Damien Hirst Art Quotes

Here's one from me: 'You have to be aware that everyone else is thinking far too hard about themselves to be thinking about you, whoever you are.' If you want it, you can have it. Once you know that, you can be free.

Painting is so poetic, while sculpture is more logical and scientific and makes you worry about gravity.

On the opposite wall was a Damien Hirst spot painting, bought by Arabella after a decent bonus season. Roger's considered view of the painting, looking at it from aesthetic, art-historical, interior-design, and psychological points of view, was that it had cost forty-seven thousand pounds, plus VAT.

Ironically, we were learning that we had to be “free,” but learning to be free meant conforming to the values of the dominant style.

If you are an artist who pays too much attention this system and its politics, you are in deep trouble because you have become a follower.

Great art, she felt, had a calming effect on the viewer; it made one stop in awe, which is exactly what Damien Hirst and Andy Warhol did not do. You did not stop in awe. They stopped you in your tracks, perhaps, but that was not the same thing; awe was something quite different

Because his [Damien Hirst] art is idea art - art drawn on the back of cigarette packets and beer mats, roughed out in airport departure lounges and the back of the taxis, usually delegated to and carried by others - this leaves Damien a lot of time for what might loosely be called socializing. Hanging around.

Busy, well, and happy.” She smiled at him. He still had the same knack of making everything seem festive. They had always had a good time together. And as she glanced around, she saw that the restaurant was beautiful, with important contemporary art hanging on the walls. There was a Damien Hirst right above their table, which Maddie noticed immediately.

I like the confusion you get between science and religion … that’s where belief lies and art as well.

The teaching of actual painting could be outsourced to China and taught via SKYPE.

When it comes to art and culture, I like anything that is good.

And what are Andy Warhol’s Campbell’s Soup cans, Jeff Koons’s balloon dogs and Damien Hirst’s pickled sharks if not the appropriation of everyday objects by an artist in order to re-present them in a new, artistic context?

Butcher’s Stall with the Flight into Egypt

may not deconstruct, but I am a pretty good mimic; a weed who knows how to look like a flower. I keep in mind that over the long haul all styles are period styles. Each style is a carefully cultivated garden that a new chairman will want to uproot when the next Cultural Revolution comes along.

Ten shockingly arty events What arty types like to call a ‘creative tension’ exists in art and music, about working right at the limits of public taste. Plus, there’s money to be made there. Here’s ten examples reflecting both motivations. Painting: Manet’s Breakfast on the Lawn, featuring a group of sophisticated French aristocrats picnicking outside, shocked the art world back in 1862 because one of the young lady guests is stark naked! Painting: Balthus’s Guitar Lesson (1934), depicting a teacher fondling the private parts of a nude pupil, caused predictable uproar. The artist claimed this was part of his strategy to ‘make people more aware’. Music: Jump to 1969 when Jimi Hendrix performed his own interpretation of the American National Anthem at the hippy festival Woodstock, shocking the mainstream US. Film: In 1974 censors deemed Night Porter, a film about a love affair between an ex-Nazi SS commander and his beautiful young prisoner (featuring flashbacks to concentration camp romps and lots of sexy scenes in bed with Nazi apparel), out of bounds. Installation: In December 1993 the 50-metre-high obelisk in the Place Concorde in the centre of Paris was covered in a giant fluorescent red condom by a group called ActUp. Publishing: In 1989 Salman Rushdie’s novel Satanic Verses outraged Islamic authorities for its irreverent treatment of Islam. In 2005 cartoons making political points about Islam featuring the prophet Mohammed likewise resulted in riots in many Muslim cities around the world, with several people killed. Installation: In 1992 the soon-to-be extremely rich English artist Damien Hirst exhibited a 7-metre-long shark in a giant box of formaldehyde in a London art gallery – the first of a series of dead things in preservative. Sculpture: In 1999 Sotheby’s in London sold a urinoir or toilet-bowl-thing by Marcel Duchamp as art for more than a million pounds ($1,762,000) to a Greek collector. He must have lost his marbles! Painting: Also in 1999 The Holy Virgin Mary, a painting by Chris Ofili representing the Christian icon as a rather crude figure constructed out of elephant dung, caused a storm. Curiously, it was banned in Australia because (like Damien Hirst’s shark) the artist was being funded by people (the Saatchis) who stood to benefit financially from controversy. Sculpture: In 2008 Gunther von Hagens, also known as Dr Death, exhibited in several European cities a collection of skinned corpses mounted in grotesque postures that he insists should count as art.

