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
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- „... encrusted with butterflies or diamonds.235 The titles differ only by two letters, either associating a ...” „... precious materials like god or diamonds in Hirst's art since about 2005 demonstrates a radical divergence ...” „... idiotic golden calf and real diamonds to a skull. He tried to force just for the artwork, what does not ...”
- „... pFp (Retrieved: 29 September 2009). Kamrani, Kambiz: Damien Hirst’s diamond encrusted Skull & Jeweled ...” „... /damien-hirsts-diamond-encrusted-skull-jeweled-skulls-in-archaeology/ (Retrieved: 29 September 2009). Keath, Douglas: Aids, education and the year 2000! In: Woman ...” „... November 2008. Lovell, Jeremy: Hirst covers cast skull in diamonds. Reuters Online. 1 June 2007 ...”
- „... »Diamond Skull«, its alternate title by which it is often called, within Hirst's oeuvre as well as his ...” „... »The Diamond Skull«, with the difference that its monetary value is much lower, serving to highlight ...” „... the integral importance of the sale price (£50 million) for the interpretation of the Diamond Skull. 1 ...”
- „... cut flowers, spices, and meat changed (usually decreased), while the value of gold or diamonds stayed ...” „... detergent boxes and canned soups, in addition to diamonds and banknotes in his works. In (his) pop art, he ...”
- „... «. Gold and diamonds have a very long history as carriers of value, not only because they are very rare ...”
- „... Third World countries, such as diamonds, coffee, and rain forests are turned into profit by the West ...”