Tuesday, December 11, 2007

Exhibit Review: Damien Hirst

By Laura Seewoester

The Goss-Michael Foundation (the former Goss Gallery that is now a non-profit dedicated to education and exposing Dallasites to British contemporary art) is currently displaying works of the ever popular (and controversial) Damien Hirst. Most of Hirst's pieces are either diamond dusted or dead (sometimes both). The works in the show include a white dove suspended in formaldehyde, a large stained-glass-esque mosaic made out of butterfly wings, a piece built out of dead flies, two of his "spill paintings", a couple diamond encrusted posters depicting his piece "For the Love of God" and Saint Sebastian, