Damien Hirst e gli YBA

[Macho678]

comunque prima che i difensori dell'action painting si inneschino con sermoni biblici ci penso io a fare par condicio..
uno street artist di nome beejoir ha fatto un lavoro in chu il titolo è molto importante:
IMODIUM

L'OPERA è QUESTA.

 

[franzberlin]

E questa invece è per Gino, visto che non vuole intervenire

 

[Macho678]

Su Damien hirst ci sarà tempo per tornarci..diamo spazio al secondo, numero 2 (insieme a tracey emin) degli YBA. ovvero GARY HUME

Biografia
Gary Hume was born in Kent, UK in 1962 and lives and works in London and upstate New York.
Gary Hume is renowned for paintings distinguished by a bright palette, reduced imagery and flat areas of seductive colour. While Hume's paintings have always emphasised their luscious surfaces and simplified forms, many are infused with a melancholic beauty.
Hume first received critical acclaim with a body of work known as the 'Door' paintings. These minimal and abstract works, with their high gloss paint and insistent reflective surfaces, developed in the early 1990s into a broader set of motifs, such as the nude, the portrait, the garden, as well as a pictorial idiom drawn from childhood, with images of polar bears, snowmen, rabbits, owls and close-up faces. His subject matter broadened further through the mid 1990s to incorporate images from popular culture, making portraits of celebrity figures such as Tony Blackburn, Kate Moss and Patsy Kensit. For the British Pavilion at the Venice Biennale (1999) he produced the Water Paintings, large-scale works of multiple, overlapping line drawings of nudes punctuated by flat areas of colour. ‘Cave Paintings’, the title of a show at White Cube in 2006, featured seven marble tableaux composed of a variety of different stones set against each other in collaged sections appearing as tectonic plates. These are held together by a lead tracery that provides the outer limit to the expanses of colour, traced by the natural faults and veins inherent in the stone itself. These monolithic compositions are hand-carved and richly decadent, combining visual motifs from the natural world with imagery suggestive of human birth and fundamental, instinctive emotions. In 2007 Hume explored new territory with American Tan, a body of work that addressed America, where he spends about half of every year, through the image of the cheerleader. The innocence and ***uality of this figure allowed Hume to create a series of paintings and sculptures that felt both celebratory and disquieting, an ambivalence that reflects the artist’s view of American culture. More recently, Hume has explored the imagery of innocent and rural America with paintings of barn doors and flowers, imagery drawn directly from his small farm in upstate New York.


Principali mostre personali

Tate Britain, London (2013); Leeds Art Gallery, UK, touring England and Scotland (2012); Pinchuk Art Centre, Kiev (2012); Modern Art Oxford, UK (2008); Kestnergesellschaft, Hanover (2004); Kunsthaus Bregenz, Austria (2004); Irish Museum of Modern Art, Dublin (2003); Fundação la Caixa, Barcelona (2000); Scottish National Gallery of Modern Art, Edinburgh (1999); Whitechapel Art Gallery, London (1999); and São Paulo Biennial (1996).

Principali mostre collettive

‘Here, There and Somewhere in Between’, The Royal Academy at Hatfield House, London (2013); ‘Encounter: The Royal Academy Exhibition in Asia/Middle East’, Lasalle College of the Arts, Singapore and Katara Cultural Village Foundation, Doha, Qatar (2012–13); ‘Art of the Garden’, Tate Britain, London (2004); ‘The Flower as Image’, Louisiana Museum of Modern Art, Denmark (2004); and ‘Painting on the Move’, Kunsthalle Basel, Switzerland (2002).

Partecipazioni e premi

Hume was nominated for the Turner Prize in 1996 and represented Great Britain in the 48th Venice Biennale in 1999; he was elected as a Royal Academician in 2001.

