Controversial Artist. The controversy surrounding Hirst stems from four issues: 1 Differences of opinion concerning the aesthetic or intrinsic artistic worth of his artworks. Damien Hirst has been praised by many for galvanising interest in the British arts and in helping to create the image of a 'Cool Britannia'. Moreover, a large number of art professionals and experts have been quick to acknowledge his prowess in marketing works of art.
Even so, his critics are no less vocal. A Daily Mail headline stated "For 1, years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all. However, despite the sceptics, Hirst continues to be a best-seller and, despite a bust-up with his erstwhile patron Charles Saatchi, the latter remains a staunch supporter of Hirst's artistic talent.
In his self-promotion and general efforts to publicize his painting, sculpture and installations, the truth is that Hirst is doing no more than many other famous artists, from Rubens to Salvador Dali.
The only difference, frankly, is that he's doing it better. One can say the same thing about Jack Vettriano. A more serious question concerns the longevity of his works and thus his reputation as an artist, and - by implication - the meaning of art in the 21st century.
Personally, I see Hirst's work as a simple reflection of modern society which attaches overriding importance to 'news value'. As values change, I believe that the importance of his contribution to visual art will diminish to the level of mere curiosity. His name may endure for a little longer, but I expect that few people will remember his now-fashionable sculpture and installation. As to his artistic skills, I believe them to be highly overrated.
Furthermore, his own view of art appears muddled and confused. On the one hand, he seems to support the conceptualist notion that the real creative act is the idea , rather than the finished product. On the other hand, many of his works carry absurdly pretentious titles - thus signposting their exceptional significance - and a number are embedded or decorated with extremely valuable materials - hardly the stuff of traditional conceptual art.
However, Hirst's approach to modern art is entirely consistent with a strong desire to make money and achieve worldwide fame. The reader is the space where every single quote is imprinted , from which the letter is composed; the text finds its unity not in its origin , but in purpose , although the purpose is not a personal address; the reader is a man without history , without a biography , without psychology , he is just someone bringing together all those touches that form a written text.
Therefore , performance became the central form of art , an action taking place here and now and involving the viewer as much as possible in the creation process. Therefore , in the visual arts , there are so many styles with the prefix neo: neo-geo or neo-geometry , the style that combined and transformed the experience of op art and abstract art , neo-expressionism and even neo-pop by Jeff Koons with his golden Michael Jackson in full growth and ball sculptures.
Despite the fact that the art by the artist Louise Bourgeois is often called a continuation of the surrealist ideas , she calls her sculptures rather a parody of surrealism. In her sculptures , one can find both the formal influence of ancient Greek and ancient American sculptures , modernist sculptors , and images clearly inspired by shots from Hollywood horror films. No original In art history , any art movement positioned itself regarding the reality.
And no matter how enthusiastic even modernists were with experiments with colour , shape , perspective , in their manifests the position regarding the real world always sounded. The French philosopher Jean Baudrillard introduces the term "simulacrum", known since the time of Plato , in the postmodern context. But now it is " the reality that hides the fact that it does not exist ". The copy without the original , the artifact without the history. This was a grandiose hoax , a fictional art story , carefully prepared Hirst worked on the exhibits for 10 years and a recited performance.
According to Hirst , the ship that never existed sank off the coast of Africa 2, years ago. It was a work of art from all countries , heading to the museum. The exhibition is accompanied by pseudo-documentary underwater filming from the crash site.
Enchanting simulacrum , workshop fake reality. Also read. In recent decades , because of the radical reorganization of the world , globalization , a leap in technological progress and the development of information technologies , the world is entering a period of so-called metamodernism — a state of culture that synthesizes postmodernism and modernism Modernism is more than an art movement. To post comments log in or sign up.
Main illustration: Jeff Koons. Michael Jackson and Bubbles. Share article. Tags: damien hirst jeff koons postmodernism. Who we are Arthive is a community of artists, collectors and art dealers. We make it easy to collect and publish everything about art, manage collections, and buy, sell and promote artworks. About Arthive. Apps and services. Artists and artworks. Join 10 other followers.
Follow Following. Sign me up. Already have a WordPress. Log in now. Loading Comments In this piece, Michael Jackson and his pet monkey and closest friend , Bubbles, are shown life-size sitting on a bed of flowers. The work is a good example of the excesses that characterize Koons' art in terms of color, size, and theme. At the time, Jackson was at the height of his popularity, which Koons underscored by painting the figures in gold in order to make Jackson into a "god-like icon.
The work was done as part of Koons' "Banality" series and serves as a good example of the kitsch aspect of much of Koons' art in that it valorizes the garish and the sentimental. Like most postmodern art, the work seems to be a deliberate challenge to conventional notions of taste and to the modern separation of high art and popular culture.
Artist: Felix Gonzalez-Torres. The work of the Cuban artist Felix Gonzalez-Torres addresses many postmodernism issues including originality, the importance of the viewer, the concern with minority identities, and the ephemeral nature of art. The installation instructions give specific directions to maintain the stack at a certain weight.
While the pile shrinks on a daily basis as visitors - with some trepidation - take paper from the pile, it is restored to its full size each morning.
Thus, there is no solid, commoditized, always-existing work of art in the traditional sense; it is reconstructed at each installation site with new paper, and the entire piece reconstituted. The work thus questions originality and authorship, while involving the viewer very profoundly in the meaning of the work, which is about the death of Gonzalez-Torres' lover, Ross, from AIDS.
As the weight of the pile of paper shrinks each day, this diminution represents Ross's wasting away from the AIDS virus, which he died from two years after the work was first shown. Thus the piece also deals with issues important to the LGBT community - a minority group of people whose rights were just beginning to be recognized. Damien Hirst's shark preserved in formaldehyde is perhaps the most famous work of the Young British Artists movement in the s.
Hirst's presentation of a once deadly beast as a carcass that has been preserved to appear lifelike, forces the viewer to confront their fears in the institutional setting of a gallery rather than in a private space, while also playing on Baudrillard's notion of the real and its image. The viewers would have likely only seen an animal of this size and ferocity as an image in a book or on television. Even by having an actual shark placed in the gallery, it may have been difficult for viewers to see the animal as "real" rather than as a replica or simulacra, in Baudrillard's terms, because the shark is dead and has lost its power to harm.
The sheer monumentality of the creature and the sense of spectacle - its to-be-looked-at quality - derived from its new status as a commodity art object along with the fact the work was commissioned by dealer, Charles Saatchi at an expense of over 6, Pound Sterling in marked a new era in postmodern conceptual art that did not just draw on the consumerist boom, but wholeheartedly embraced it.
This piece was included in the infamous Sensations exhibition along with works by Tracey Emin and Rachel Whiteread.
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