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Damien Hirst masters the art of laughing all the way to the bank
EVER since he burst on to an unsuspecting art world 20 years ago, Damien Hirst – the enfant terrible of the Young British Artists movement – has been a hugely divisive figure.
While some critics adore the abstract symbolism of his work, others have argued, perhaps not unreasonably, dead animals pickled in vats of chemicals do not a work of art make.
And yet it was precisely this sort of piece – a bull in a tank of formaldehyde entitled The Golden Calf – which this week sold for 10.3m, and set the ball rolling on a historic auction.
It took just one day of a two-day event at Sotheby's for Hirst, who grew up in Leeds and attended the city's art college, to create a new record for a sale dedicated to a single artist.
Fifty-four lots, which include a variety of creatures in formaldehyde, were bought for a total of 70.5m.
By comparison, the last time the record was broken in 1993, 88 Picasso pieces made $20m.
But huge price tags have never stopped questions being asked about the value of Hirst's work.
"It's worth whatever people will pay, but if you're asking me what people see in it, I'm not exactly sure," says Moira Innes, curator of Leeds Met Gallery. "Can he compete with Picasso? No, Picasso changed the world, he turned art upside down.
"Some of Hirst's earlier projects were interesting because they challenged people's perceptions, but I wouldn't rate a lot of his stuff.
"The problem with some art today is it's too concerned with style and concept, and not concerned enough with form and quality. Great art – like Picasso's work – comes with all four of those things."
Ms Innes is not alone in her criticism.
The Stuckist movement, a group which promotes figurative art, this week offered to sell a shark in chemical for "only" 1m, a considerable saving on what would be paid at Hirst's show.
The group said they hoped their piece – entitled A Dead Shark Isn't Art – would illustrate that Hirst's work was no more than shock-concepts with little meaning or worth.
But while Hirst offloaded his tiger shark, The Kingdom, for 9.5m, there were seemingly no takers for the Stuckists' "bargain".
"It's become this almost self perpetuating thing, where buyers hear this famous name and assume it's a brilliant piece of art," says Ms Innes.
"They stop asking whether it's actually good or not. And frankly a lot of his work might not stand up to scrutiny. I mean you have to ask what the difference between his work and a butterfly collection is.
"But it's a Hirst, so it's an investment. And at the moment it's a safer one than some banks appear to be.
"In my job you see plenty of young British artists who I think have far more worth but they're unheard of, struggling to survive, ironically a little like Picasso."
If there is one thing Hirst, now 43, will be used to, however, it is such views.
While Ms Innes insists she wishes the Bristol-born, Goldsmiths College-educated artist luck in his sales, much criticism levelled at him in
the past has been little short of vitriolic.
His shortlisting for the 1995 Turner Prize, in particular, was met with barely suppressed hostility by traditionalists and some sections of the media.
And yet it was that nomination which resulted in unprecedented visitor numbers at host museum Tate Britain.
Love or loathe him, Hirst sparks conversation – one of the calling cards of all great artists.
Andrew Stewart, of Harrogate's 108 FineArt gallery, is a fan, who saw the Sotheby's collection last week.
"He's fresh, of the moment, he's a challenge, his art makes you takes notice," he says.
"You realise after you've seen it, some of it is very vulgar, but it is always absolutely outstanding, really incredible to look at, it leaves you amazed."
And he added Hirst has more in common with Picasso than many people believe.
"They're both iconic, they both ask questions and I think they'll both still be remembered for a long time. Picasso's work wasn't exactly traditionalist either.
"Will people still have heard of Hirst in 100 years time? I think absolutely they will. He's made such a big mark in the art world I think his work will continue to sell for a lot of money for a long time."
Not everyone is convinced, however.
Charles Thomson, co-founder of the Stuckist movement, thinks art critics in the future might have a slightly different reaction:
"They will be laughing their heads off at all this.
"Actually, quite a lot of people are laughing right now. One of them is Damien Hirst on his way to the bank."
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Saturday 11 February 2012
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