Artville Artist Of The
Day
Damien Hirst
Title: Cock and Bull
Year: 2012
Media Glass, painted
stainless steel, silicone, bull, cockerel and formaldehyde solution
Size: 2310 x 3326 x 1381
mm | 90.9 x 130.9 x 54.4 in
Damien Hirst was born in 1965 in Bristol
and grew up in Leeds. In 1984 he moved to London, where he worked in
construction before studying for a BA in Fine Art at Goldsmiths college from
1986 to 1989. He was awarded the Turner Prize in 1995.
Since the late 1980’s, Hirst has used a
varied practise of installation, sculpture, painting and drawing to explore the
complex relationship between art, life and death. Explaining: “Art’s about life
and it can’t really be about anything else … there isn’t anything else,”
Hirst’s work investigates and challenges contemporary belief systems, and
dissects the tensions and uncertainties at the heart of human experience.[1]
Hirst developed his interest in exploring
the “unacceptable idea” of death as a teenager in Leeds. From the age of
sixteen, he made regular visits to the anatomy department of Leeds Medical
School in order to make life drawings (‘With Dead Head’
(1991)). The experiences served to establish the difficulties he perceived in
reconciling the idea of death in life. Of the prominence of death in his work
(‘A
Thousand Years’ (1990))
he has explained: “You can frighten people with death or an idea of their own
mortality, or it can actually give them vigour.”[2]
At Goldsmiths, Hirst’s understanding of
the distinction between painting and sculpture changed significantly, and he
began work on some of his most important series. The ‘Medicine
Cabinets’ created in his second year combined the aesthetics of
minimalism with Hirst’s observation that, “science is the new religion for many
people. It’s as simple and as complicated as that really.”[3]This
is one of his most enduring themes, and was most powerfully manifested in the
installation work, ‘Pharmacy’
(1992).
Whilst in his second year, Hirst
conceived and curated ‘Freeze’ – a
group exhibition in three phases. The exhibition of Goldsmiths students is
commonly acknowledged to have been the launching point not only for Hirst, but
for a generation of British artists. For its final phase he painted two series
of coloured spots on to the warehouse walls. Hirst describes the spot paintings as a means of “pinning down the joy of
colour”, and explains they provided a solution to all problems he’d previously
had with colour. It has become one of the artist’s most prolific and
recognisable series, and in January 2012 the works were exhibited in a show of
unprecedented scale across eleven Gagosian Gallery locations worldwide.[4]
In 1991 Hirst began work on ‘Natural
History’, arguably his most famous series. Through preserving creatures
in minimalist steel and glass tanks filled with formaldehyde solution, he
intended to create a “zoo of dead animals”.[5] In 1992, the shark piece, ‘The
Physical Impossibility of Death in the Mind of Someone Living’
(1991) was unveiled at the Saatchi Gallery’s ‘Young
British Artists I’ exhibition. The shark, described by the artist as a “thing to
describe a feeling”, remains one of the most iconic symbols of modern British
art and popular culture in the 90’s. The series typifies Hirst’s interest in
display mechanisms. The glass boxes he employs both in ‘Natural History’ works
and in vitrines, such as ‘The
Acquired Inability to Escape’ (1991), act to define the artwork’s
space, whilst simultaneously commenting on the “fragility of existence”.[6]
Since his involvement in ‘Freeze’ in
1988, curatorial projects have remained important to the artist. In 1994 he
organised the international group exhibition ‘Some
Went Mad, Some Ran Away’ at the Serpentine Gallery. Over a
decade later, and explaining that he considers collections to constitute a “map
of a man’s life”, he curated an award-winning exhibition of work from his
‘Murderme’ collection: ‘In the
darkest hour there may be light’ (2006, Serpentine Gallery).
Stating: “I am absolutely not interested
in tying things down”, Hirst has continued over the last decade to explore the
“big issues” of “death, life, religion, beauty, science.”[7] In 2007, he unveiled the
spectacular, ‘For the Love of God’
(2007): a platinum cast of a skull set with 8,601 flawless pavé-set diamonds,
at the White Cube exhibition ‘Beyond
Belief’. The following year, he took the unprecedented step of
bypassing gallery involvement in selling 244 new works at Sotheby’s auction
house in London. Describing the sale as a means of democratising the art
market, the ‘Beautiful
Inside My Head Forever’ auction
followed Hirst’s Sotheby’s event in 2004, in which the entire contents of the
artist’s restaurant venture, Pharmacy, were
sold.
Since 1987, over 80 solo Damien
Hirst exhibitions have taken place worldwide and his work has been included in
over 260 group shows. Hirst’s first major retrospective ‘The Agony and the Ecstasy’ was
held in the Museo Archeologico Nazionale in Naples in 2004. His contribution to
British art over the last two and a half decades was recognised in 2012 with a
major retrospective of his work staged at Tate
Modern.
Hirst lives and works in London,
Gloucestershire and Devon
Courtesy: http://www.damienhirst.com/
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