Alcuni dei musei in cui è presente

- Metropolitan Museum of Art, New York City

-Museum of Modern Art, New York City

-Bonnefanten Museum, Netherlands

-Falmouth Art Gallery, England

-Kunstmuseum Wolfsburg, Germany

-Royal Academy of Arts, London, UK

-Tate Gallery, London, UK

-Victoria and Albert Museum , London, UK

 

[-artpop-]

Su Damien hirst ci sarà tempo per tornarci..diamo spazio al secondo, numero 2 (insieme a tracey emin) degli YBA. ovvero GARY HUME

Biografia
Gary Hume was born in Kent, UK in 1962 and lives and works in London and upstate New York.
Gary Hume is renowned for paintings distinguished by a bright palette, reduced imagery and flat areas of seductive colour. While Hume's paintings have always emphasised their luscious surfaces and simplified forms, many are infused with a melancholic beauty.
Hume first received critical acclaim with a body of work known as the 'Door' paintings. These minimal and abstract works, with their high gloss paint and insistent reflective surfaces, developed in the early 1990s into a broader set of motifs, such as the nude, the portrait, the garden, as well as a pictorial idiom drawn from childhood, with images of polar bears, snowmen, rabbits, owls and close-up faces. His subject matter broadened further through the mid 1990s to incorporate images from popular culture, making portraits of celebrity figures such as Tony Blackburn, Kate Moss and Patsy Kensit. For the British Pavilion at the Venice Biennale (1999) he produced the Water Paintings, large-scale works of multiple, overlapping line drawings of nudes punctuated by flat areas of colour. ‘Cave Paintings’, the title of a show at White Cube in 2006, featured seven marble tableaux composed of a variety of different stones set against each other in collaged sections appearing as tectonic plates. These are held together by a lead tracery that provides the outer limit to the expanses of colour, traced by the natural faults and veins inherent in the stone itself. These monolithic compositions are hand-carved and richly decadent, combining visual motifs from the natural world with imagery suggestive of human birth and fundamental, instinctive emotions. In 2007 Hume explored new territory with American Tan, a body of work that addressed America, where he spends about half of every year, through the image of the cheerleader. The innocence and ***uality of this figure allowed Hume to create a series of paintings and sculptures that felt both celebratory and disquieting, an ambivalence that reflects the artist’s view of American culture. More recently, Hume has explored the imagery of innocent and rural America with paintings of barn doors and flowers, imagery drawn directly from his small farm in upstate New York.


Principali mostre personali

ate Britain, London (2013); Leeds Art Gallery, UK, touring England and Scotland (2012); Pinchuk Art Centre, Kiev (2012); Modern Art Oxford, UK (2008); Kestnergesellschaft, Hanover (2004); Kunsthaus Bregenz, Austria (2004); Irish Museum of Modern Art, Dublin (2003); Fundação la Caixa, Barcelona (2000); Scottish National Gallery of Modern Art, Edinburgh (1999); Whitechapel Art Gallery, London (1999); and São Paulo Biennial (1996).

Principali mostre collettive

‘Here, There and Somewhere in Between’, The Royal Academy at Hatfield House, London (2013); ‘Encounter: The Royal Academy Exhibition in Asia/Middle East’, Lasalle College of the Arts, Singapore and Katara Cultural Village Foundation, Doha, Qatar (2012–13); ‘Art of the Garden’, Tate Britain, London (2004); ‘The Flower as Image’, Louisiana Museum of Modern Art, Denmark (2004); and ‘Painting on the Move’, Kunsthalle Basel, Switzerland (2002).

Partecipazioni e premi

Hume was nominated for the Turner Prize in 1996 and represented Great Britain in the 48th Venice Biennale in 1999; he was elected as a Royal Academician in 2001.

Alcuni dei musei in cui è presente

- Metropolitan Museum of Art, New York City

-Museum of Modern Art, New York City

-Bonnefanten Museum, Netherlands

-Falmouth Art Gallery, England

-Kunstmuseum Wolfsburg, Germany

-Royal Academy of Arts, London, UK

-Tate Gallery, London, UK

-Victoria and Albert Museum Catalogue, London, UK

Grazie caro Macho.
Ti seguo con molta attenzione anche perché come te condivido la passione per il gruppo YBA.

