For the sake of God's love, what are you going to do next? This is what Damien Hearst's mother said to him, which shows that his rebellion is extraordinary.
This sentence even inspired him to create the shocking "love dedicated to God".
Some people say that without him, britain would not have the current status of international contemporary art. He is a benchmark in the contemporary art world and the richest artist in the world today.
Artistic genius or business magnate? The arguments against him never stopped.
Artist photo
Dots, skeletons, butterflies, carcasses of animals soaked in a solution of formalin... These relevant elements that constantly appear in his works all show his talent. But unlike all the controversial big artists in history, he is still alive, 50 years old, which is a good year of creation.
His alternative sculpture, Love for God, is worth $100 million and is the most expensive work of art in the world. No one will deny the title of his richest living artist.
It was a skull decorated with 8,500 diamonds worth about £8 million to £10 million, and analysis confirmed that the skull belonged to a European, about 35 years old, who lived in the early 18th or 19th century. The most valuable piece in this work is a diamond weighing about 50 carats on the forehead. Titled Love to God, the platinum diamond skull work, Hearst once said, "I just want to celebrate life by cursing death, and what is the better way to cover death than by using symbols of luxury, desire, and depravity?" On August 30, 2007, the diamond skull sold for $100 million and set a record for the highest selling price for a living artist. (See figure below)
For the Love of God, 2007
Prints and Multiples, Screenprint with glazes
32.5 x 24.1 cm
The Physical Impossibility of Death in the Mind of Someone Living
1991
Glass, painted steel, silicone, monofilament, shark and formaldehyde solution
2170 x 5420 x 1800 mm
Sculpture
Out of Sight. Out of Mind
Glass, painted steel, silicone, cows’ heads and formaldehyde solution
Two parts, each: 406 x 838 x 457 mm
Mother and Child (Divided)
1993
Glass, painted steel, silicone, acrylic, monofilament, stainless steel, cow, calf and formaldehyde solution
Two parts, each (cow): 1900 x 3225 x 1090 mm， Two parts, each (calf): 1029 x 1689 x 625 mm
Alone Yet Together
Glass, painted MDF, ramin, acrylic, fish and formaldehyde
914 x 1219 x 102 mm
11 Sausages
Acrylic, silicone, monofilament, stainless steel, sausages and formaldehyde solution
626 x 475 x 74 mm
Two Similar Swimming Forms in Endless Motion (Broken)
Acrylic, painted aluminium, sharks and formaldehyde solution
914 x 3658 x 1829 mm
Because I Can't Have You I Want You
Glass, painted MDF, pine, steel, acrylic, fish and formaldehyde solution
Diptych, 1219 x 2438 x 305 mm
Come really. He's always been that way.
Since the 1990s, he has not only dominated the development of British contemporary art, whether it is the market or consciousness, but also the entire British contemporary art (BritArt/YBA) and even the entire post-90s international contemporary art community. Since the rise of the Internet, all art sites have heard of him on average every month, new creations are constantly emerging, and no artist has become so popular as to become the center of the entire international contemporary art scene. Flipping through the market, provoking the audience, re-examining ideas.
Of course, the criticism and criticism of him by the public and the media over the years have never stopped.
Away from the Flock
1994
Glass, painted steel, silicone, acrylic, plastic, lamb and formaldehyde solution
960 x 1490 x 510 mm
Philip (The Twelve Disciples)
Glass, painted steel, silicone, bull's head and formaldehyde solution
457 x 914 x 457 mm
The Prodigal Son
Glass, painted steel, silicone, acrylic, plastic cable ties, stainless steel, calf and formaldehyde solution
Two parts, each: 991 x 1499 x 483 mm
Matthew, Mark, Luke and John
1994 - 2003
Glass, painted steel, silicone, kitchen knives, barbecue skewers, resin books, leather and brass wallet, glass ink well, Mont Blanc fountain pen, wooden paint pallet, wooden paintbrushes, cows' heads, bulls' heads and formaldehyde solution
Four parts, each: 406 x 813 x 406 mm
Away from the Flock (Divided)
1995
Glass, painted steel, silicone, acrylic, plastic cable ties, stainless steel, sheep and formaldehyde solution
Two parts, each: 1180 x 1860 x 513 mm
The Immaculate Heart – Sacred
2008
Acrylic, painted stainless steel, stainless steel, resin, silicone, sterling silver barbed wire, monofilament, bull's heart, dove's wings and formaldehyde solution
915 x 610 x 292 mm
The Incredible Journey
Glass, painted stainless steel, silicone, monofilament, stainless steel, zebra and formaldehyde solution
2086 x 3225 x 1088 mm
But does he care about accusations and criticism? Some say he's crazy, some say he makes art vulgar, some say he sets the times back. It is also said that creating beautiful specimens has a aesthetic experience.
