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Old 07-14-2010, 09:29 AM
 
21 posts, read 51,510 times
Reputation: 18

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Quote:
Originally Posted by harhar View Post
I hate when I post something then I time out...

Anyway, nah, I don't care for him. "Art as shock value" loses credibility with me.

I've known people with the same general background (life story) as Hirst, and lets just say they weren't nearly as successful. It must be persistence.

Also I like to see progression and growth from artists, and I see none from him, just a bigger bankroll.

Meh. I'm not bitter.
your indifference is top notch.
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Old 07-14-2010, 08:28 PM
 
Location: Massachusetts
4,033 posts, read 8,289,422 times
Reputation: 4883
Quote:
Originally Posted by minilogue View Post
Pardon my cynicism... I need to make one more post. Obviously I'm someone who feels very strongly about this.

The more people hate someone like Hirst, the more publicity hes gonna get, and that's what the whole shock value thing is all about.

It is not art, it is business. (business is art but you guys know what I mean)

Shock value itself is a form of business. It generates public anger or vice versa, make people talk about it. The whole system of marketing shock value increase the so called artist's reputation (good or bad) but now they are KNOWN. Charles Satcchi was clever when he discovered Hirst, and he utilized Hirst's mockery and methodologies as part of his marketing campaign. The whole museum/gallery setting (venerable high ceilings, lighting, shiny floors, sellers and interpreters in Gucci suits trying to look very smart) plus a ****eload of critics who are all good with words will add a degree of integrity to anything, yes even a urinal. The shark in a tank is quite genius given today's art ideals and economy, but the whole art system (including art education, F* YOU Pratt!!!) today reeks of manipulative politics.

Then again, perhaps I'm being too selfish. Everybody's got the right to make what they please.

I'm suddenly aware that the very notion of me getting upset is giving this man his share of publicity, and that is exactly what Satcchi had intended. Create Controversy.
......

Yea, I guess the shark is pretty cool.
It's actually much cooler alive and swimming in the ocean. Damien Hirst has nothing on God.
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Old 07-15-2010, 03:18 AM
 
21 posts, read 51,510 times
Reputation: 18
Quote:
Originally Posted by StarlaJane View Post
It's actually much cooler alive and swimming in the ocean. Damien Hirst has nothing on God.

You are absolutely right...

Why would a museum pay couple of million bucks to buy a dead shark is beyond me...when they can easily pay a third of that money and help preserve natural wild life.

If MOMA wants media attention, endorsing artists who aim to preserve nature is far more effective... in terms of business AND social conduct.

Either way I'm glad people can see beyond the whole shock value thing.

That's why Hirst goes back to painting now... he's realized that in terms of marketing value, "Shock the audience" strategy is milked dry.

Hell... even Satcchi's given up half of his collection. He hypes Hirst & Co up, now it's done, he then donates all this worthless junk (to begin with) under the disguise of philanthropy.

What has the art world come to? It's all about misleading the audience now... thanks Duchamp... that filthy urinal could have only happened in America... he's got a whole bandwagon of thoughtless followers because it's what art 'suppose' to be these days. The gullible kids in today's art schools have been so brain-washed its not even funny.

Today's art business strategy in NYC:

Dealers + Critics + Art Consultants + Media + High-End Gallery = $$$

Target: The rich looking for alternative investment.

Groupies: The public (creates hype, controversy, etc.)

Media (Art Magazines, Newspaper etc.) Provide outlet for information.

All together this system creates a very tight-knitted web aimed to brand specific 'trends' in art (need some foresight on dealer's part) that are deemed marketable into the next 'big thing'

Critics don't make squat.... they need alternative sources of income, here enter the dealer. The words of the critics are used to manipulate the public who shows interest. Art consultants manipulate the rich into buying, Media hypes it up, High-end Gallery provides integrity and spacing to display these hyped-up things.

6 - 12 months later = donation under disguise of philanthropy
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Old 07-15-2010, 09:55 AM
 
Location: Massachusetts
4,033 posts, read 8,289,422 times
Reputation: 4883
Quote:
Originally Posted by minilogue View Post
You are absolutely right...

