02 | |
It couldn't last, of course, because as the economy picked up, | 0:40:02 | 0:40:06 | |
the young rebelled. | 0:40:06 | 0:40:08 | |
They had more money in their pockets | 0:40:08 | 0:40:10 | |
and they used it in an explosion of energy. | 0:40:10 | 0:40:14 | |
# We-e-e-e-e-ell | 0:40:14 | 0:40:19 | |
# You know you make me wanna shout | 0:40:19 | 0:40:22 | |
# Look, my hand's jumping | 0:40:22 | 0:40:23 | |
-# Shout -Look, my heart's pumping | 0:40:23 | 0:40:25 | |
-# Shout -Throw my head back | 0:40:25 | 0:40:26 | |
-# Shout -Come on now... # | 0:40:26 | 0:40:28 | |
The result was the so-called Swinging Sixties, | 0:40:28 | 0:40:31 | |
a social revolution led by the young that touched every walk of life. | 0:40:31 | 0:40:36 | |
At the heart of it was a craving to cut free from the past. | 0:40:38 | 0:40:42 | |
It would change fashion... | 0:40:43 | 0:40:45 | |
..and design... | 0:40:47 | 0:40:49 | |
..a popular culture which gave its name to a new style of art. | 0:40:51 | 0:40:55 | |
Artists like David Hockney | 0:40:58 | 0:41:00 | |
sought to reflect the values of the world around them, | 0:41:00 | 0:41:03 | |
however shallow they might seem. | 0:41:03 | 0:41:06 | |
-# Shout! -All right! | 0:41:06 | 0:41:08 | |
-# Shout! -All right! | 0:41:08 | 0:41:10 | |
-# Shout! -All right! | 0:41:10 | 0:41:11 | |
-# Shout! -Well, I feel all-ll right! # | 0:41:11 | 0:41:15 | |
And things could only get weirder. | 0:41:15 | 0:41:17 | |
GLASS SMASHES | 0:41:22 | 0:41:23 | |
We have no taste. | 0:41:24 | 0:41:26 | |
We are artists. | 0:41:26 | 0:41:27 | |
For 40 years, | 0:41:27 | 0:41:29 | |
Gilbert and George have described themselves as "living sculpture", | 0:41:29 | 0:41:33 | |
insisting they themselves are works of art. | 0:41:33 | 0:41:37 | |
In their pictures, they relish confronting taboos. | 0:41:40 | 0:41:44 | |
Ah...! | 0:41:47 | 0:41:49 | |
With their resolutely conventional dress but outlandish behaviour, | 0:41:49 | 0:41:53 | |
they look like two bank clerks in the grip of a nervous breakdown. | 0:41:53 | 0:41:57 | |
# Bend it, bend it, just a little bit | 0:42:00 | 0:42:05 | |
# And take it easy, show you like it... # | 0:42:05 | 0:42:09 | |
KEYS RATTLE IN LOCK | 0:42:12 | 0:42:14 | |
Good afternoon. | 0:42:17 | 0:42:19 | |
Good afternoon. | 0:42:19 | 0:42:20 | |
How do you do? | 0:42:20 | 0:42:21 | |
-This is a very exciting moment for me. -It's thrilling that you're here. | 0:42:21 | 0:42:25 | |
To meet living sculpture. | 0:42:25 | 0:42:27 | |
-It's wonderful. Come through, please. -Thank you. | 0:42:27 | 0:42:30 | |
Do you see your work in the same tradition as artists, painters, | 0:42:41 | 0:42:46 | |
sculptors of the 19th century? | 0:42:46 | 0:42:48 | |
In the visual tradition, visual art, yes. | 0:42:48 | 0:42:51 | |
It's figuration, it's pictures. | 0:42:51 | 0:42:54 | |
For years and years, the artists were the slaves | 0:42:54 | 0:42:56 | |
of the Church and then of the toffs, | 0:42:56 | 0:42:58 | |
and then suddenly artists would go into their studio | 0:42:58 | 0:43:01 | |
and say, "What do I want to say to the world today?" And we're part of that. | 0:43:01 | 0:43:05 | |
Who do you work for? | 0:43:05 | 0:43:06 | |
We believe an artist should be working as a service, | 0:43:06 | 0:43:09 | |
providing thoughts and feelings for anyone, wherever they lived in the world. | 0:43:09 | 0:43:14 | |
