Fine Art in the Age of Mass Media - Essay Example

?Introduction The identity which one takes as an artist begins to affect not only the artwork but also the perception of the audience. The result is a change in the artwork to be a part of the propaganda that is associated with the artist. The concept of artists gaining fame and reputation as a celebrity is one which continues to be debated, specifically because of the changes it creates with both the artwork and the perceptions of the artist in different showings. The examination of the work of Damien Hirst, visual artist, is one that shows that the concept of fame and being a celebrity also alters the way in which the art work is viewed. The reputation that Hirst has gained is one that is beginning to affect the theme of the work and is also a part of a promotional strategy used to identify with specific audiences. Instead of using the necessary creativity and innovation which is often attributed to beginning artists, the work of Hirst has begun to work with the celebrity status expectations that are a part of the artwork. Biography of Hirst Hirst was born in 1965 in Bristol, England where he began to study art. His first exhibition was in 1988 while studying at Goldsmith College. The student exhibition, known as Freeze, led to immediate recognition and still remains in an exhibition in London. The concept was associated with contemporary artists forming a group to show the main ideologies of what it meant to be a part of the modernist styles of visual arts. His first solo exhibition was held in 1990 and 1991 at Woodstock Street Gallery, called In and Out of Love. This led to different groundbreaking feature showings, such as the 1992 Young British Artists exhibition at Saatchi Gallery. This exhibition led Hirst into fame with gaining the Tate Gallery Turner Prize as well as the coveted award in 1995. The recognition has now allowed Hirst to move into international recognition with showings in Soho New York as well as in locations such as Hong Kong, Rome, Athens, Geneva, Paris and Los Angeles. He is known for spot and spin paintings as well as medicine cabinet sculptures and glass tank installations (Hirst, 2011). The instant recognition of Hirst and the movement into specific types of paintings has also led into areas of fame which continue to push Hirst forward with his known works. He has been featured not only in a variety of galleries but is also continuously being noted in the press for his innovations and new works. Some leading areas of recognition include his interview with Charlie Rose, features in the New York Times and recognition by established artists in various network communities. The recognition is also continuing to extend with the press releases and different statements being based on Hirst being one of the most recognized contemporary artists, specifically because of the conceptualism and the developments which are associated with his different pieces of art. The concepts which are often affirmed to Hirst are his innovation, unique approaches and the realism that is in the artwork created. Each of these are continuing to gather him press and recognition among contemporaries that are based in different locations globally (Jones, 2011). Today, Hirst is one of the most recognized and controversial artists of Britain. The question being raised is not only based on the fame and recognition that continues to steer the career of the artist and the works which he continues to create. The techniques, implication of craft and the development of works by Hirst are also raising questions about where art begins and ends. Many contemporary critics are stating that the works of Hirst are only for popularity and recognition in the name while lacking the intricate qualities of modern art and developments which are required. This is combined with the questions of whether it is art or only for popularity, specifically because of the continuous similarities in themes and the lack of innovation which most believe is a part of the work. Hirst is continuing to be controversial because of republishing the same prints in mass amounts while gaining recognition among the press and for specific themes. For Hirst, this is not only leading to recognition as an artist. His work is going into areas such as commercialization, mobile phones and corporate areas to try to develop a specific approach to meet the pressures of the fame which he is a part of. The question being raised by Hirst is whether he is a part of the modern art movement or if he is only working with the name given through his celebrity status and recognition from earlier awards which were given to the artist. The Celebrity In Art The fast recognition which Hirst gained with his artwork as well as the continuous coverage that is received from the press creates a variety of responses in terms of the celebrity and how this builds from the artwork. The first concept to consider is the fast fame which Hirst gained during and after college, specifically which led to demands to continue to produce specific types of innovation. The pressure of being a celebrity and gaining awards is one which continues to be a part of the approach which has been used. The pressure is one which is based on developing similar patterns, such as the spin paintings that Hirst creates. The concept of having a specific relationship to the audience and allowing for an identity to be seen is one which continues to create the pressure for the artist. The development then continues to remain based on the first developments which are reproduced with similar themes and which cause a sense of not being able to create or build innovation in a different manner. The pressure is one which often leads to the inability to create newer innovations from the past while re-inventing the wheel where the amount of success for an individual begins (Walker, 2003: 263). When examining the different approaches used by Hirst, it is noted that there are specific techniques which continue to be a part of the exhibitions. An example is from the Tate Turner prize and the 2012 exhibition that Hirst has created, as seen in Figures 1 and 2 below. Figure 1: Tate Turner Prize, Hirst, 1995. Figure 2: 2012 Exhibition When looking at both of these figures, one notes that there are a large number