Why would a museum pay couple of million bucks to buy a dead shark is beyond me...when they can easily pay a third of that money and help preserve natural wild life.

If MOMA wants media attention, endorsing artists who aim to preserve nature is far more effective... in terms of business AND social conduct.

Either way I'm glad people can see beyond the whole shock value thing.

That's why Hirst goes back to painting now... he's realized that in terms of marketing value, "Shock the audience" strategy is milked dry.

Hell... even Satcchi's given up half of his collection. He hypes Hirst & Co up, now it's done, he then donates all this worthless junk (to begin with) under the disguise of philanthropy.

What has the art world come to? It's all about misleading the audience now... thanks Duchamp... that filthy urinal could have only happened in America... he's got a whole bandwagon of thoughtless followers because it's what art 'suppose' to be these days. The gullible kids in today's art schools have been so brain-washed its not even funny.

Today's art business strategy in NYC:

Dealers + Critics + Art Consultants + Media + High-End Gallery = $$$

Target: The rich looking for alternative investment.

Groupies: The public (creates hype, controversy, etc.)

Media (Art Magazines, Newspaper etc.) Provide outlet for information.

All together this system creates a very tight-knitted web aimed to brand specific 'trends' in art (need some foresight on dealer's part) that are deemed marketable into the next 'big thing'

Critics don't make squat.... they need alternative sources of income, here enter the dealer. The words of the critics are used to manipulate the public who shows interest. Art consultants manipulate the rich into buying, Media hypes it up, High-end Gallery provides integrity and spacing to display these hyped-up things.

6 - 12 months later = donation under disguise of philanthropy
Yes, much like everything else (education, religion, etc.), art has become corrupted by the business model. It's why we have crappy books on the shelf and crappy art on the walls--artists just churn out products to make money rather than wait for inspiration, which the business model simply won't tolerate. Anything of any real [artistic] value has usually been festering for a while.

I think when any artist is to the point where they are displaying a dead animals as art--because they have nothing else to offer--they should hang it up or at least take a break until they have something of real value to offer.
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Old 07-18-2010, 04:39 PM
 
Location: Here&There
2,208 posts, read 3,514,958 times
Reputation: 2414
I'd like to add that most of Hirst's 'fame' is due to his dealer, Charles Saatchi, who would drive the 'value' of his work up during an auction by buying it back at a high price thus creating an illusion of worth to Hirst's work. Auction houses are fairly sketchy, value is determined rather randomly, and the buyer can remain anonymous. Saathci has been known to do this with many of the people/'artists' he represents (Yes, I'm aware Hirst and Saatchi are no longer together.) Jenny Saville seems to be the only artist of any worth of the people he represents. Look up her work, I think she's great.

Another thing about Hirst is that most if not all of his work are produce through other people. Yes, I realize this is not uncommon, many great masters of the past has done this but not to the same extent as Hirst has it; also the great masters had to establish themselves first before setting up a team/workshop and with Hirst it seems he had an idea and then had other people work on it.

If anyone is curious, look up John Lekay's work. One begins to wonder.... I'm not saying that Lekay's work is great or at least good, but to copy his work portends to the same if not worse 'artistic value', no? I think he's a fraud. His exhibition of paintings he actually did himself, I believe last year, showed us his real artistic ability, which was crap.
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Old 11-27-2011, 02:25 PM
 
Location: Here&There
2,208 posts, read 3,514,958 times
Reputation: 2414
Damien Hirst faces eight new claims of plagiarism | Art and design | The Guardian

Ha, well this amused me. I wish he would just go away. I hope people who have bought his stuff feel duped, next time educate yourself.
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Old 03-21-2012, 12:08 AM
 
Location: Maryland
62 posts, read 138,578 times
Reputation: 57
Default Animal cruelty

I object to animals being killed unnecessarily. That's a big objection for me to his work, but it's the only one. As far as his other work goes, it doesn't appeal to me but it doesn't bother me in the least if other people like it and buy it.
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