Zusammenfassung
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.
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.
- 11–26 1) Introduction 11–26
- 79–202 4) Damien Hirst 79–202
- 253–282 7) Bibliography 253–282
- 283–288 Index 283–288
7 Treffer gefunden
- „... . Exhibition catalogue. London 1997. Meschede, Friedrich: Weder die Liebe, noch der Tod, aber das Staunen davor ...” „... for. Telegraph Online. 2 June 2007. http://www.telegraph.co.uk/c ulture/3665580/To-die-for.html ...”
- „... as a means to an end. He, however, connects 200 See Friedrich Meschede: Weder die Liebe, noch der Tod ...” „... history museums, from which the title of the series, »Natural History«, is derived. Both today (2017) and ...” „... bovine guarantees leisure entertainment with his death, something that is also considered for art today ...”
- „... consumption in today’s consumer society and consumer culture (see corresponding chapter). A careful ...” „... today, seems questionable. Furthermore, he largely ignores well-known consumer issues such as ...”
- „... bulk goods is, according to Ullrich, no longer appropriate today as many goods are now not only not so ...” „... at various diverse times between the Renaissance and today. Narrowing down »consumer society« The ...” „... globalization of consumerism began. »Previously it was about providing the things people needed, today it is ...”
- „... , there was an air of exclusivity and elite competition, which can sometimes still be felt today ...” „... art students would be labeled as »Young British Artists«. Today the term includes a heterogeneous ...” „... discipline. The influence is felt in much of the art made today, and, for me, it's soft at the centre. I ...”
- „... consumer culture. While today's society (not just in London) is more so a consumer society than the ...” „... . [...] This legend of the artiste maudit [italics in original] still nourishes today's market criticism, which ...” „... power today.«645 According to Bolz the modern market is »the invisible architect of our cities ...”
- „... ideologies in the Western world has left capitalism as the sole meaning-bearer : »[...] today external ...” „... society. Today however, Hirst’s primary provocation is that he makes his art so salable. Duchamp has now ...” „... . This occurs today in the urban setting according to Stallabrass, who transferred the results of Empson ...”