Gary Hume gioca con il contrasto di ''comprensibile-incomprensibile'', le sue opere sembrano semplici, ma dietro la semplicità è presente un percorso concettuale attraverso il quale l'artista punta allo stracciamento dello spettatore che avviene attraverso un procedimento pittorico: Hume utilizza dei colori industriali che vengono applicati, nella maggior parte dei casi, su una superficie si alluminio, lo spettatore, quindi, si trova davanti ad una iconografia ''semplice'' ma allo stesso tempo rimane spiazzato perché quei colori sull'alluminio sembrano essere ancora non asciugati.
Inoltre, in diverse opere di Hume, lo spettatore è inviato ad utilizzare la propria fantasia per definire o ricostruire l'immagine presentata.

 

[Macho678]

tra i suoi lavori più famosi le door paintings.

 

[Aquilis]

Ian Davenport was born in Sidcup, and studied art at the Northwich College of Art and Design in Cheshire before going to Goldsmiths College from where he graduated in 1988.[3] Some of his classmates included Damien Hirst, Michael Landy, Gary Hume and Sarah Lucas. [4] In the same year, he exhibited in the Damien Hirst-curated Freeze exhibition which first brought together many of the later-to-be Young British Artists. Davenport's first solo show was in 1990 and in the same year he was included in the British Art Show. In 1991, he was nominated for the annual Turner Prize.[5][6]

 

[Macho678]

Ian Davenport was born in Sidcup, and studied art at the Northwich College of Art and Design in Cheshire before going to Goldsmiths College from where he graduated in 1988.[3] Some of his classmates included Damien Hirst, Michael Landy, Gary Hume and Sarah Lucas. [4] In the same year, he exhibited in the Damien Hirst-curated Freeze exhibition which first brought together many of the later-to-be Young British Artists. Davenport's first solo show was in 1990 and in the same year he was included in the British Art Show. In 1991, he was nominated for the annual Turner Prize.[5][6]

comunque si nota come molti degli yba (tra cui i tre citati fin ora ) abbiano sviluppato un percorso legato al colore, chi in un modo chi in un altro

 

[baleng ginogost]

comunque si nota come molti degli yba (tra cui i tre citati fin ora ) abbiano sviluppato un percorso legato al colore, chi in un modo chi in un altro

Il colore abbonda in un periodo in cui debordano i quattrini. Nei periodi di crisi va il bianco nero.

 

[Macho678]

https://vimeo.com/67397791

intervista a gary hume...fortunatamente un inglese un po meno difficile da capire di quello di damien hirst...

 

[Macho678]

un po di video di un po di spot!


https://www.youtube.com/watch?v=a3PtZWLScyM

https://www.youtube.com/watch?v=lkBaPY0blSg

https://www.youtube.com/watch?v=Vhuh3jzs7do

https://www.youtube.com/watch?v=TmfU-xlj5zA

https://www.youtube.com/watch?v=OTbJORvsnik

 

[Macho678]

VERITY -SCULTURA- DAMIEN HIRST

https://vimeo.com/62569936

Verity stands at 20.25 metres (66.43 feet) tall, and weighs 25 tonnes. She is on long-term loan to North Devon Council as a gift from Hirst.

Verity is an allegory for truth and justice. Her stance is taken from Edgar Degas’s ‘Little Dancer of Fourteen Years’ (c. 1881). An anatomical cross- section of her head and torso reveal her skull and the developing foetus inside her womb.

Verity stands on a base of scattered legal books and holds the traditional symbols of Justice – a sword and scales. Representing truth, her scales are hidden and off-balance behind her back, whilst her sword is held confidently in her upstretched arm.

She was fabricated in bronze in over 40 individual sand castings at Pangolin Editions foundry, in Gloucestershire. Her phosphor-bronze surface is 20 millimetres thick and her internal support structure is a single piece of stainless steel. The sculpture is weather and lightning-proof and underwent extensive wind-tunnel-testing to ensure her capability of withstanding the force of high winds and sea spray. After two years of planning and production, Verity arrived in Ilfracombe in three parts in October 2012. After a week’s assembly on site, the sculpture was hoisted into final position using a 250 tonne crane.

