With the introduction of art schools, there was a need to render art a dynamic phenomenon and, therefore, art has been defined in an amorphous way because it has always been in a state of becoming. This has been emphasised by the emergence of new form of art in the new media era with digital technology replacing the traditional art forms. In Britain, art is a combination of visual art that forms part of western history, and it is usually strong in portraiture and landscape. The prosperity of the British in the early 18th century, led to the British art recapturing the place it had taken in the middle ages because of a surge in the production of decorative art and fine arts. In fact, the decorative art became an export commodity in the early 18th century. The romantic period was famous with artists such as William Blake, J. M Tuner, John Constable and Samuel Palmer displaying their remarkable talents in their artworks (Barringer, Quilley & Fordham 2007). There came the Victorian period when art was diversified and a larger quantity was produced compared to former times. At this time, there was preference of Victorian art with interest on Pre-Raphaelites and the innovative movements that arose towards the end of 18th century. The end of 18th century brought about intensified training of artists with the initiatives of the government and in the early 19th century, and there were museums opened to display works of art to the public. The display of religious art in the 19th century became popular and this led to the emergence of academic art. The contribution of British to the art in this time was minimal, but it gained impetus after the Second World War when artists emerged with contemporary art. They produced figurative art works and from then, Britain is a key hub of an increasingly globalised art. This has increased the global audience for the British art, but some visual art remain low profiled and Britain has been attempting to raise their profile. This paper critically looks at the reasoning and provides an insight as to whether arts high profile necessarily means that its audience has expanded. It will also evaluate the question as to whether arts high profile has any significant reconfiguration of the interface between high and low taken places within British contemporary Art. High profiled art is the art that draws a considerable number of audiences over a long time. These art works are classical and address social, economic, political and life issues across generations. An art which lacks large audience over a long time is low profiled and does not spark controversy because it deals with normal daily themes in a way everyone can imagine. In the British art, low profile and high profiled art is determined by its sensationalism as it is seen in the most controversial art works by the contemporary young British artists. The audience of low profiled art can be more at the start but they will not live for long while high profile art attracts audience across all dimensions and for a long time. In Britain, post-modern contemporary art, especially from the Young British Artists is characterised by a significant recourse to material culture and sensationalism (Shanken 2011). The art is associated with post-imperial cultural anxiety in Britain. This has inspired the
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