of similarities. The colors of yellow, pink, red, blue and orange are similar in both. There is also a similar pattern with the spin and swirl technique used as well as the point that Hirst is noted for. This creates an understanding that the technique and pattern has not altered since the beginning exhibitions, specifically with the turning point of winning the award. Similar to this is the current exhibition of 2012 which consists of petrified sheep, cow and shark. This is similar to the second exhibition of Hirst in which he added butterflies that began to transform during the exhibition while others remained petrified. The approach is taking the same ideas from the gained recognition and slightly altering them to continue with the recognition by the community. The concept of remaining inside the area in which one gained the fame and recognition from continues with the need to reproduce the same paintings or to bring to light paintings and installations by others who created the same thing. Hirst is noted for re-creating the same ideologies through different prints and works. This is done specifically with the idea of high – art that is associated with Britain and which became popular during the 1990s. The high –art is one that created a significant amount of pressure on young artists to show contemporary ideologies and to continue to move forward with the necessary work that is associated with those in society. Doing this is what has led to the concept of high – art and which leads to the reproduction of different prints and items by lesser known artists that are not recognized. Combining this in Hirst’s works is one which is continuing to build his celebrity status and fame while causing him to keep the pressures minimized with the expectations that are a part of the pop art (Stallabrass, 2001: 15). Effects of Hirst as a Celebrity The concepts which Hirst continues to be a part of in terms of gaining celebrity status is one which not only has been done in terms of PR, specifically which has led the artist to continue to create similar paintings and reproductions. The image that Hirst carries as a celebrity has also affected the ability to create new innovations and artwork in other areas, most which would claim as necessary for artists to continue to accelerate with their work. The similar paintings and ideas which continue to be a part of the work is one which is based on continuing to re-establish the same theme in order to gain popularity. Many other artists state that this is anti – art, specifically because there is no room for innovation and production while creating little to no meaning with the work is produced, specifically because it leads to a sense of fame with the name which one is creating. The anti – artist that is a part of the statement is one which many artists believe is destroying art but is necessary for true art to be recognized which carries themes and ideologies. An example of how this has affected Hirst is with his sale of an artist production to Sothebys, then which led to a crash because there was not meaning behind the art which one could relate to. While the celebrity status led to the sale by Sothebys, the need to have the continuous image and production of the art also led to the downfall and to the art without meaning that Hirst is now recognized for producing (Needham, 2011: 1). The decisions made by Hirst and the need to keep similar themes with all works is one which is often noted to be directly linked to the psychology which is produced when gaining fame and recognition within the community. It is noted that fame and gaining a celebrity status creates a specific sense of response to the audience and fans as well as to the media and the press. This notes the individuals in a specific light which they are then required to withhold while creating new exhibitions and ideas. Without withholding this, the fame and reputation of the individual disappears. This leads to similar themes that continue to be reproduced from those who are making the different attempts with the art. The psychological relationship which is developed is based on one working and developing the fame of the dreams which they desire to have. To uphold this, a belief is created that is related to the individual needing to continue to keep the same amount of fame without having negative press releases or responses from fans that does not meet the expectations. The safe approach which is created is to develop similar reproductions of images and visions while ensuring that the fame and the unique concepts which originally gained the status of the individual continue to be withheld. This is a way of repeating the pattern that worked with the fame so it continues to reside over the work and the name that is creating the art (Giles, 2000: 100). Theme and PR in Celebrity Art The individual tensions which are created with celebrity artists in terms of press relationships and the themes which are required from pressures in society continue with a combination of both factors which work together to change the overall development of the artist. The concept begins with the need to reach market orientation to those who are interested in the works of art. The market orientation is based on what one will sell to create the right approaches to the market. This continues with the development of art work and what the responses will be to the fans and audiences as well as the critiques and reviews which are associated with this. To build the self and to continue to receive a positive image, themes are developed that are known to be successful. The response then becomes formulaic with the concepts that are created and with the approach that is developed and produced. The philosophical crash; however, is one that is based on the art for art’s sake. The art is produced to create a response from the audience and the press releases, as opposed to developing the thematic material, philosophies and ideas that are a part of the innovations required. The pressure to develop the necessary success and to continue with this then links into the responses from the external environment as well as the safe themes that are noted to gain recognition among those looking at the art (O’Reilly, Kerrigan, 2003: 32). The different pressures and the link between theme