We want to confront ordinary people with our work, | 0:43:14 | 0:43:16 | |
to say yes or no, and that's why | 0:43:16 | 0:43:19 | |
we are doing all this very big... what are called museum shows | 0:43:19 | 0:43:22 | |
that are totally confrontational. | 0:43:22 | 0:43:25 | |
We do believe that we're dealing with all of the basic elements | 0:43:25 | 0:43:28 | |
that lie inside everybody, wherever they live, | 0:43:28 | 0:43:30 | |
-whatever their educational background. -What kind of elements? | 0:43:30 | 0:43:33 | |
-BOTH: -Death, hope, life, fear, sex, money, race, religion. | 0:43:33 | 0:43:38 | |
That's all we deal with. | 0:43:38 | 0:43:40 | |
Beautifully said in unison, because you've thought this out. | 0:43:40 | 0:43:43 | |
-No, we know it, because it's what we do. -That's what we always do. | 0:43:43 | 0:43:46 | |
Are people very shocked by your works, still? | 0:44:03 | 0:44:06 | |
Because a lot of it is quite shocking. | 0:44:06 | 0:44:08 | |
But you look...as if butter wouldn't melt in your mouth, so sweet... | 0:44:08 | 0:44:12 | |
You're right about that. | 0:44:12 | 0:44:14 | |
.so elegantly dressed, so polite, and yet you do pictures of people defecating, | 0:44:14 | 0:44:19 | |
of yourselves defecating, of things that many people would think | 0:44:19 | 0:44:23 | |
were disgusting and quite against your nature. | 0:44:23 | 0:44:25 | |
It's very human. That's it. That's why we want to use it. | 0:44:25 | 0:44:28 | |
We want to make it more de-shocking and making it normal. | 0:44:28 | 0:44:32 | |
We had a lovely letter from a lady last week, saying that she was 82 years of age, | 0:44:32 | 0:44:38 | |
she admired our work and she particularly wanted to congratulate us | 0:44:38 | 0:44:41 | |
on her favourite pictures, The Naked Shit Pictures, | 0:44:41 | 0:44:43 | |
"Because they make me sit up and think more openly," she said. | 0:44:43 | 0:44:46 | |
-Isn't that extraordinary? -It is extraordinary. | 0:44:46 | 0:44:48 | |
Wonderful. "Think more openly" - that's the whole secret to the whole thing, | 0:44:48 | 0:44:52 | |
that people can be more open. | 0:44:52 | 0:44:54 | |
So people come to terms with what they are, you mean, | 0:44:54 | 0:44:56 | |
so people accept that anything they do or think or feel is normal, | 0:44:56 | 0:45:00 | |
because it's what they are like. | 0:45:00 | 0:45:02 | |
Just before we go, can I become part of living sculpture | 0:45:04 | 0:45:08 | |
with your famous dance? Would that be possible? | 0:45:08 | 0:45:11 | |
-You may try, of course. -Only if you want to. | 0:45:11 | 0:45:14 | |
-I want to! -In that case, you must. | 0:45:14 | 0:45:16 | |
Show me what to do. | 0:45:16 | 0:45:17 | |
# Bend it, bend it, just a little bit And take it easy... # | 0:45:17 | 0:45:23 | |
Am I doing it all right? | 0:45:23 | 0:45:25 | |
-Very good. -Very good. | 0:45:25 | 0:45:27 | |
I don't remember how to do it, but I do it! | 0:45:27 | 0:45:29 | |
# DAVE DEE, DOZY, BEAKY, MICK & TICH: Bend It! | 0:45:31 | 0:45:34 | |
Very haphazard! | 0:45:34 | 0:45:36 | |
You can make it up as you go along. | 0:45:37 | 0:45:39 | |
-That's it. -Good. | 0:45:42 | 0:45:44 | |
Thank you very much. | 0:45:44 | 0:45:45 | |
Where beauty and craftsmanship were what counted to artists in the past, | 0:45:49 | 0:45:54 | |
shock and outrage | 0:45:54 | 0:45:56 | |
