An Art centre in limbo

A balance between support and outcome, getting what you pay for

This is the floor plan of Caribbean Contemporary Arts, CCA7. It is the actual invitation that launched the inauguration of the center seven years to the day. Back then, the centre housed two galleries and seven small studio spaces. One of which the was the InterAmera Space gallery. The latter was supported by the Reed Foundation of New York and hosted many exhibitions from local and International Artists. Overall, one memorable exhibition was the British Council show on fashion. The center also provided studios for artists and those recipients on residencies offered by the Canada Council for the Arts and the Triangle Trust Fund.

But soon after the New York attacks, things changed. Funders were perhaps more cautious where their money was spent and this had a diverse affect on the Arts and particularly those organizations that entrusted it for their survival. At CCA7, shows were less frequent, and the major gallery was later converted to smaller spaces of which some were commercially leased out and this impacted on the dynamics of the place. See another exhibition in the gallery as thebookmann header.

One of the major issues also was the centre's location. Housed on the upper floors of the building #7 Fernandes Industrial Centre, Laventille, Trinidad and Tobago, getting there took great effort compounded by a dubious management who were responsible to ensure that the gallery was opened. Visitors were often met with closed doors. And the place seemed closer to the edge of just not existing. There were also the steep stairs to get to the gallery which harbored those less fit to climb them. So the conflicts of how or what or who and why centre should run, its future is in debate for the time being.

In an island that lacks the foresight to understand the importance of contemporary art, CCA7 in its prime showed that there was much more, but swayed to stay true to its mandate, nevertheless all the bickering artists got some piece of the pie. So where does Caribbean Contemporary Arts go from here? Many questions as to unclear answers. - thebookmann

See the last open studio show CCA7

Vantage Ford and Scalelectric

Nothing beats Scalelectric
As a child, thebookmann remembers one of his fondest Christmas Eves. It was a time when shops had their toys displayed in their show windows and also when families went out to drop off gifts and to window shop. One of the popular toys back then was the Scalelectric car set.

The following day, the Christmas stocking was full with sweets and a plastic toy car designed like the Ford Escort. It had a motor but no battery compartment but rather a strange slot to the front of it. The slot had two copper brushes attached. There was more to come but unaware to the thebookmann, he dragged the powerless car around anyway. The racing tracks, power transformer and a pair of yellow hand throttles completed the entire set. Scalelectric was so popular in Trinidad and Tobago that they had televised competitions.

Continuing the series on vintage cars in Trinidad and Tobago, this is a mint Ford Escort like the scalelectric car so many years ago.

Graffiti artists group show

I am pointless - A juvenile attempts to join the pack

If you are out and about in Port of Spain, Trinidad and Tobago, you will come across a number of drawings and symbols painted on abandon walls. These are done by graffiti artists who have something to say the least, and by their covert graffiti which a sample of are inner drive expressed by the illegal act of defacing. But something odd is happening. Graffiti artists are placing or encroaching on the spaces of others and nfortunately the motives behind their intentions may blight the truest of the very few.

The Midnight Robber Speaks

Ah does bade in acid and scrub meh teeth in the.ashes of Caroni and grease meh foot beyond petroleum jelly

One midnight in eternity a mighty ancient wind blow from the Kalahari to the Gobi and sweep through the Sahara and there I form and rise out of the belly of the pit of hell. I is the Scorpion King!

Androctonus Crassicauda, master of the isms, schisms and flesh eating dwellers. I am the last word of the iron bird laid to rest at piarco the father of the fatherless who have no roof over their heads. Famine, tsunami, aides, when the dust blow I does cause wars, earthquakes. Revenge is mine and ah reach Trinidad ah reach! I have no beginning and I have no end. No muddah make me. Hooves like ten thousand camels across the Atlantic in a heartbeat sprinkling Sahara dust. Grains settle in grown man eye and turn children lungs to husk! Dust cannot cover the rising or setting sun and curdle the blood of all dem wining woman.

When that upstart baby bush try to outsmart, ah send my handmaidens Osama and Saddam but I come to Trinidad, ah show myself in person. Watch meh ah was cley, doh make joke with upstarts. Ah does squeeze the juice from the hangman noose and eat the dictator liver for meh supper. Ah does bade in acid and scrub meh teeth in the ashes of Caroni and grease meh foot beyond petroleum jelly. There is no pain that I have not caused. Oh, see oh people, clat, you ain’t see. The c-o-r-p-s-e of your beloved nation rotting under six feet of the hot Sahara.