His art is directed at the essential problem of human beings—life and death.
He was very interested in the finiteness of biological life. His most famous series of works, Natural History, consists of animal carcasses, some of which have also been cut and preserved in formaldehyde containers. The series' iconic work, "The Living Are Indifferent to the Dead", is a 5-meter-long tiger shark kept in a glass cabinet with formaldehyde. "Away From the Flock" (1994) is one of them, a lamb soaked in this liquid. In "Girls, Who Like Boys, Who Like Boys, Who Like Boys, Like Boys, Like Boys, 2006," the surface of the painting is decorated with very beautiful butterflies, but there are also worrying razors. Hearst reminds the audience here that life is short. Although the butterfly makes the surface of the painting very beautiful, the razor is reminiscent of the picture of the "flower moon in the mirror", which reminds us of the dangerous existence and the non-permanence of the beauty of matter.
Theology, Philosophy, Medicine, Justice
Glass, painted stainless steel, silicone, monofilament, bull sharks and formaldehyde solution.
Two tanks, each: 1918 x 3225 x 1092 mm
Schizophrenogenesis
Glass, painted stainless steel, silicone, acrylic, cows' heads and formaldehyde solution
457 x 1829 x 457 mm
The Kingdom
Glass, painted stainless steel, silicone, monofilament, shark and formaldehyde solution
2140 x 3836 x 1418 mm
False Idol
Glass, gold plated stainless steel, silicone, gold, plastic cable ties, calf and formaldehyde solution with Carrara marble and powder coated stainless steel plinths
2596 x 1950 x 1033 mm
Pigs Might Fly
Glass, gold plated stainless steel, resin, monofilament, silver, piglet, dove's wings and formaldehyde solution
803 x 498 x 435 mm
The Golden Calf
Glass, gold, gold plated stainless steel, silicone, calf and formaldehyde solution with Carrara marble plinth
3989 x 3505 x 1676 mm
The Dream
Glass, painted stainless steel, silicone, resin, foal and formaldehyde solution
2310 x 3326 x 1381 mm
He has also always been interested in the connection between science and art. He often injects elements of medicine into his work, such as medicines, medicine cabinets, and pills; his "dot" paintings mimic medical color codes.
Hearst also often uses materials in daily life, such as desks and chairs and cigarettes. Although there is no human being as the protagonist, it implies the absence of human beings. We are facing an artificial environment, and the simple and clean design of the modern glass windows also reminds us that this is an aquarium or a zoo. Although what Hirst wants to show through the cigarette in the glass window is the concept of escape, because the glass window is sealed, it is impossible to escape from the space where this white-collar worker exists.
A swivel chair and a desk, this typical element of office supplies, were used as a sign of human existence, like anthropological handicrafts.
The Black Sheep with Golden Horns (Divided)
2009
Glass, painted stainless steel, silicone, acrylic, plastic cable ties, stainless steel, gold, lamb and formaldehyde solution
Black Sheep with Golden Horns
Glass, painted stainless steel, silicone, acrylic, gold, cable ties, sheep and formaldehyde solution
1103 x 1623 x 641 mm
End of an Era
Glass, stainless steel, gold, sterling silver, bull’s head and formaldehyde solution with Carrara marble plinth
2134 x 1709 x 972 mm
Cock and Bull
2012
Glass, painted stainless steel, silicone, bull, cockerel and formaldehyde solution
Gone but not Forgotten
2014
Glass, vinyl covered stainless steel, powder-coated steel, rubber, gold leaf and mammoth skeleton
165 x 282 x 178 mm mm
Minaret, 2009
Prints and Multiples, One from a series of six color photogravure etchings, printed on 400 gsm Velin Arches paper
46.16 x 45.5 inches
Ellipticine, 2007
Prints and Multiples, Etching
110.5 x 137.9 cm
The story of Hearst and Thatch is well known. For more than 10 years, Thatch created many material and spiritual conditions for Hearst, allowing Hearst to concentrate on his work.