seem to be as important to the ambitious artist of today. | 0:45:56 | 0:45:59 | |
Hello. It's David Dimbleby. I've come to see Tracey Emin. | 0:45:59 | 0:46:03 | |
DOOR ENTRY SYSTEM BUZZES Thank you. | 0:46:03 | 0:46:05 | |
Tracey Emin is famous for the way her work confronts sex. | 0:46:09 | 0:46:13 | |
Most notorious was her tent with the names of every person | 0:46:24 | 0:46:28 | |
she'd slept with sewn on the inside... | 0:46:28 | 0:46:31 | |
..and her unmade bed, with its deliberate portrayal | 0:46:32 | 0:46:37 | |
of a dissolute life. | 0:46:37 | 0:46:39 | |
Do you think, 50 years ago, | 0:46:43 | 0:46:46 | |
you'd have been as successful as you are today? | 0:46:46 | 0:46:49 | |
No. | 0:46:49 | 0:46:50 | |
Because...? | 0:46:51 | 0:46:52 | |
Because 50 years ago, | 0:46:52 | 0:46:55 | |
the education system was radically different from what it is now, | 0:46:55 | 0:46:59 | |
I mean, from when I was at school. | 0:46:59 | 0:47:01 | |
Number one, there wasn't so much equal rights. | 0:47:01 | 0:47:03 | |
Obviously, there was no equal rights for women around that time. | 0:47:03 | 0:47:06 | |
Was it something about attitudes to women | 0:47:06 | 0:47:09 | |
that changed or that have changed in your lifetime? | 0:47:09 | 0:47:12 | |
What actually changed is that in the '70s, | 0:47:12 | 0:47:14 | |
there were a group of women called feminists that worked really hard | 0:47:14 | 0:47:17 | |
for women like me to be legacies... as we could then do what we wanted. | 0:47:17 | 0:47:21 | |
And there was these women | 0:47:21 | 0:47:24 | |
that were just really pissed off with the situation that decided | 0:47:24 | 0:47:28 | |
to drive a great big stake into the heart of art and change things. | 0:47:28 | 0:47:33 | |
So your idea is that men have a different approach to art | 0:47:33 | 0:47:37 | |
and, I suppose, a different approach to life from women? | 0:47:37 | 0:47:40 | |
Yes. They have a different approach towards sex, as well, | 0:47:40 | 0:47:42 | |
so it's a kind of primal thing. | 0:47:42 | 0:47:44 | |
Women, they want more. | 0:47:44 | 0:47:45 | |
Women will want to keep coming and keep coming | 0:47:45 | 0:47:49 | |
and keep coming, and that's what a female artist is like. | 0:47:49 | 0:47:52 | |
You know, she's not happy with the one big... | 0:47:52 | 0:47:55 | |
Like me, I made my tent, I made my bed. | 0:47:55 | 0:47:57 | |
I'm quite happy | 0:47:57 | 0:47:59 | |
with all the little ones in-between, and it kind of keeps me going. | 0:47:59 | 0:48:02 | |
I'm quite happy to diversify with my life and with my art. | 0:48:02 | 0:48:06 | |
I'm not always looking for the big kill, you know, the big come. | 0:48:06 | 0:48:10 | |
But I tell you what, I should turn the lights out, as well. | 0:48:17 | 0:48:20 | |
I'll turn the lights out. | 0:48:20 | 0:48:22 | |
That's it. | 0:48:22 | 0:48:23 | |
-When did you make this? -Oh, this summer. | 0:48:23 | 0:48:26 | |
Emin's latest work continues to provoke a shocked reaction. | 0:48:26 | 0:48:31 | |
It's a woman masturbating. | 0:48:33 | 0:48:35 | |
So it seems. | 0:48:35 | 0:48:37 | |
DAVID: But rather ferociously. | 0:48:38 | 0:48:40 | |
The reason why she's doing it so fast and so ferociously | 0:48:40 | 0:48:43 | |
is because the animation is actually quite crude, and I wanted it to be | 0:48:43 | 0:48:47 | |