 

[Macho678]

uno dei primi video su damien hirst e la sua prima mostra FREEZE
https://www.youtube.com/watch?v=qw5FIP0d_JA

 

[Macho678]

l'opera più famosa e costosa di damien hirst?
lo squalo in formaldeide?


è

FOR THE LOVE OF GOD

https://www.youtube.com/watch?v=3tXIYBFbUjs


Un teschio umano comprato da un rigattiera dal quale è stata costruita una scultura in platino (denti sono originali) ricoperta da 8.601 diamanti per un totale complessivo di 1.106,18 carati. Valore totale delle pietre circa 15M STERLINE, VALORE COMMERCIALE DELL'OPERA CIRCA 50M DI STERLINE.
L'opera è di proprietà per un terzo di un fondo, per il 10% della white cube gallery e il resto è dell'artista.


“I just thought, ‘What can you pit against death?”

‘For the Love of God’, a platinum skull set with diamonds, is one of Hirst’s most important and widely recognised works. Its raw materials define it as an artwork of unprecedented scale. The 32 platinum plates making up ‘For the Love of God’ are set with 8,601 VVS to flawless pavé-set diamonds, weighing a massive 1,106.18 carats. The teeth inserted into the jaw are real and belong to the original skull.
The skull from which ‘For the Love of God’ was cast, was purchased from a London taxidermist and subsequently subjected to intensive bioarchaeological analysis and radiocarbon dating. This research revealed it dated from around 1720 - 1810, and was likely to be that of a 35-year-old man of European/Mediterranean ancestry. The title originates from exclamations Hirst’s mother would make on hearing plans for new works when he was starting out as an artist. As he explains: “She used to say, ‘For the love of God, what are you going to do next!’”
‘For the Love of God’ acts as a reminder that our existence on earth is transient. Hirst combined the imagery of classic memento mori with inspiration drawn from Aztec skulls and the Mexican love of decoration and attitude towards death. He explains of death: “You don’t like it, so you disguise it or you decorate it to make it look like something bearable – to such an extent that it becomes something else.”
The incorporation of the large central stone was inspired by memories of the comic ‘2000 AD’, which Hirst used to read as a child. He relates how the comic, “used to have a character in it called Tharg the Mighty who had a circle on his forehead. He was like a kind of powerful, God-like figure who controlled the universe,” Hirst explains. “It kind of just looked like it needed something. A third eye; a connection to Jesus and his dad.”
Alongside their dazzling brilliance and “Eucharistic” beauty, Hirst’s fascination with diamonds results partly from the mutterings and uncertainty surrounding their inherent worth. In the face of the industry’s ability to establish their irreplaceable value, it becomes necessary to question whether they are “just a bit of glass, with accumulated metaphorical significance? Or [whether they] are genuine objects of supreme beauty connected with life.” The cutthroat nature of the diamond industry, and the capitalist society which supports it, is central to the work’s concept. Hirst explains that the stones “bring out the best and the worst in people ...people kill for diamonds, they kill each other”.

 

[-artpop-]

l'opera più famosa e costosa di damien hirst?
lo squalo in formaldeide?


è

FOR THE LOVE OF GOD

https://www.youtube.com/watch?v=3tXIYBFbUjs


Un teschio umano comprato da un rigattiera dal quale è stata costruita una scultura in platino (denti sono originali) ricoperta da 8.601 diamanti per un totale complessivo di 1.106,18 carati. Valore totale delle pietre circa 15M STERLINE, VALORE COMMERCIALE DELL'OPERA CIRCA 50M DI STERLINE.
L'opera è di proprietà per un terzo di un fondo, per il 10% della white cube gallery e il resto è dell'artista.


“I just thought, ‘What can you pit against death?”

