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sexartandpolitics:
Damien Hirst - Pharmacy, 1992
Room installation, Mixed media
Dimensions variable“Yesterday, Cartrain told The Independent: “I went to the Tate Britain and by chance had a golden opportunity to borrow a packet of pencils from the Pharmacy exhibit. That same day I made up a fake police appeal poster advertising that the pencils had been removed from the Tate and that if anyone had any information they should contact the police on the phone number advertised. “A few weeks later I went out and I returned home to find out the art and antiques squad from New Scotland Yard had called round with a warrant for my arrest.” He was told by custody officers that the pencils were valued at £500,000 and that he had damaged “the concept of a public artwork titled Pharmacy … valued at £10,000,000”. Cartrain is on bail and, if convicted, his actions will feature among the highest value modern art thefts in Britain. The box of pencils – a very rare “Faber Castell dated 1990 Mongol 482 Series” – will be put back by Hirst, although the installation is no longer on public display.
Really? The pencils are that integral to the piece?
Damien Hirst in vicious feud with teenage artist over a box of pencils - The Independent (via britticisms)standardgrey: MOAR HIRST HAX PLS
sympathyfortheartgallery: HIRSTHAX is a pretty good name for a project; internet get on it.Does anyone actually take Hirst seriously? I mean aside from seriously wanting to vomit.
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This would be great if they hadn’t bastardized it by sticking Hirst in the lineup.
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This is my friend Sam. He is awesome.
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hydeordie: Banksy at the Bristol museum
This article says it’s an original Hirst that he has stenciled over. I am going to stop researching it and accept that to be the truth, because it is a pretty idea in my head.
Phenomenal.
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This overfed, over-monied art world, Saltz explained, was a self-replicating machine: people think that “the art market is so smart that it only buys the best work…[but in reality]…the art market is so dumb that it buys anything other people are buying.” This has led to the dominance of very few styles and of four artists in particular: Damien Hirst, Jeff Koons, Takashi Murakami, and Richard Prince, of whom Saltz proceeded to offer up his frank opinions. “Hirst’s art,” he said, “looked good with people around it. In an empty gallery, not so much.” “Surface is what Jeff [Koons] is about,” he said, and surface has never looked so deep. He admitted to loving Murakami’s early paintings, but is less enamored of his later creations. Prince, he suggested, “invented a dangerous idea and packaged himself for the corporate boardroom.” He posited that the major premise of Prince’s art was appropriation, and that it was “the idea that ate the art world.
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There is the real art market, with real artists, and then there is the stupid art market which uses publicity to make some artists become very expensive. That doesn’t mean they are good. Damien Hirst’s diamond skull at $100m was a stupid thing; $100m is an offence. Hirst started with $10,000 – that’s OK. But $100m? That’s ridiculous.
David Nahmad, on how contemporary art is a fraud.
I am so glad that someone in authority is finally saying it. I disagree with the statement about Bacon being the last to push art forward, but otherwise - fantastic article. It’s worth a read.
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