I was vanquished by my enemies cut into bits and pieces and cast down into the belly of hell and Satan himself made an appeal. And when I laugh a roar more terrible than Ivan tumbling over Grenada to make politicians scamper like pot hounds in the gutter. I was born to darkness. Upon my birth the sun cower in the east. I take the tears of muddahs and missing children and government lies to mix and make venom for my tail. Ah reach, ah reach Trinidad ah reach. Take the helm from the trembling hands of the captain manning the ship and leave him in a shallow grave for he granny to find. I go have dem running helter smelter naked and no pants from Chatham to Otaheite. De last time I come to view the situation and skin an old fox. Exact revenge on all them people who talk talk talk and pave pave pave and leave de pan dey to suffer. All dem who think they could duck and run I will find you in the blazing sun next to a 4-inch coffin for a 6-foot man.

When you take muddahs and children and put them to sleep in the rain for your campaign and remember that I is the one man who plaster meh mansion with the skin of newborn babes and wove hammocks with the hair of pharaohs harem. I am the scorpion king. My sting far worse than the packers of potent poison in polyester, government assassins, train to trap your fears and barrel your tears, nozzle to temple, I badder than Burrows! Paul go pay for all. Alutrin meh hair and give me alcola to drink, ah ain’t care, have no fear, I is the Scorpion King.- Earl Thomson

The transcribed speech is from a Midnight Robber performer, it gives you an idea of the dialect, the usage and vocabulary that is characteristic of the carnival character from Trinidad and Tobago. - thebookmann

The Holocaust vs Her Majesty

Ashes to ashes, dust to dust, memory to memory

It is absolutely monstrous that there are people in England right now who want the Holocaust removed from history classes in schools because it offends the disbelief of a growing group of people. I am so angry about this ignorant thinking that I must calm down as I write this! How can anyone not believe that the Holocaust happened? Yet the president of Iran is one such believer. Why is this happening? Do these non-believers think that the preserved death camps are a German version of Disneyland? Also do they believe that the films showing backhoes carrying the remains of piles of dead bodies was some form of performance art with manikins. Why are people inclined to deny this one aspect of World War II? How is it that no one ever denies that Hitler existed? Or that PolPot happened? Or that there was mass genocide in Africa between the Hutus and the Tutsis,? This selective educating, or I should say, mis-educating is both shocking and appalling! I cannot find enough strong superlatives to state just how disturbed I am with this despicable situation. How can such a thing be allowed to happen? What next, denying the Israeli-Palestinian conflict is real? What about denying that currency exists and just walking into places, eating, picking up clothing and living anywhere you choose to end up! Naturally if anyone chose to do that they would be arrested immediately, so why the ambivalence to do the right thing about the facts of a dark period in the last century? A period I might add that has really not ended all wars.

Oh, and by the way, how come all of these non-believers never believe in peace, a peace process or in some sort of solution to war? They prefer to deny reality instead! Scary! Those who refuse to remember are destined to repeat it, and god help us if we are alive for that level of stupidity and do nothing! WAKE UP ENGLAND! Germany didn't and their whole country for generations must now live with the shame of one man who was considered harmless at one point and allowed to thrive. Teach painful histories, talk about it, get every perspective. Don't sweep things aside and act as though they don't matter. - Adele

In tribute - The best way I can

What makes a great artist? What attributes must he or she possess? To the left of you is a fine sample. Yes, it is an old dilapidated van but if you look in a little further, its much more.

The owner has rendered a tribute to Trinidad and Tobago's national sportsmen starting with Brian Lara's record of 400 not-out during a cricket test match in 2004. The artist has also hailed the swimmer, George Bovell in his painting as well. For his Bronze medal feat at the 2004 Olympics, a lion and warrior are etched from paint on the side panel of the British Ford van.