‘For the Love of God’, a platinum skull set with diamonds, is one of Hirst’s most important and widely recognised works. Its raw materials define it as an artwork of unprecedented scale. The 32 platinum plates making up ‘For the Love of God’ are set with 8,601 VVS to flawless pavé-set diamonds, weighing a massive 1,106.18 carats. The teeth inserted into the jaw are real and belong to the original skull.
The skull from which ‘For the Love of God’ was cast, was purchased from a London taxidermist and subsequently subjected to intensive bioarchaeological analysis and radiocarbon dating. This research revealed it dated from around 1720 - 1810, and was likely to be that of a 35-year-old man of European/Mediterranean ancestry. The title originates from exclamations Hirst’s mother would make on hearing plans for new works when he was starting out as an artist. As he explains: “She used to say, ‘For the love of God, what are you going to do next!’”
‘For the Love of God’ acts as a reminder that our existence on earth is transient. Hirst combined the imagery of classic memento mori with inspiration drawn from Aztec skulls and the Mexican love of decoration and attitude towards death. He explains of death: “You don’t like it, so you disguise it or you decorate it to make it look like something bearable – to such an extent that it becomes something else.”
The incorporation of the large central stone was inspired by memories of the comic ‘2000 AD’, which Hirst used to read as a child. He relates how the comic, “used to have a character in it called Tharg the Mighty who had a circle on his forehead. He was like a kind of powerful, God-like figure who controlled the universe,” Hirst explains. “It kind of just looked like it needed something. A third eye; a connection to Jesus and his dad.”
Alongside their dazzling brilliance and “Eucharistic” beauty, Hirst’s fascination with diamonds results partly from the mutterings and uncertainty surrounding their inherent worth. In the face of the industry’s ability to establish their irreplaceable value, it becomes necessary to question whether they are “just a bit of glass, with accumulated metaphorical significance? Or [whether they] are genuine objects of supreme beauty connected with life.” The cutthroat nature of the diamond industry, and the capitalist society which supports it, is central to the work’s concept. Hirst explains that the stones “bring out the best and the worst in people ...people kill for diamonds, they kill each other”.

Macho grazie per le foto, tranne per l'ultima che fa uke:

Volevo chiederti una cosa: praticamente del teschio originale di ''vero'' ci sono, quindi, solo i denti, giusto?
Il cranio è stato interamente costruito in platino per incastonare i diamanti.
O sbaglio?

 

[arte2011]

l'opera più famosa e costosa di damien hirst?
lo squalo in formaldeide?


è

FOR THE LOVE OF GOD

https://www.youtube.com/watch?v=3tXIYBFbUjs


Un teschio umano comprato da un rigattiera dal quale è stata costruita una scultura in platino (denti sono originali) ricoperta da 8.601 diamanti per un totale complessivo di 1.106,18 carati. Valore totale delle pietre circa 15M STERLINE, VALORE COMMERCIALE DELL'OPERA CIRCA 50M DI STERLINE.
L'opera è di proprietà per un terzo di un fondo, per il 10% della white cube gallery e il resto è dell'artista.


“I just thought, ‘What can you pit against death?”

‘For the Love of God’, a platinum skull set with diamonds, is one of Hirst’s most important and widely recognised works. Its raw materials define it as an artwork of unprecedented scale. The 32 platinum plates making up ‘For the Love of God’ are set with 8,601 VVS to flawless pavé-set diamonds, weighing a massive 1,106.18 carats. The teeth inserted into the jaw are real and belong to the original skull.
The skull from which ‘For the Love of God’ was cast, was purchased from a London taxidermist and subsequently subjected to intensive bioarchaeological analysis and radiocarbon dating. This research revealed it dated from around 1720 - 1810, and was likely to be that of a 35-year-old man of European/Mediterranean ancestry. The title originates from exclamations Hirst’s mother would make on hearing plans for new works when he was starting out as an artist. As he explains: “She used to say, ‘For the love of God, what are you going to do next!’”
‘For the Love of God’ acts as a reminder that our existence on earth is transient. Hirst combined the imagery of classic memento mori with inspiration drawn from Aztec skulls and the Mexican love of decoration and attitude towards death. He explains of death: “You don’t like it, so you disguise it or you decorate it to make it look like something bearable – to such an extent that it becomes something else.”
The incorporation of the large central stone was inspired by memories of the comic ‘2000 AD’, which Hirst used to read as a child. He relates how the comic, “used to have a character in it called Tharg the Mighty who had a circle on his forehead. He was like a kind of powerful, God-like figure who controlled the universe,” Hirst explains. “It kind of just looked like it needed something. A third eye; a connection to Jesus and his dad.”
Alongside their dazzling brilliance and “Eucharistic” beauty, Hirst’s fascination with diamonds results partly from the mutterings and uncertainty surrounding their inherent worth. In the face of the industry’s ability to establish their irreplaceable value, it becomes necessary to question whether they are “just a bit of glass, with accumulated metaphorical significance? Or [whether they] are genuine objects of supreme beauty connected with life.” The cutthroat nature of the diamond industry, and the capitalist society which supports it, is central to the work’s concept. Hirst explains that the stones “bring out the best and the worst in people ...people kill for diamonds, they kill each other”.

