Playing with Obea, an artist goes all out with decadence with trapping of a curse. Hirst is trying to top himself, but Koons still remains king.
If one believes Art retains the power to disturb, the British Artist Damien Hirst has sacrilegiously done so by using a human skull as a sculpture which is encrusted with precious stones worth fifty million British Pounds. It is said to be the most expensive piece in contemporary art. So the age old question arises, How is art valued? Is it the quality of materials, concept, craftsmanship or its relevancy. Mr. Hirst has managed to shed light on the debate surrounding the human condition, and to also touches on the core of our existence for which art enacts. To move or repel and to ask the key questions. What is Man? What is he purpose and why does he create objects in the image of himself? Only Mr. Hirst knows. The art piece, 'For the love of God' is being shown at the White Cube gallery in London this week.
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Satisfying the human fascination for the macabre, the netherworld and the diamond skull.
Damian Hirst's biggest accomplishment as an artist may be his ability to foretell the ghoulish nature of our world. Looking at his newest works at White Cube and the text that accompanied it, excitedly talking about this new collection, I found myself cringing at the sight, fully aware that that is what Mr. Hirst hopes we do. This reaction is not Mr. Hirst's fault at all. Art has taken many guises over the centuries, from the Neolithic skull of early art, blood letting imagery of the Mayan culture and Goya�s prints of extreme violence, Mr. Hirst is to us as Picasso said of himself, I am only a public entertainer who has understood his times. - Adele
2 comments:
I know this is exactly the kind of outraged response Hirst is aiming for in his skull sculpture, and of course it is the most childish and basic response that art can hope for, especially when it can and should aim for so much more. I’m reminded of the journalist who films a man committing suicide, not trying to prevent it in any way, and crying freedom of expression and the right to just get on with his job without interference. Truly horrifying in the deepest sense. Doesn’t Hirst wonder, at all, feel even a little guilty, to think that fifty million pounds could save at least one life somewhere on this poverty stricken little planet of ours, or even – what a cliché to think it! - make the world a better place? It seems to me not to be carrying it too far to say that he is no less guilty than the institutions – royalty, politics, whatever - he seeks to condemn or criticize – worst in fact, because as an artist, as a human being there are such things as integrity and compassion that we are supposed to have. The world should be appalled, not only at the direction art has taken, but at Hirst’s personal criminal insincerity and cynicism. And of course the dealers and entrepreneurs of the art world are equally to blame for supporting him in this awful endeavor - the huge funds undoubtedly used to secure or guard this work should at least be offered instead to support other and equally more deserving art that is sincerely created and not awash with the kind of doublespeak morality indulged in here. Truly the whole thing sends a chill down the spine – and if that’s the effect intended, Hirst should consider that the same effect could be more morally achieved in a lot of other ways – letting himself be filmed lighting a fire under his own arse, for instance!
Well said indeed!
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