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Ulrich Blanché

Damien Hirst, page 1 - 10

Gallery Art in a Material World

1. Edition 2018, ISBN print: 978-3-8288-4030-0, ISBN online: 978-3-8288-6772-7, https://doi.org/10.5771/9783828867727-1

Tectum, Baden-Baden
Bibliographic information
Ulrich Blanché DAMIEN HIRST Ulrich Blanché Damien Hirst Gallery Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Ulrich Blanché Damien Hirst. Gallery Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Proofread by Rebekah Jonas © Tectum – ein Verlag in der Nomos Verlagsgesellschaft, Baden-Baden 2018 eISBN: 978-3-8288-6772-7 (Dieser Titel ist zugleich als gedrucktes Werk unter der ISBN 978-3-8288-4030-0 im Tectum Verlag erschienen.) Umschlagabbildung: Food Art made in 2008 by Prudence Emma Staite. Reprinted by kind permission of Nestlé and Prudence Emma Staite. © Damien Hirst and Science Ltd. All rights reserved/VG Bild-Kunst, Bonn 2017 Besuchen Sie uns im Internet www.tectum-verlag.de Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. Table of Content Introduction1) 11 How does Hirst Depict Consumption?a) 11 How is the Term Consumer Culture Used in this Study?b) 20 Sourcesc) 22 Consumption Concepts and their Use in the Present Investigation 2) 27 The Term Consumptiona) 27 Consumerismb) 28 The Concept of Consumerismi) 28 Cultural Critique, Critique of Authority and Environmental Criticism ii) 31 Consumer Societyc) 32 Narrowing down »consumer society«i) 32 Emergence of Consumer Societiesii) 34 Consumption and Religiond) 36 Consumption in Art Historye) 40 Marcel Duchampi) 41 Andy Warholii) 45 Jeff Koonsiii) 48 London at the Turn of the Millennium3) 53 London's Cultural Landscape since 1980a) 55 Damien Hirst and Young British Artistsb) 58 What Makes a British Artist in the 1990 s a Young British Artist?c) 66 YBAs after 2000i) 74 Blair, BritPop and Cool Britanniaii) 77 Damien Hirst4) 79 The »Natural History« Seriesa) 79 »The Golden Calf« (2008)b) 87 Material Matters – Animal, Gold and Showcasei) 95 Art auction / happening – »Beautiful Inside My Head Forever« ii) 108 Butterfly Paintings (1991 – 2008)c) 112 »Girls, Who Like Boys, Who Like Boys, Who Like Girls, Like Girls, Like Boys« (2006) i) 118 »Devotion« (2003)ii) 124 Fly Paintings and Sculptures (1997 – 2008)iii) 139 »For the Love of God« (2007)d) 144 Spot Paintings (Since 1986)e) 170 »One of a Kind« Work of Art or Mass Production? Hirst and Series i) 175 Hirst and the Tradition of Paintingii) 176 Drugs, Medicine (Cabinets) and Candyiii) 183 Reality and Ritualiv) 189 Yuppie Art for 'Over the Sofa«? – Spot Paintings in Movies v) 191 The Handling of a Location – White Cube and Museumvi) 193 Faith in Medicine and Advertisingvii) 194 Over-Identification with the Viewerviii) 199 Table of Content Banksy and Damien Hirst5) 203 Street Art – The Rise of Banksya) 203 The Spectacularization of Artb) 208 »Keep it Spotless (Defaced Hirst)« (2007)c) 211 The Location Reference – Street (and) Artd) 226 Artistic strategies for Dealing with Consumer Phenomena (Conclusion) 6) 231 Hirst’s Illusion of Consumer Paradisea) 234 The Controlled »Shock«i) 234 Over-Identification and Ironyii) 235 Images of Imagesb) 236 (Dis-) Placement and Stagingc) 237 Brands not Productsd) 239 Advertisinge) 242 The Viewer-Buyer and Collector as Perfect Consumerf ) 243 (Im-)Material Thingsg) 247 Bibliography7) 253 Web Sources Naming an Authori) 253 Web Sources without Naming an Authorii) 264 Further Websitesiii) 269 Printed Newspaper Articles, Essays in Magazines and Interviews iv) 272 Books and Exhibition Cataloguesv) 275 Videosvi) 281 Index 283 Table of Content Thanks to: Rebekah Jonas (proof reading/translation), Eva Winter (graphs) Charlotte Reuß (lectorship bibliography), Lea Cloos (index), Rob Sharp, Prudence Staite, Andrew Bloch (Frank PR). Ulrich Blanché sen., Vanessa Krout, Florian Wimmer, Nadja Gebhardt, Siri Hornschild, Anna Fech, Lisa Neubauer, Angela Beyerlein did the editing of the German version. I would also like to thank my supervisors Prof Dr. Hans Dickel and Prof. Dr. Matthias Warstat. This study was written with the help of a two-year grant by the Bavarian Elite Aid Act (Förderung nach dem Bayerischen Eliteförderungsgesetz) and supported in the research phase in London by the DAAD. 9

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Abstract

Damien Hirst constantly faces the accusation that he creates merely popular, salable, or easily consumable art. However, this accusation of “selling out” is closely linked to the great popularity that he enjoys. Discussions about the aesthetic value of art and the importance of consumer culture are incorporated into his works and highlight how the artist has been able to exemplify the consumer culture of our age. This study analyzes works from different periods of his oeuvre, such as the “Natural History” series, the Spot Paintings, the “Diamond Skull“, and Hirst’s collaborations with Street Artist Banksy. They are examined in the context of materials, iconography, and history of ideas with regard to their framing of consumer culture. This is one of few books on Hirst not published by the artist himself or under his influence. In this academic study, Ulrich Blanché also gives a compact overview of the Young British Artists in London in the 1990s.