oggetto di gran gusto

 

[Macho678]

Macho grazie per le foto, tranne per l'ultima che fa uke:

Volevo chiederti una cosa: praticamente del teschio originale di ''vero'' ci sono, quindi, solo i denti, giusto?
Il cranio è stato interamente costruito in platino per incastonare i diamanti.
O sbaglio?

esatto il resto è stato usato per il calco!

poi ci sono anche altre opere in cui usa i teschi per poi fare dei calchi, anche in multipli, però sono tutti teschi umani veri che compra in giro per il mondo.


edit: è la più importante opera di gioielleria in inghilterra dopo la corona della regina!

 

[-artpop-]

esatto il resto è stato usato per il calco!

poi ci sono anche altre opere in cui usa i teschi per poi fare dei calchi, anche in multipli, però sono tutti teschi umani veri che compra in giro per il mondo.

Capito, grazie.
For The Love Of God, ritengo sia essere una delle opere più iconiche dell'arte contemporanea, sicuramente quella che meglio rappresenta e rappresenterà l'arte e il significato dell'arte dell'inizio del XXI secolo.

 

[Macho678]

Capito, grazie.
For The Love Of God, ritengo sia essere una delle opere più iconiche dell'arte contemporanea, sicuramente quella che meglio rappresenta e rappresenterà l'arte e il significato dell'arte dell'inizio del XXI secolo.

assolutamente...poi ovviamente bisogna approfondire i discorsi, ma come per tutti gli artisti concettuali, quindi se si leggono dei testi ( e di hirst ce ne sono parecchi, visto che si dedica molto anche alla redazione di testi a riguardo dei lavori che fa) si capisce che al di la della patina da "moneymaker" (che io considero un lato positivo non negativo...perchè far fare i soldi soli ai galleristi? ) e da "jet-set artist" c'è una poetica e una estetica veramente importante.
poi può' piacere, o no, ma è stucchevole doverlo rimarcare ogni volta.

 

[-artpop-]

assolutamente...poi ovviamente bisogna approfondire i discorsi, ma come per tutti gli artisti concettuali, quindi se si leggono dei testi ( e di hirst ce ne sono parecchi, visto che si dedica molto anche alla redazione di testi a riguardo dei lavori che fa) si capisce che al di la della patina da "moneymaker" (che io considero un lato positivo non negativo...perchè far fare i soldi soli ai galleristi? ) e da "jet-set artist" c'è una poetica e una estetica veramente importante.
poi può' piacere, o no, ma è stucchevole doverlo rimarcare ogni volta.

Beh di fondo ci sta un concetto simile a quello di Manzoni.
Hirst è come se volesse dirci: essendo il diamante l'elemento più prezioso, che mantiene un valore stabile nel tempo, che rappresenta l'investimento per eccellenza, ti metteresti a casa un teschio di diamanti i cui denti sono veri?

È una provocazione e come tutte le provocazioni a me piace parecchio.

 

[Tippete]

Noto un ricarico del 300% ,sul costo originale dei diamanti

Bassino,ricarica di piu un gioielliere qualsiasi


Non vorrei rischiasse il fallimento