It may not be the incomplete stadium or the proposed swimming pool site that is overgrowned with bush, what really matters is the passion and respect of a good deed from an individual from this small nation, Trinidad and Tobago. - thebookmann

The rusty van refused to give up its pride. Wrought on its sides in house paint stand a testimony to past great days for Trinidad and Tobago. The hasty text of Lara not out and the Jamaican aphorism, yuh done know, are scrawled on the vehicle, along with valiant attempts to capture other elements of Rastafarian art, like the lion of Judah and what looks like a dreadlocks warrior. Because this van is so decrepit, the images are especially poignant. - Adele

All dem spice make meh wood hard

Tanti knows it all
At the central market in Trinidad and Tobago there are a number of stalls which are operated by older ladies. We fondly call them Tanti. What they sell are a variety of spices and concentrated concoctions like molasses. These are generally from roots, seeds and barks from trees. If you need mauby, seamoss or pure coco to make your morning tea, she has it.

The proprietor always has her take on the world of spices and extracts, and she is always willing to tell you how they should be properly prepared. Also adding to the utensil that blends the brew - the swizzle stick. -thebookmann

In preparation of making a Seamoss drink

First yeh soak it, wash it clean, then boil and add spice - watch it so it don't overflow. Then put it to cool. After yeh swizzle it with powder milk and condense milk.

2020 vision - sugar cane farmers

Those we do bless
This art work is located at a major intersection in Chaguanas, Trinidad and Tobago. It is one of the twelve or so murals painted on a wall by high school students. These murals showcase the importance of the borough, and landmarks that represent the small Republic.

In the distance, it is the new vision of Port of Spain where Trinidadians are commuting to and from the city by bullet-train. Yet at the centre the backbone of the country is represented by sugarcane farmers cultivating the enriched land. -thebookmann

An open letter to Damien Hirst

How best to be remembered



June 15th, 2007
_________________________________________________________________
Dear Mr. Hirst,
_________________________________________________________________
It is indeed a pleasure to know that you are one of those artists
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who can say that you cannot recall whether one of your works cost
_________________________________________________________________
ten or fifteen million pounds. With this in mind, I would like
_________________________________________________________________
to make a suggestion to you. Have you thought of putting some
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of your money that may possibly be lying around, not really doing
_________________________________________________________________
anything and put it towards an Art prize? You could consider an
_________________________________________________________________
international one, where there are ten winners, sort of like the _________________________________________________________________
Hugo Boss Prize. I believe that such a thing would be deeply
_________________________________________________________________
appreciated by the world and would even be considered quite _________________________________________________________________
humanitarian.
_________________________________________________________________
Regards, Adele
_________________________________________________________________

Scream your name over and over - T&T

Why we love who we are - The linguistics of spoken West Indian English.

For many years in Trinidad and Tobago there was a local television show called "Scouting for Talent". It was produced by the TV personality Holly Betaudier, his objective was to audition people who had some sort of entertaining ability. Once a week participants trotted out the best renditions of mostly popular American tunes. An interpretation of a Stevie Wonder or a Whitney Houston's " I would always love you" would be attempted with all the inner passions of the individual. Occasionally, a contestant would perform a modern dance routine, or play a composition on our national musical instrument, the steel pan. Trinidadians should remember the woman in the tight stretched white spandex pants who danced to a ballet wearing a pair of roller skates, the man who spitted out gum on stage before belting out his song or the Indian girl and black man's dance routine. He dressed as a vampire and she as a coffin, It was amazing. What made these appearances so memorable were how confident the participants presented themselves to a live audience.

This is a video clip from the local music TV station called Synergy, and the artist is Nicole De Coteau filmed at the Chaguaramas Peninsular, Trinidad. Ms. Coteau is going all out with her music genre that really can't be explained, but she is surely supported by her entourage of admirers that groove to her tune. The singer exhibits a tone in which Trinidadians and Tobagoians call pure self-confidence. Her temperament equals the level of a Scouting of Talent contestant. -thebookmann

Put your arms up upon meh shoulder baby
Hold meh tight squeeze meh sugar honey
Let de whole night completely satisfy meh
Swee lovin gets meh delighted
Yuh de one to get meh excited
With wine and roses and candle lighted

Swee lovin to satisfy meh
Swee lovin yuh ca deny meh
Bring yuh lov into meh baby
Make no mistake de tem-perature rising

Scream your name over and over
Take meh now I ca wait no longar
Splashing and pleasure make meh perspire
Oh baby yuh dis bend meh like wire

Tobago - A German interpretation

Wie andere von uns sehen
The National Museum has done it again. They have produced a show in affiliation with the German Embassy, and the results are noteworthy to say the least. Many of us are aware of Luise Kimme. She is the German/Tobagonian Artist who creates larger than life sculptures of people of the island in mythical poses.