The condensed truth is that all art is conceptual, but conceptual art is a con.  What really separates Michelangelo from Damien Hirst is that Michelangelo was an artist and Damien Hirst isn’t.

Como los Médicis han sido sustituidos por sus equivalentes artísticos de trabajadores del Departamento de Vehículos a Motor, la consecuencia es un mundo del arte repleto de basura visualmente repulsiva creada en cuestión de minutos por vagos aficionados sin talento que buscan obtener un rápido cheque estafando a los aspirantes a formar parte de la clase artística en todo el mundo con absurdos cuentos urdidos sobre que su arte simboliza algo más que la total depravación del sinvergüenza que pretende erigirse en artista. Sólo llevó unas horas concebir el «arte» de Mark Rothko, pero fue vendido a incautos coleccionistas con millones de la actual moneda inestable, consolidando sin duda el arte contemporáneo como el más lucrativo timo de nuestro tiempo. Un artista moderno no necesita tener talento ni trabajar duro ni esforzarse al máximo, sólo tiene que exhibir un semblante serio y una actitud esnob cuando explique a los nuevos ricos por qué las salpicaduras de pintura sobre un lienzo son algo más que espantosas e involuntarias salpicaduras de pintura, y cómo su incapacidad para entender la inexplicable obra de arte es fácil de subsanar con un buen cheque. Lo que es asombroso no es sólo la preponderancia de basura como la de Rothko en el mundo del arte moderno, sino la visible ausencia de obras maestras que puedan compararse con las grandes obras del pasado. Es imposible ignorar que no se construyen demasiadas Capillas Sixtinas en la actualidad; tampoco existen muchos cuadros comparables con las grandes pinturas de Leonardo, Rafael, Rembrandt, Caravaggio o Vermeer. Esto resulta aún más sorprendente cuando uno advierte que los avances tecnológicos y la industrialización harían que llevar a cabo dichas obras de arte fuera mucho más sencillo de lo que fue en la época dorada. La Capilla Sixtina deja a los visitantes boquiabiertos, y cualquier explicación más detallada sobre su contenido, su construcción y su historia transformará el asombro en apreciación de la profundidad de pensamiento, del oficio y del trabajo duro puesto en ella. Antes de que Rothko se hiciera famoso, incluso el crítico de arte más pretencioso podría haber pasado junto a uno de sus cuadros abandonado en la acera y no prestarle ninguna atención. Sólo después de que un círculo de críticos idiotas malgastara infinitas horas pontificando para promocionar su obra, los aduladores y los nuevos ricos empezaron a aparentar captar que hay un significado más profundo en ella y a gastar el moderno dinero inestable en ella. Con los años han aflorado varias historias sobre bromistas que han dejado objetos varios en museos de arte contemporáneo, sólo para que los amantes del arte moderno revoloteasen a su alrededor con admiración; algo que demuestra la completa vacuidad de los gustos artísticos de nuestra época. Pero tal vez no haya un tributo más apropiado al valor del arte moderno que el realizado por muchos conserjes de museos de todo el mundo, los cuales, demostrando una admirable perspicacia y dedicación a su trabajo, han arrojado en varias ocasiones costosas instalaciones de arte a la basura, el lugar que les corresponde. Algunos de los «artistas» más emblemáticos de nuestro tiempo, como Damien Hirst, Gustav Metzger, Tracey Emin y la pareja italiana formada por Sara Goldschmied y Eleonora Chiara, han recibido esta valoración crítica por parte de los ordenanzas, más entendidos que los nuevos e inseguros ricos que gastan millones de dólares en lo que aquellos tiran a la basura