Filed under: 5. a apropriação de Damien Hirst
Pretendo explorar mais a fundo este assunto mas, por enquanto, deixo aqui o lembrete retirado da wikipedia, mas que me abre caminho para uma pesquisa mais a fundo.
Work philosophy
Although Hirst participated physically in the making of early works, he has always needed assistants (Carl Freedman helped with the first vitrines), and now the volume of work produced necessitates a “factory” setup, akin to Andy Warhol’s or a Renaissance studio. This has led to questions about authenticity, as was highlighted in 1997, when a spin painting that Hirst said was a “forgery” appeared at sale, although he had previously said that he often had nothing to do with the creation of these pieces.
Hirst said that he only painted five spot paintings himself because, “I couldn’t be fucking arsed doing it”; he described his efforts as “shite”—”They’re shit compared to … the best person who ever painted spots for me was Rachel. She’s brilliant. Absolutely fucking brilliant. The best spot painting you can have by me is one painted by Rachel.” He also describes another painting assistant who was leaving and asked for one of the paintings. Hirst told her to, “‘make one of your own.’ And she said, ‘No, I want one of yours.’ But the only difference, between one painted by her and one of mine, is the money.’” By February 1999, two assistants had painted 300 spot paintings.
Hirst sees the real creative act as being the conception, not the execution, and that, as the progenitor of the idea, he is therefore the artist:
“ Art goes on in your head,” he says. “If you said something interesting, that might be a title for a work of art and I’d write it down. Art comes from everywhere. It’s your response to your surroundings. There are on-going ideas I’ve been working out for years, like how to make a rainbow in a gallery. I’ve always got a massive list of titles, of ideas for shows, and of works without titles. ”
Hirst is also known to volunteer repair work on his projects after a client has made a purchase. For example, this service was offered in the case of the suspended shark purchased by Steven A. Cohen.
Appropriation
In 1999, chef Marco Pierre White said Hirst’s Butterflies On Mars had plagiarised his own work, Rising Sun, which he then put on display in the restaurant Quo Vadis in place of the Hirst work.
In 2000, Hirst was sued for breach of copyright over his sculpture, Hymn, which was a 20 foot, six ton, enlargement of his son Connor’s 14″ Young Scientist Anatomy Set, designed by Norman Emms, 10,000 of which are sold a year by Hull-based toy manufacturer Humbrol for £14.99 each. Hirst paid an undisclosed sum to two charities, Children Nationwide and the Toy Trust in an out-of-court settlement, as well as a “good will payment” to Emms. The charitable donation was less than Emms had hoped for. Hirst also agreed to restrictions on further reproductions of his sculpture.
In 2006, a graphic artist and former research associate at the Royal College of Art, Robert Dixon, stated Hirst’s print Valium had “unmistakable similarities” to one of his own designs. Hirst’s manager contested this by explaining the origin of Hirst’s piece was from a book The Penguin Dictionary of Curious and Interesting Geometry (1991)—not realising this was where Dixon’s design had been published.
In 2007, artist John LeKay said he was a friend of Damien Hirst 1992–1994 and had given him a “marked-up duplicate copy” of a Carolina Biological Supply Company catalogue, adding “You have no idea how much he got from this catalogue. The Cow Divided is on page 647 – it is a model of a cow divided down the centre, like his piece.” This refers to Hirst’s work Mother and Child, Divided—a cow and calf cut in half and placed in formaldehyde. LeKay also claimed Hirst had copied the idea of For the Love of God from LeKay’s crystal skulls made in 1993, and said, “I would like Damien to acknowledge that ‘John really did inspire the skull and influenced my work a lot.’”
http://en.wikipedia.org/wiki/Damien_Hirst