Her work is accompanied by large paintings done by Andrea Hoffer. Both types of work are well paired, and it is a definite pleasure to look upon large contemporary interpretations of colonial houses, painted in a mesh of fretwork and fauna. It is as though you have stepped through a looking glass and Miss Kimme’s people are frozen in time against a backdrop of hazy forms of Miss Hoffer's work that connect many views of lazy life on an idyllic island, but when one looks more closely, one sees much more under the surface. A bit of lace, a face from a faded photograph, a patterned curtain fluttering in the breeze. Who was there? Or what is the story here? The paintings seem to conjour these thoughts up, and they are not settling thoughts, but investigative in nature.

Among familiar pieces by Miss Kimme are also many lush and densely sculpted, colourful pieces that I believe have not been exhibited before. Where the paintings leave off, the sculpture complements. This show is a sensitive melding of textures, scale and colour. After a minimalist show by Dolino, it is a sensible complement and continuation to what may be an embassy series. This is a treat. Don’t miss it. - Adele

At the Annex, the National Museum of Trinidad and Tobago, Luise Kimme and Andrea Hoffer 12 -24th June 2007

All we seek is truth

In our sorrows and in our triumphs, in our battles and in our victories, all we really seek is an universal truth.

What determines truth in art? What separates us from other living things. Is it because we are capable of conceptualizing and placing meaning to the things we make? Is art suppose to represent an individual, ethics, nationality or all of the above? Is art suppose to work in that way and why do we make art to begin with? Are we in such a thirst for art that we can't distinguish the lines that divide truth from deception. Or is it our purpose to leave behind our timeline in civilization in markings and symbols. Yet as we struggle with the temptation to express who we are in history, are we alone?

The split images are, from the left, an etching made by a dog on concrete and to the right, chalk doodles on a wooden door made by a man. -thebookmann

The Sopranos (Nothing Happened)

Seeking solitude - Larry Mosca

An artists finds himself in a loop...yet he is an Ornithologist in his own right

How does one approach this work without feeling how beautiful these islands are, Trinidad and Tobago. Larry Mosca sees it too with his photo-realistic paintings of tropical birds, forna and wetlands most likely observed from the Asa Wright Nature Centre or from other protected sanctuaries throughout the country.

At his exhibition, "Reverence for life" held at Horizons gallery in Port of Spain, Mr. Mosca exhibited thirty seven works in which he followed a calculated formula of what he believes his art represents, and how it should look. They are scenes painted to many framed dimensions to suit a Cooperate office or a living room space. Needless to say, this is his market and like his contemporaries, paintings vignettes of an idyllic place gives the art buyer the pleasure of capturing a part of it which many Trinidadians neglect. - thebookmann

The young navigator - Shannon Hutchinson.

Where I am closest to the heavens

It is an experience that hits the pit of your stomach, the longing for home as you skim over the northern range. From your seat you can peek through the window and see the vista of lush virgin mountains. And as the plane banks and lines up towards the airport, deep in your heart, your home awaits.

This is the work of a young artist as she combines both professions as a painter and skill as a pilot into her art practice. At the age of 24, Shannon Hutchinson has her Trinidadian and Canadian commercial flying license and a degree in Fine Art from the Ontario College of Art and Design. With the suggestion from a workshop held by painter Peter Doig in 2003, she says Mr. Doig approached the subject by asking her to combine rather than to separate both aspects of her professions. This single key has changed the way she paints.

From the beginning man has always been fascinated with flight, and artists have portrayed the vision through paintings. Leonardo da Vinci's studied flight by observing the wings of bats and birds. His apparatus is documented in his diaries dated 1490. The Wright brothers where able to devise stability and control of their flying machine in 1903 as it took to the skies for 12 seconds.