super-crude, because I want you to be able to see each drawing. | 0:48:47 | 0:48:50 | |
Or not each drawing, it just moves fast. And I'd made two different | 0:48:50 | 0:48:54 | |
kind of versions of it, filmed it in different ways, one that was much | 0:48:54 | 0:48:57 | |
more smoother, and it actually didn't look how I wanted it to. | 0:48:57 | 0:49:01 | |
I liked the crudeness of it, I liked the jerky...cos it jerks, | 0:49:01 | 0:49:04 | |
which then, for me, makes it more mesmerising, | 0:49:04 | 0:49:06 | |
like a kind of spider thing. | 0:49:06 | 0:49:08 | |
You kind of forget the image that you're actually looking at. | 0:49:08 | 0:49:11 | |
Because if you did it slower, it'd be pornographic, wouldn't it? | 0:49:11 | 0:49:14 | |
Whereas this is a series of fierce... | 0:49:14 | 0:49:17 | |
-Yeah. -...images. | 0:49:17 | 0:49:18 | |
It reminds me of those drawings | 0:49:18 | 0:49:20 | |
you used to do as a child on the corner of a book, | 0:49:20 | 0:49:23 | |
you know, where you did lots of drawings and then you riffled through the pages. | 0:49:23 | 0:49:27 | |
Yeah, like a flick book. | 0:49:27 | 0:49:29 | |
Yes, like a flick book. But I don't think we drew this kind of thing. | 0:49:29 | 0:49:32 | |
We drew people jumping over hurdles, which maybe is much the same! | 0:49:32 | 0:49:37 | |
Many people find modern art too obscure, too exclusive, | 0:49:43 | 0:49:48 | |
to be worth bothering with. | 0:49:48 | 0:49:50 | |
One artist who has managed to be distinctly modern | 0:49:50 | 0:49:55 | |
but to produce works that attract a wide audience is Anish Kapoor. | 0:49:55 | 0:49:59 | |
-Hello. -Nice to see you. -Good to see you. | 0:50:03 | 0:50:05 | |
I've watched people going round this exhibition | 0:50:05 | 0:50:09 | |
-with smiles on their faces... -That's always good. | 0:50:09 | 0:50:12 | |
-..and a look of astonishment. -That's even better! | 0:50:12 | 0:50:14 | |
Anish Kapoor's recent show was one of his most ambitious and most popular. | 0:50:20 | 0:50:26 | |
His work bombards us with size, | 0:50:29 | 0:50:32 | |
colour | 0:50:32 | 0:50:35 | |
and optical illusion. | 0:50:35 | 0:50:37 | |
This is an astonishing room. Can't make out these shapes. | 0:50:47 | 0:50:54 | |
Well, they're made by a machine - | 0:50:54 | 0:50:56 | |
a highly sophisticated, computerised machine - | 0:50:56 | 0:51:00 | |
that oozes this cement paste. | 0:51:00 | 0:51:03 | |
-They look like piles of turds. -Indeed they do! | 0:51:03 | 0:51:07 | |
Well, that's this part of that process, | 0:51:07 | 0:51:09 | |
and there's a different way of using it and a different way over there and so on. | 0:51:09 | 0:51:12 | |
-Worms and... -Exactly. | 0:51:12 | 0:51:14 | |
So it's as if they could have been made by an animal. | 0:51:14 | 0:51:17 | |
This is astonishing. So this goes up and down all day long. | 0:51:29 | 0:51:33 | |
Yup. Yup. | 0:51:33 | 0:51:34 | |
What I did was cast a block of wax that's bigger than the doors. | 0:51:34 | 0:51:40 | |
There's about 40 tonnes of wax there. | 0:51:40 | 0:51:42 | |
And of course, in there is a motor, an engine, | 0:51:42 | 0:51:46 | |
that drives the whole wagon through the doorways very, very slowly. | 0:51:46 | 0:51:51 | |
And as it does so, it sort of skims itself, it sorts of flays itself | 0:51:51 | 0:51:57 | |
and pushes itself through the building. | 0:51:57 | 0:51:59 | |
