{"title":"不是东西的东西","authors":"Jared Pappas-Kelley","doi":"10.7228/MANCHESTER/9781526129246.003.0004","DOIUrl":null,"url":null,"abstract":"Chapter four introduces the example of the Momart warehouse fire, in which large amounts of art—including high profile Young British Art—was destroyed when a thief apparently broke into an adjoining space and set the complex on fire. Works such as Tracey Emin’s Everyone I Have Ever Slept With 1963–1995 (lost in the fire) are examined, as well as accounts of the public backlash and media attention surrounding this event. In addition, the implications of Jake and Dinos Chapman’s exact remake of Emin's piece as The Same Only Better are considered, along with the event's legacy and the expectation that these works of art will endure.","PeriodicalId":21883,"journal":{"name":"Solvent Form","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2018-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The thing that is not a thing\",\"authors\":\"Jared Pappas-Kelley\",\"doi\":\"10.7228/MANCHESTER/9781526129246.003.0004\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Chapter four introduces the example of the Momart warehouse fire, in which large amounts of art—including high profile Young British Art—was destroyed when a thief apparently broke into an adjoining space and set the complex on fire. Works such as Tracey Emin’s Everyone I Have Ever Slept With 1963–1995 (lost in the fire) are examined, as well as accounts of the public backlash and media attention surrounding this event. In addition, the implications of Jake and Dinos Chapman’s exact remake of Emin's piece as The Same Only Better are considered, along with the event's legacy and the expectation that these works of art will endure.\",\"PeriodicalId\":21883,\"journal\":{\"name\":\"Solvent Form\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-11-23\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Solvent Form\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.7228/MANCHESTER/9781526129246.003.0004\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Solvent Form","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7228/MANCHESTER/9781526129246.003.0004","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Chapter four introduces the example of the Momart warehouse fire, in which large amounts of art—including high profile Young British Art—was destroyed when a thief apparently broke into an adjoining space and set the complex on fire. Works such as Tracey Emin’s Everyone I Have Ever Slept With 1963–1995 (lost in the fire) are examined, as well as accounts of the public backlash and media attention surrounding this event. In addition, the implications of Jake and Dinos Chapman’s exact remake of Emin's piece as The Same Only Better are considered, along with the event's legacy and the expectation that these works of art will endure.
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