This young navigator sees it from the cockpit and she incorporates the iconography and mechanics of aviation in her work. Ms. Hutchinson approaches painting by tradition. Her palette is a patina of raw handmade pigment applied through washes of hues, and divisions of spaces. She also uses a form of collage adding to the intrigue and journey to her truest desire.
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Miss Hutchinson’s work may be a traditional palette,but her subject matter is not. It is believed that the Flemish painters greatly revolutionized the Renaissance with their very realistic interpretations of clouds. Miss Hutchinson takes this much further in her observations as a pilot. At her tender age, it is a pleasure to see someone really stepping out and exploring so much in terms of her duel passions. Many a time I have looked at clouds from the ground, on flights and in buildings, and I have wished that I could somehow capture their beauty. To me, clouds, particularly seen from the air, take on a magic that seems symphonic in nature. Miss Hutchinson is able to capture just that. I had the privilege of seeing some of her large pieces, and this is another thing, she paints big, to get to the emotions of the formations.

These are not just careful copies of cloud shapes, but elements of what make the heavens so magnificent in the first place. There is the sense of air and motion, the possibilities of subtle weather changes, the reflection and refraction of light, and the questions of what is behind that puffy shape. She has also made very bold statements about our islands dramatic shifts by painting the buoyant blimp amidst clouds. She is managing very well to transcend the very narrow subject matter and giving it great weight and interest in a marketplace where so many more experienced artists are keeping staid and uninspired and producing nothing remotely challenging. She reminds us that you can take chances and come out on the other side better for it. Think of flight itself. What a challenge! But it is more than possible. It is normal and a wonderful way to see the world, and Miss Hutchinson is doing just that. - Adele

Trapped with the ideas of the past - Tracey Emin

The downfall of the Britart movement

I've been making art for over 20 years, and at long last I finally cracked the code. I got inside of what I do and why I do it. As an artist that's so important. It's equal to faith. The world is full of so much shit. There's a very fine line between what's necessary and what isn't. As the artist I must know what's what - I must be 100 per cent responsible for the things I put into this world.- Tracey Emin; My life in a column

The watercolour work painted on a ruled writing pad is not from a child suffering from autism, or a kindergarten finger painting composition, but rather it is part of the Gran Bretagna pavilion from the 52nd International Art Exhibition Venice Biennale, 2007. The Venice Biennale is Europe's most prestigious contemporary Art Exposé which hosts 77 pavilions and artists all compete for the most outstanding work at the venue. June 10 - November 21, 2007

This is the work of Tracey Emin who is representing the best of British contemporary Art. Consequently, Ms. Emin's exhibition comes a week after Damien Hirst unveiled his current work on the theme of shock art to a public and the artworld who are fascinated with his morbid antics. What these two artists have in common other than their Britart connection is their self-absorbed motive to shock. And rather than seeing what they can getaway with, they oversee the opportunity to execute the best possible work.

In her BBC interview, Ms. Emin says regardless of how critics feel about her body of work at the Biennale, her work must be supported fully as she represents Great Briton at the state of contemporary British Art. What is evident is that her concepts are based on narcissism and is a mirror of herself in disposition and poise. One must give her credit for the inner truth she seeks to express but exposing as the Best of British art is in question.

How is art defined? Why would this piece have importance in British Art? These are questions that are as perplexing as what art should entail if anything other than the surface of nationalism it hides behind. Art should stand on the merit of the individual and it should have the ability to provoke an emotion of selflessness. - thebookmann

The collector Charles Saatcchi and the Artists, Damien Hirst and Tracey Emin are in the media again. In these times when any media coverage is considered ‘good’ for you, and sleaze television is on an all time high (pun intended) It is very interesting to see that Art has decided that ‘it’ shall not be left out of that debacle.

The reaction to Mr. Hirst’s work last week was much more about bad taste in terms of cost and execution of an unseemly item, than the item itself. I wondered whether the work would have been better accepted if it were in affiliation with a jewellery company for example? We shall never know. My immediate concern has to do with what exactly is such a work saying? The artist was quoted in the article I read, as stating that he was unsure what the piece cost, and that it may have been between ten and fifteen million pounds. He sounded blaze, as though, the amount was only pocket change to him. That in itself was something to mull over, but that was not the rub. I have said many times that there is nothing wrong with making money. After all, many people still believe that to be an Artist is to be poor and struggling in a garrette somewhere.