and the media responses is one which is noted to create a continuous dilution of the waters and how one is building interactions with the media. There is a noted response which is creating trademarks and an A – list of celebrities that are using the main ideologies with the pressures that are a part of the media. However, it is also noted that the celebrity – conscious culture is creating even more pressures with the celebrities that are required to hold a certain status within society. The concept is one which is creating questions in terms of how far an artist can go if they are required to withhold a specific reputation among the thematic work and with the status which they hold within society. This is building and developing a different approach with those who are looking at how recognition causes the work to become diluted and lacks in the ability to develop beyond the recognition which is expected and required by audiences and the press. The influence which is being created is then building into a difference with celebrity art and art which is used for innovation, philosophical meaning and for the craft of developing unique and innovative ideas that may not be accepted within the public (Wilcox, Cendali, 2006: 3). There are several ways in which this can be seen through the works of Hirst and the approach which he is now required to take with the work he is creating. The art work has not only developed into different pieces of celebrity art that continue to be on demand to be reproduced and provided to the general public. To help with the coverage and to satisfy fans, Hirst has developed mass production initiatives and workers that are required to reproduce the same paintings for a lower price. This is one that is now developing into a controversy of whether it can be considered art because of the lack of attention to detail as well as the loss of originality and artistic value which it creates. However, Hirst is meeting the demands with themes that are popular and with the press to develop stability with the demands and pressure that are a part of the artwork. The concept is one which then develops a line of artistic craft and the mass production for stability of the craft that does not require as many values. These different debates are creating even more questions of what art is and where popularity and gaining celebrity status turn into the development of re-production of art to meet the needs of fans and the media (Pfeiffer, 2011: 1). The results that are being produced by Hirst and others with the celebrity status then link to the statements of society, media and the acceptance of celebrity art. The first statement is one based on the accepted ideologies which are a part of being a celebrity and what this means to the culture. If the cultural and social expectations for art are based on the works of Hirst, then there is also a question of where this will lead in terms of contemporary art and the acceptance of different artistic philosophies. The next question which is raised is based on how the productions, specifically through the mass productions and the similar themes with different artistic works produced, are creating a change in artistic development and what is expected by both the media and general population. As Hirst continues to remain a part of the social sphere, there is not the ability to create and retain a specific reputation unless the same productions are made, specifically because he is semi – autonomous. However, the statement for the media, cultures and the different regions which are accepting Hirst as artistic also raises other questions of what the craft of art means in terms of contemporary society. The shift into producing art, standards which are now being altered and maintained and the entertainment which Hirst continues to be a part of is developing into different possibilities and questions of what the celebrity status may do not only to one artist who is producing specific replicas. If this popularity continues, then where will the future of artistic works begin to work at and what will be conveyed with the representation of themes and subjects as well as what is acceptable as art in modernist movements (Staiger, 2009: 153). Conclusion The concept of gaining celebrity status as a visual artist is one which also leads to different interpretations of art and alternative angles which are represented. When looking at the work of Hirst, it is noted that the celebrity status and reputation has also changed the viewpoints which he has taken and the approach to the different themes. The result of being a celebrity has caused Hirst to continue to produce similar themes from the beginning of his established reputation. This has followed with the need to continue with the same themes to meet the needs of fans and to produce the same reactions from the media which initially gave Hirst his recognition. The concepts which are being created not only for art but also for mass production are creating questions of what artistic meaning is being developed. However, for Hirst, this is one which is based on meeting the pressures of fans and the press while continuing to develop ideologies which will create a positive and calculative response that helps in maintaining the celebrity status which Hirst has gained. References Giles, David. (2000). Illusions of Immortality: A Psychology of Fame and Celebrity. New York: Palgrave Macmillan. Hirst. (2011). “Gagosian Gallery.” Retrieved December 8, 2011 from: http://www.gagosian.com/artists/damien-hirst. Jones, Jonathan. (2011). “Damien Hirst Is At the Top of the Modern Art Food Chain.” The Guardian (November). Needham, Alex. (2011). “Anselm Kiefer: Art is Difficult, It’s Not Entertainment.” The Guardian (December). O’Reilly, Daragh, Finola Kerrigan. (2003). Marketing the Arts: A Fresh Approach. New York: Taylor and Francis. Pfeiffer, Alice. (2011). “A Return to the Artisan in the Art World.” The New York Times (December). Staiger, Janet. (2009). Convergence Media History London: Taylor and Francis. Stallabrass, Julian. (2001). High Art Lite: British Art in the 1990s. London: Verso. Walker, John. (2003). Art and Celebrity. London: Pluto Press. Wilcox, SC, DM Cendali. (2006). “The Dilution Solution: Populating the Trademark A – List.” Michigan Law Review 13 (2). Read More