Creative Global Network for the Visual Arts

It has long been insider, perhaps polemic, knowledge that the Gallerius Giganticus art world is a heavily controlled sphere from which emerging artists are kept at bay in a kind of 'this town aint big enough for the two [sic] of us' scenario. If the artworld is a mafia, then Damien Hirst is surely the king-pin as far as the United Kingdom is concerned. I and many others are bored of seeing his smarmy face grining with glee as his wallet explodes and the press assemble to perpetuate the fallacy. I would love to see 'new blood' splattered across his kingdom. I believe Cartrain was a hero for 'liberating' his pencils and holding them for ransom even if it was a publicity stunt on his part. Hirst and his representatives valued the loss of the pencils at around £500,000. What a complete absurdity! I am of course playing the Devil's advocat here, in actual fact I do appreciate his art. It is the issues orbiting the art and his commercial immorality that I think is highly contentios/abhorent. Is it time there was a metaphorical coup, a revolution?

Omar Zingaro Bhatia


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In my humble opinion, the short answer to your question is: "No". The long one is in the first lines of your own paragraph.

Never mind the artists, what would one do about the armies of curators and critics, serving the establishment and driven by the single incentive - employment? A revolution will simply replace one establishment with another. In fact, the YBA/BritArt was initially "sold" to the public as a revolution, if you remember. I entirely agree with you on commercial immorality, and my point is: any move of any significance (such as your metaphorical coup) will be understood by all as another marketing trick.
um, the critics have made a joke of his new work. His ego became his downfall, just like Rome, and the USA.
I can say that bc I am in California, born and raised. I also have an MFA, and know the implications of the damage done to Hirst by his (most recent) inept work.

The "Emperor's new cloths" have been exposed, everyone sees it now.

(see the Paralax show, London 2010) www.barlowfinedrawings.com

the paradigm shift has been coming for a while. A revolution would not work, but a paradigm shift has happened before, and will again.
Is it me or is Hirst, in his new exhibition, consciously rebelling against his own Thronelike status? Of course, it is easy to do so once you've had a £100million+ sell-out show and got a mansion in England and another in Mexico, but the archaic, antique-framed, painting-focussed show does seem to be a firm statement about his iconicity. And about the Death of Painting.

It always struck me that the Death of Painting was rather an infantile idea, rather like a baby throwing an old rattle out of a pram in favour of a new toy. And the Stuckist manifesto as a reaction to that ('the only true art is painting!!!') seemed more infantile still. Humans, in general, tend to add techniques to their repertoire rather than excise the old tech in favour of the new. The latter seems closer to art as fashion. Something in me whispers that Hirst is really trying to address this in this new show of his. Predictably, having been 'betrayed' (but only if you see it that way) by their Poster Boy, the critics now turn on him, and I don't think I have read many reviews of his show that aren't mired in this sullen anger at the direction he has taken...

As for revolutions, well, that's the thing about revolutions isn't it - they always come round again. Revolution: the turning of a circular thing. It comes round again.... Sometiems it's better to see the wheel and not just the turning...
What throne?????
Art is bigger than the media- even if it screams otherwise. Draw attention to your own good deeds, rather than to the follies of others. www.lewischapmanpainter.co.uk

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