So, I decided to ask Artists I know to comment on the whole skull thing. I found that what angered people most, was indeed the fact that it cost so much and seemed a show of excess because it is a skull adorned with diamonds, and that that in itself seemed gimmicky. But also there was the feeling that this costly work was somehow taking the mickey of the whole process of Art itself. Anyhow you look at it though, Mr. Hirst wins. What does he ‘win?” He wins in the area of causing Art debate, and as everyone knows, nothing helps Art like a debate on what the hell it is. In his ability to create a great deal of talk and press, the British Art scene sees itself regenerate and they have this one man to thank.

This brings me to the other enfant terrible, Tracey Emin. The basic critique of her work at this years prestigious Venice Biennale is, “ woefully inadequate.” What stinging criticism for the Artist. The critic Richard Dormant goes on to say that her work is “The weakest British entry I’ve ever seen in twenty years.” Now, lets go back to that press is press belief. What does this mean for Miss Emin’s career? Is this the beginning of the end? Is the gild off the lily? Should Mr. Saatcchi begin to jettison some of his prized BritArt works and look to, say, China? He already has…maybe our way, the Caribbean perhaps…but that’s another post.

What caught my attention in the British Telegraph article on Miss Emin was the use of the term, “wow” factor. The critic was expecting it of her. Hirst manages the ‘‘wow’’ factor. Miss Emin needs todo the same. What does that mean? Why should Art be asked to perform such a function? Miss Emin was taken to task for not being able to ‘move forward’ with her work. The French artist Sophie Calle is compared to her and considered much better. It almost sounded like Mr.Dormant wanted to tell her, get with the programme and stop slacking off. Do less primping and more work. Art seems to be playing catch up with the media and not the other way around. In Hollywood what is happening to Miss Emin would be called flavour of the month. This may be the typical build up only to break down, and in this, Miss Emin's piece at the Venice Biennale, may actually be prophetic even if it fails to wow. Perhaps she is given a greater gift than Mr. Hirst's constant accolades, she may have an opportunity to step back from all the hype and really become the Artist she wants to be and truely produce work that shall transcend the now, sleaze factor that seems to be successful for some. Cheers - Adele

Dynasty Chutney

Rum is my lover - Perpetuating a stereotype

These stills are taken from a local television show that promotes the culture of Trinidad and Tobago. Once a week or so, it slots in a chutney video count down in a cheesy commentary format.

Making low-budget Soca Chutney videos as such seen on Synergy TV requires the following; Rum, a river, a beach, roll-on-roll off cars, Indian dancers in costume, wedding guests, family and friends,feuded neighbors, a iron pot for a cookup, domestic animals such as fowls (cocks) or cats (catt) and more rum to incite fights and cutlass chopping.

The star Ravi Bissambhar from the video clip is a bit of a celebrity himself, and as he was interviewed by the VJ, a older woman kept accosting him then uttered the words, "I want to rape yuh." One wonders why it was not edited out. And although the melody is about Rum drinking, in part of the video (the river scene) it shows Mr. Bissambhar holding up a bottle of scotch. ??? There are the lyrics from song which, Ravi Bissambhar sings with great passion

Rum is meh lover and I don cyare, so we drinking today and we drinking forever, Akela hoon main

But I don cyare what people say, Ah drinking today and we drinking forever, ah Tequila or Beer

Rum kill meh muda

Rum kill meh fada

Rum kill meh whole family

Rum kill meh broda

Rum kill meh sista

Now it want to come and kill me

But I don cyare what people say, oh ah drinking today and ah drinking forever, Akela hoon main

For readers unfamiliar with Trinidad and Tobago, the backdrop is Mayaro beach and the video is a broad generalization of desires and wants of East Indians. The whole idea of promoting alcoholism with East Indians equals the vulgarity of mainstream music which perpetuates the stereotype of young black men and women.

Note: Akela hoon main is Hindi for "I am alone"


Read the racist comments at Youtube
See also Ravi Bissambhar an International Star is born
See Ravi Bissambhar as thebookmann header.

The moment that defines you

Every action has its consequences

There is a general saying that all things happen for a reason and although we may not agree to the way it is expressed to us, we have to pause and took towards ourselves to seek the very answer.

The stencil of the girl crying because of her broken heart has more meaning to Trinidad and Tobago than the graffiti artist had anticipated. - thebookmann

Art Decadence - The King's sacrilegiously Scepter

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