Artists & Artisans
Hirst, Damien
Early Life and Influences
Born Damien Steven Hirst in Bristol, England, in 1965, Hirst's early life was marked by artistic talent and rebellion. Despite a strained relationship with his mother, who disapproved of his wardrobe, music choices and run-ins with the law, she encouraged his artistic pursuits. Hirst attended Leeds Arts University and later Goldsmiths College (1986-1989), where a formative placement at a mortuary deeply influenced his contemplation of mortality. Goldsmiths' vibrant art scene, rich in conceptual art, introduced him to the likes of Andy Warhol and Marcel Duchamp, whose pioneering use of “readymade” objects profoundly impacted Hirst's artistic vision.
The YBA Years and Rise to Prominence (1988-1990s)
During his time at Goldsmiths, Hirst not only honed his artistic skills but also curated the influential Freeze exhibition, showcasing the work of his peers who would later become the YBAs (Young British Artists). This exhibition caught the eye of Charles Saatchi, a powerful art collector who became a significant patron of Hirst's work in the early years. Supported by Saatchi, Hirst was able to branch out from conventional art forms and embrace his trailblazing artistic visions.
Hirst's seminal series, Natural History (begun in 1991), became his signature statement. Here, he presented various animals—a shark, a sheep, a cow—suspended in formaldehyde-filled tanks. These works sparked outrage and fascination in equal measure. Critics saw them as a morbid glorification of death, while others hailed them as a profound commentary on the fragility of life and the commodification of nature.
Versatile Oeuvre
Hirst's artistic repertoire extends far beyond the formaldehyde tanks. He experimented with diverse media, creating his now-iconic Spot Paintings—rows of colored dots meticulously placed on white canvases—as a testament to chance and randomness. The Spin Paintings (begun in 1994) used a motorized turntable to fling paint across his canvases, emphasizing a mechanical and impersonal creative process. Inspired by a popular British children’s TV show called Blue Peter, Hirst himself confirmed the role of humor in this work: “I got my idea for the spin paintings from an episode in the 1970s… I remember thinking, that’s fun, whereas art is something more serious… I just thought, why does it have to be like that?” The Spin Paintings, with their whimsical bursts of color, have become a hallmark of Hirst’s renowned practice, contrasting with the neatness of his spot paintings and the darker themes of his formaldehyde and butterfly works.
Hirst also readily embraced collaboration, working with scientists and pharmaceutical companies. Notably, the Medicine Cabinets (begun in 1989) showcased an array of pharmaceuticals arranged in a sterile, clinical manner, blurring the lines between art and science, beauty and danger.
The Business of Art
Hirst's entrepreneurial spirit and savvy marketing strategies became as talked-about as his art. He bypassed traditional galleries, working directly with collectors and auction houses, achieving record-breaking sales. Hirst has an innovative approach to the release of his artwork, keeping supply restricted and demand high. He utilizes a unique numbering system for his Spot Paintings, allowing collectors to track their specific piece within the series and its potential value.
This self-assured approach, however, has attracted criticism, with some accusing him of prioritizing profit over artistic integrity. Hirst is not the first artist to receive such criticism; artists like Warhol and even Michelangelo were famous for employing assistants to help them create their works on such a grand scale. Hirst's studio, aptly named "Science (UK) Ltd.," operates more like a factory than a traditional artist's workspace. He employs a large team of assistants who help conceptualize, fabricate and maintain his artworks. This allows for mass production of labor-intensive series like the Spot Paintings, ensuring consistent output and meeting high market demand.
Hirst also offers "spin-off" merchandise and prints based on his popular works. More recently, he created an AI-powered "spin painting generator," allowing anyone to create their own digital version of his signature Spin Paintings. This brought in significant revenue, blurring the lines between art ownership and digital experience.
Legacy
Damien Hirst's diverse body of work and artistic business model have sparked intense debates for decades. Regardless, he has demonstrated the power of art as a cultural and financial commodity, influencing how artists approach their careers. Beyond his provocateur status, many of Hirst's works possess an undeniable visual power that continues to hold a significant place in contemporary art.
