Contemporary Art and Global Money

(Damien Hirst’s skull / For the Love of God from ArtPatrolTV on Youtube)

It is a fine art and also a jewelry, with the potential artistic value and increasing market value as well, delicately gilded with platinum and diamonds by the world-famous artist Damien Hirst, “For the Love of God” is a must-buy collection.

If Marcel Duchamp acclaimed the urinal is art almost 100 years ago and it exactly goes into the leaf of modern art history that we have to study today, what else could not be called “art”? Damien Hirst’s diamond skull is a grandiose altarpiece, expressing his love to God through his earthbound Mammon, managing to shine the theological aura as aesthetics glimpse in this age of mechanical reproduction.

The old myth is that artists are usually well-known by the public after they pass away. However, Andy Warhol, Jeff Koons, Murakami Takashi, Damien Hirst…etc., these master-minded masters break this anti-artist stereotype and cross the role between artist and art entrepreneur and build up a new myth: “artist” are a new identity of celebrity, they are popular and controversial, if not notorious, after they become rich.

(Jeff Koons: Money & Value | Art21 “Exclusive” from art21org on Youtube)

Facing the reality of today’s visual art scene, depending on Art Review 1996 December issue, where 51% of the “100 worldwide power people” are art-economic administrators like gallerists and art dealers, while 49% includes curators, artists and art critics. I am more curious about how does art critic and historian today, through only the pen and texts, make influence to the contemporary ocular-centric society? Notwithstanding in the post-cold-war global capitalistic age, I cannot help envisioning the new definition for the art critic and historian to swing between market value and aesthetic value.¬† [Back to front page]

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