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Product Description
Product Description
Published on the occasion of Damien Hirst s exhibition at the Wallace Collection, London in October 2009, this catalogue prints a selection of blue skull and flower paintings from the show, with a total of 30 illustrations and 3 gatefolds.
About the Author
Born in Bristol in 1965, Damien Hirst studied at Goldsmith s College. In 1988 he curated the now renowned exhibition, Freeze, held in London. In 1991, he had his first solo exhibition in London entitled In and Out of Love and the following year he was a major part of the groundbreaking Young British Artists exhibition at the Saatchi Gallery. He was awarded the prestigious Tate Gallery Turner Prize in 1995. Hirst s work has been shown in many important group and solo shows throughout the world and he is one of Britain s most celebrated living artists. He lives and works in Devon and London.
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2 of 2 people found the following review helpful
Format:Hardcover
"No Love Lost" aka Damien Hirst's "Blue Paintings" didn't exactly divide the critics. One broadsheet called these works 'amateurish daubings' and accused Hirst of including a lemon in one of them 'probably because its shape makes it easy to paint'. Ouch. Then there was the usual laundry list of complaints: Damien can't paint. Damien is trying to paint like Francis Bacon and failing. The London Evening Standard summed up what the newspapers were all thinking but not saying. The Evening Standard declared No Love Lost to be "****ing dreadful" and a "detestable exhibition".
All of which made for an amusing read in the papers, but what were the paintings really like? Well, in order to form an opinion you'd have to see them as they are, not as how they appear in print. This slim volume doesn't give any sense of the scale of the work, or of its texture. A case in point being "Floating Skull" which is a fairly striking painting - in The Wallace Collection show of this work it was the first one you saw, and if you glanced back across the room even from a good distance, it shone back because of its reflective paint.
The paintings are of variable quality - I'd put this as a criticism more of quality control procedures rather than any lacking on Hirst's part. "Half Skull on Table", "Floating Skull", "Skull with Ashtray, Lemon and Cigarettes" are all fine by me.
Admittedly some of the paintings are a bit naive looking, and not in a good way: "Skull, Shark's Jaw and Iguana on a Table" just doesn't work. The skull is ok (despite one critic saying its skull looked like a skullcrusher sweet - it doesn't) but the shark's mandible is badly done, a real half-hearted effort.
These are large (ish) canvases, up to about five and a half feet by three and a half feet. Hung together in sequence they are an absorbing and entertaining way to spend three quarters of an hour. In the book they look muted, slightly forlorn, and cobwebby, which they just don't in real life.
I think the critics must have had it in for Hirst this time round - I mean, this stuff has way more depth and work put into it than when Hirst was arranging sea shells on glass shelves. Or (possibly) directing other people to arrange sea shells on a shelf on his behalf.
No Love Lost is modern, slightly populist stuff - nothing wrong with that.
You could argue that Hymn wasn't in the same league as something by Henri Gaudier-Breszka. And you could argue that Breszka's stuff wasn't as good as those who preceded him, in an infinity of not-as-good-ness. And you could do the same with No Love Lost and Francis Bacon. But that would be dumb too. I doubt Hirst is trying to be 'the new Francis Bacon'. He's clever enough to know that we're not finished with the old one yet.
Four stars for the paintings. Two and a half stars for the book.
All of which made for an amusing read in the papers, but what were the paintings really like? Well, in order to form an opinion you'd have to see them as they are, not as how they appear in print. This slim volume doesn't give any sense of the scale of the work, or of its texture. A case in point being "Floating Skull" which is a fairly striking painting - in The Wallace Collection show of this work it was the first one you saw, and if you glanced back across the room even from a good distance, it shone back because of its reflective paint.
The paintings are of variable quality - I'd put this as a criticism more of quality control procedures rather than any lacking on Hirst's part. "Half Skull on Table", "Floating Skull", "Skull with Ashtray, Lemon and Cigarettes" are all fine by me.
Admittedly some of the paintings are a bit naive looking, and not in a good way: "Skull, Shark's Jaw and Iguana on a Table" just doesn't work. The skull is ok (despite one critic saying its skull looked like a skullcrusher sweet - it doesn't) but the shark's mandible is badly done, a real half-hearted effort.
These are large (ish) canvases, up to about five and a half feet by three and a half feet. Hung together in sequence they are an absorbing and entertaining way to spend three quarters of an hour. In the book they look muted, slightly forlorn, and cobwebby, which they just don't in real life.
I think the critics must have had it in for Hirst this time round - I mean, this stuff has way more depth and work put into it than when Hirst was arranging sea shells on glass shelves. Or (possibly) directing other people to arrange sea shells on a shelf on his behalf.
No Love Lost is modern, slightly populist stuff - nothing wrong with that.
You could argue that Hymn wasn't in the same league as something by Henri Gaudier-Breszka. And you could argue that Breszka's stuff wasn't as good as those who preceded him, in an infinity of not-as-good-ness. And you could do the same with No Love Lost and Francis Bacon. But that would be dumb too. I doubt Hirst is trying to be 'the new Francis Bacon'. He's clever enough to know that we're not finished with the old one yet.
Four stars for the paintings. Two and a half stars for the book.
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