Artists & Artisans
Hirst, Damien
Early Life and Influences
Born Damien Steven Hirst in Bristol, England, in 1965, Hirst's early life was marked by artistic talent and rebellion. Despite a strained relationship with his mother, who disapproved of his wardrobe, music choices and run-ins with the law, she encouraged his artistic pursuits. Hirst attended Leeds Arts University and later Goldsmiths College (1986-1989), where a formative placement at a mortuary deeply influenced his contemplation of mortality. Goldsmiths' vibrant art scene, rich in conceptual art, introduced him to the likes of Andy Warhol and Marcel Duchamp, whose pioneering use of “readymade” objects profoundly impacted Hirst's artistic vision.
The YBA Years and Rise to Prominence (1988-1990s)
During his time at Goldsmiths, Hirst not only honed his artistic skills but also curated the influential Freeze exhibition, showcasing the work of his peers who would later become the YBAs (Young British Artists). This exhibition caught the eye of Charles Saatchi, a powerful art collector who became a significant patron of Hirst's work in the early years. Supported by Saatchi, Hirst was able to branch out from conventional art forms and embrace his trailblazing artistic visions.
Hirst's seminal series, Natural History (begun in 1991), became his signature statement. Here, he presented various animals—a shark, a sheep, a cow—suspended in formaldehyde-filled tanks. These works sparked outrage and fascination in equal measure. Critics saw them as a morbid glorification of death, while others hailed them as a profound commentary on the fragility of life and the commodification of nature.
Versatile Oeuvre
Hirst's artistic repertoire extends far beyond the formaldehyde tanks. He experimented with diverse media, creating his now-iconic Spot Paintings—rows of colored dots meticulously placed on white canvases—as a testament to chance and randomness. The Spin Paintings (begun in 1994) used a motorized turntable to fling paint across his canvases, emphasizing a mechanical and impersonal creative process. Inspired by a popular British children’s TV show called Blue Peter, Hirst himself confirmed the role of humor in this work: “I got my idea for the spin paintings from an episode in the 1970s… I remember thinking, that’s fun, whereas art is something more serious… I just thought, why does it have to be like that?” The Spin Paintings, with their whimsical bursts of color, have become a hallmark of Hirst’s renowned practice, contrasting with the neatness of his spot paintings and the darker themes of his formaldehyde and butterfly works.
Hirst also readily embraced collaboration, working with scientists and pharmaceutical companies. Notably, the Medicine Cabinets (begun in 1989) showcased an array of pharmaceuticals arranged in a sterile, clinical manner, blurring the lines between art and science, beauty and danger.
The Business of Art
Hirst's entrepreneurial spirit and savvy marketing strategies became as talked-about as his art. He bypassed traditional galleries, working directly with collectors and auction houses, achieving record-breaking sales. Hirst has an innovative approach to the release of his artwork, keeping supply restricted and demand high. He utilizes a unique numbering system for his Spot Paintings, allowing collectors to track their specific piece within the series and its potential value.
This self-assured approach, however, has attracted criticism, with some accusing him of prioritizing profit over artistic integrity. Hirst is not the first artist to receive such criticism; artists like Warhol and even Michelangelo were famous for employing assistants to help them create their works on such a grand scale. Hirst's studio, aptly named "Science (UK) Ltd.," operates more like a factory than a traditional artist's workspace. He employs a large team of assistants who help conceptualize, fabricate and maintain his artworks. This allows for mass production of labor-intensive series like the Spot Paintings, ensuring consistent output and meeting high market demand.
Hirst also offers "spin-off" merchandise and prints based on his popular works. More recently, he created an AI-powered "spin painting generator," allowing anyone to create their own digital version of his signature Spin Paintings. This brought in significant revenue, blurring the lines between art ownership and digital experience.
Legacy
Damien Hirst's diverse body of work and artistic business model have sparked intense debates for decades. Regardless, he has demonstrated the power of art as a cultural and financial commodity, influencing how artists approach their careers. Beyond his provocateur status, many of Hirst's works possess an undeniable visual power that continues to hold a significant place in contemporary art.