Now, the idea is that that's one way to make sculpture, | 0:51:59 | 0:52:03 | |
is to push something through something else. | 0:52:03 | 0:52:06 | |
But the curious thing is, | 0:52:08 | 0:52:11 | |
as an artist, you couldn't sell this, could you? | 0:52:11 | 0:52:13 | |
I mean, nobody can buy this and put it in their house. | 0:52:13 | 0:52:16 | |
You make it for public display and...poof! | 0:52:16 | 0:52:19 | |
Yeah, but not everything has value because of its economic value, | 0:52:19 | 0:52:24 | |
especially in an art world or in a world - never mind the art world - | 0:52:24 | 0:52:28 | |
which measures all things by economic value. | 0:52:28 | 0:52:34 | |
I think it's rather good that there are things | 0:52:34 | 0:52:36 | |
that step outside that and might have other values. | 0:52:36 | 0:52:39 | |
Yes. Yes. | 0:52:39 | 0:52:41 | |
The highlight of the exhibition was a great cannon that fired cylinders | 0:52:46 | 0:52:51 | |
of red wax against the gallery wall. | 0:52:51 | 0:52:54 | |
Whoa! God! That was a good one. | 0:52:59 | 0:53:02 | |
That was a very good one. | 0:53:02 | 0:53:05 | |
It's loathsome, the way it slides down the wall. | 0:53:05 | 0:53:09 | |
Yeah. So it's, again, a kind of horrible, fleshy skinning. | 0:53:09 | 0:53:15 | |
What gave you the idea for this? Nightmares in your head? | 0:53:15 | 0:53:19 | |
It's a terrible nightmare, isn't it? | 0:53:19 | 0:53:21 | |
Blood and guts and gore and... | 0:53:21 | 0:53:23 | |
Indeed. Indeed. | 0:53:23 | 0:53:24 | |
..placenta and anything you care to say, really. | 0:53:24 | 0:53:28 | |
Exactly. Sometimes one makes works | 0:53:28 | 0:53:30 | |
that take you to places that you don't expect to go, | 0:53:30 | 0:53:33 | |
and I think one has to have the courage to go there fully and truly. | 0:53:33 | 0:53:37 | |
I began this series looking at what art tells us about ourselves | 0:53:50 | 0:53:55 | |
and our past. | 0:53:55 | 0:53:58 | |
Today's art, like our modern world, can be confusing and troubling. | 0:53:58 | 0:54:04 | |
But one thing's clear - the prize for a successful artist | 0:54:06 | 0:54:11 | |
has never been greater. | 0:54:11 | 0:54:13 | |
-Hello! -Hello! | 0:54:19 | 0:54:21 | |
-Very nice to meet you. -Good to meet you. | 0:54:21 | 0:54:23 | |
-This is a fantastic space. -It's big. | 0:54:25 | 0:54:28 | |
What are you working on? | 0:54:28 | 0:54:30 | |
I thought I might do a cabinet of flies, | 0:54:30 | 0:54:32 | |
because there's that great joke of the way the guy walks into the pet shop | 0:54:32 | 0:54:36 | |
and says, "Can I buy a fly?" And he says, "We don't sell flies. | 0:54:36 | 0:54:39 | |
"This is a pet shop." He says, "You've got one in the window." | 0:54:39 | 0:54:43 | |
Damien Hirst's success lies in using entertainment and humour | 0:54:52 | 0:54:56 | |
to set against the inevitability of death. | 0:54:56 | 0:55:00 | |
In 2007, | 0:55:04 | 0:55:06 | |
he reportedly sold a skull studded with diamonds for £50 million, | 0:55:06 | 0:55:12 | |
which would make it the most expensive | 0:55:12 | 0:55:14 | |
work of art by a living artist. | 0:55:14 | 0:55:16 | |
Things like that were made by kings and emperors, you know? | 0:55:18 | 0:55:21 | |
It's nice to think that an artist can do that in | 0:55:21 | 0:55:23 | |
the world we live in today, and I think that'll be... | 0:55:23 | 0:55:25 | |
if nothing else, that'll seem important. | 0:55:25 | 0:55:29 | |
