Comment | ‘Britart’ started well in the 1990s—but it soon became as bad as Britpop

The exhibit "The 90s: Art and Fashion" at Tate Britain aims to critically reflect on the decade's artistic and fashion landscape, rather than simply being a nostalgic exercise. However, the catalog seems to lean heavily on positive assertions about the period, rather than providing a balanced, critical analysis. This is understandable given that many of the artists were young and their best work was produced during this time.

Nevertheless, the exhibition struggles to delve deeply into the structures that limited visibility for many artists at the time, particularly those from non-white backgrounds.

Included in the exhibition are artists Sonny Boyce, Keith Piper, and Maud Sulter, who were part of a vibrant group of young British artists in the 1980s. Their work was often overshadowed by the mainstream focus on a group of mostly white artists championed by powerful figures like Charles Saatchi. Saatchi's Sensation exhibition of 1997, while considered a crowning achievement for him, marked the peak of Young British Artists (YBA) visibility and the point at which it began to feel tiring in the art world.

Not everyone was part of the YBA scene, as Steve McQueen, an artist known for his innovative work, declared. He developed his practice in New York, where he was exposed to groundbreaking shows featuring artists of color, such as the 1993 Whitney Biennial and Black Male. McQueen's perspective sheds light on the overemphasis on Britpop, which often overshadowed revolutionary developments in genres like garage, jungle, and drum and bass.

He criticized the record companies for investing more in guitar bands, paralleling the situation with the YBAs.

The exhibition, while ambitious, is not without its flaws. It is likely to provoke strong reactions, as it tackles a decade that is still fiercely debated in the cultural sphere. The question remains whether the exhibition will resonate with everyone.