Although Hearst's collaboration with Thatch later broke up, their relationship has become inseparable from British contemporary art, Charles. Saatchi once said: "The art textbook of 2105 will be very cruel when it comes to contemporary art in the late 20th century, just like the introduction of each century, except for Jackson. Jackson Pollock, Andy. Andy Warhol, Donald. Donald Judd and Damien. Other than Hirst, everyone else will be just supporting characters. ”
We don't know if his predictions were accurate, but no one has really jumped out of the way to oppose such a parable. At a time when the group of young British artists emerged, British audiences used to shoe on their works, but this did not prevent them from becoming icons of British culture and the mainstream force in the international contemporary art world. As the soul of the entire group, Hearst's identity is equivalent to that of a spokesman for British contemporary art.
In a Spin, the Action of the World on Things, Volume II
Prints and Multiples, 14 original etchings and a time-lapse photograph by Damien Hirst contained in a handmade box with an original spin painting by the artist on the cover.
Twist and Shout, 2007
Prints and Multiples, From the suite of 14 unique, hand-colored engravings
111.8 x 91.4 cm
Cocarboxylase, 2010
Prints and Multiples, Original woodcut
106.7 x 106.7 cm
Exaudi Domine, 2009
Prints and Multiples, Silkscreen with diamond dust
109.1 x 107.5 cm
Butterfly Soul II, 2009
Acrylic on Paper
46 x 70 cm
Big Love, 2010
Prints and Multiples, Silkscreen Print
155 x 151 cm
In a Spin, the action of the world on things
Paintings, Household dayglo on canvas
112 x 97 cm
Hearst said: "Art serves only one thing: to answer the question – what are we doing on this planet?" What is the point of doing these things? Perhaps: Death is coming every day, and we live to think we are immortal. As one commenter said, "He plays with people in disgusting and disgusting ways, influencing and stimulating our feelings with horrors." ”
"I always like to go down crooked lines," he said. Inexplicably, despite the belief that these extremely unpleasant works will eventually disappear (because the process of decay of objects does not stop, only slows down and changes in color), they still push Hearst to the peak of artistic splendor.
Dark Black Heaven (Nite Time), 2012
Inkjet print in colours with glaze and foilblock, on Hahnemühle photo rag ultra smooth paper, with full margins,
55.5 x 55.4 cm
Round, from In a Spin, The Action of the World on Things, Vol. 1, 2002
Etching with sugar-lift and aquatint in colours, on Hahnemühle etching paper, with full margins,
50.3 x 50 cm
Kindness, 2011
Silkscreen in colors
91.2 x 91.7 cm
Freedom, 2007
Butterflies and household gloss on canvas
diameter 182,8 cm
Untitled, from It's a Beautiful Day, 2013
Polymer-gravure block print in colors on Zerkall Paper
Edition:
31/55
Anatomy of an Angel, Black
Sculptures, Resin
33 x 18.5 x 14 cm
The Sick Dead: Loganberry Pink/Lime Green Skull
Prints and Multiples, two color foil block print
72.4 x 50.8 cm
Pistol
Paintings, Original spin painting, Oil on Canvas
71 x 48 cm
Scull spin Painting
Paintings, Original spin painting, Oil on paper
50 x 58 cm
In addition to the dead animals, Hirst's dots are also much discussed. In 2012, when it was exhibited at 11 galleries around the world at Gagosian, various interpretations emerged from all sides.
Some people say that it is like an infectious disease. Hirst's art is about life, death and communication. Dots are just tools to convey the idea of the work, similar to the virus or the alien juvenile stuck to the face of team member John Hurt in Ridley Scott's film Alien. Art is in your head. Life itself is a terminal illness, and false communication spreads, whether it is sexual, social, political, or pharmaceutical.
Some people say, I can draw these too! Well, those dots, kindergarten kids can draw.
It's just that he's Hirst.
And you, no.
Artist Profile;
Born in Bristol on 7 June 1965, Damien Hirst grew up in Leeds, north of England. He studied at the Jacob Kramer School of Art in Leeds from 1983-85 and from 1986-89 at Goldsmith College in London. In 1994 he was nominated for the International Artist Project at the German Academic Exchange Center in Berlin and in 1995 he was awarded the Turner Prize. Today, Hearst lives and works in Gloucestershire, England. He is one of the main exponents of a new generation of British artists. He dominated the development of British art in the 90s and enjoyed a high international reputation. Hearst studied at Goldsmiths College, University of London in September 1986. In 1995, he won the Turner Prize at the British Contemporary Art Award.
Source: Ed. /Written by Morburn Inscribed Time