Did you pay for all the diamonds, then? | 0:55:29 | 0:55:30 | |
Yeah, yeah. | 0:55:30 | 0:55:31 | |
I mean, we lived in a really good time over the last ten years, | 0:55:31 | 0:55:34 | |
we were making so much money. | 0:55:34 | 0:55:35 | |
As an artist, you always make work from what's around you, | 0:55:35 | 0:55:38 | |
and money was around me. And then I thought, well, what could I do | 0:55:38 | 0:55:41 | |
while this money is here that I wouldn't be able to do...? | 0:55:41 | 0:55:43 | |
It's like you think, "I could do something really amazing." | 0:55:43 | 0:55:46 | |
How much did you spend on the diamonds before you finished? | 0:55:46 | 0:55:49 | |
It was about 12 million in the end. | 0:55:49 | 0:55:53 | |
But there was a lot of fluctuating prices as we went, | 0:55:53 | 0:55:55 | |
and the big one in the middle was three or four. | 0:55:55 | 0:55:58 | |
So what's this? | 0:56:05 | 0:56:07 | |
Spin machine. Spin art. | 0:56:07 | 0:56:09 | |
Yeah. When I was at school, we had summer fetes where you used to | 0:56:09 | 0:56:13 | |
be able to go in and pay, like, 20p, 50p or something, and make a spin painting. | 0:56:13 | 0:56:17 | |
-Do you want to make one? -I'd love to. | 0:56:17 | 0:56:20 | |
Come on, then. | 0:56:20 | 0:56:22 | |
-So, what do you want? -I like the skull. | 0:56:24 | 0:56:27 | |
The skull's good. | 0:56:27 | 0:56:28 | |
So...first of all, we have to pin it on. | 0:56:28 | 0:56:33 | |
How does it go? | 0:56:34 | 0:56:35 | |
We're just going to spin it, and just have no fear - | 0:56:35 | 0:56:38 | |
the machine does the work. | 0:56:38 | 0:56:40 | |
Is this a Damien Hirst or is it a David Dimbleby? | 0:56:42 | 0:56:46 | |
How much do I have to pay you to sign it? | 0:56:46 | 0:56:48 | |
If it's good, I take the credit. If it's crap, you get the blame. | 0:56:48 | 0:56:51 | |
Do you want to try a butterfly? | 0:56:51 | 0:56:54 | |
I want it yellow with black spots. | 0:56:57 | 0:56:59 | |
Jeez! | 0:56:59 | 0:57:01 | |
-OK, stop. -Is that OK? | 0:57:01 | 0:57:03 | |
I'm meant to be doing this, not you. | 0:57:05 | 0:57:07 | |
I'm sorry! I just can't help it - it's like a disease! | 0:57:07 | 0:57:10 | |
-So if I put black there... -Yeah. | 0:57:10 | 0:57:12 | |
Yeah, that's what I'll do. | 0:57:12 | 0:57:14 | |
Cool, I like that! | 0:57:15 | 0:57:17 | |
OK, now spin it. | 0:57:17 | 0:57:19 | |
WHIRRING | 0:57:19 | 0:57:21 | |
Not too much. | 0:57:23 | 0:57:24 | |
-Ah! -One black wing, one yellow wing. | 0:57:24 | 0:57:26 | |
That's what I wanted. | 0:57:26 | 0:57:28 | |
-Then put some more yellow on here. -OK. | 0:57:28 | 0:57:30 | |
OK, spin it again. That's got to work. | 0:57:30 | 0:57:34 | |
OK, stop. | 0:57:36 | 0:57:37 | |
-What do you think of that? -It's destroyed it! | 0:57:38 | 0:57:41 | |
-Oh, it's come off the side! -You've ruined it! | 0:57:41 | 0:57:43 | |
"You've ruined it!" I love that! | 0:57:43 | 0:57:45 | |
That's what my kids say. They won't let me touch 'em. | 0:57:45 | 0:57:48 | |
Lovely. | 0:57:50 | 0:57:52 | |
What are they worth? | 0:57:53 | 0:57:55 | |
You've got to put them on eBay to find out. | 0:57:55 | 0:57:57 | |
And what do they say about modern Britain? | 0:57:57 | 0:58:01 | |
They say we're here for a good time, not a long time. | 0:58:01 | 0:58:05 | |
They certainly had a good time. | 0:58:07 | 0:58:09 |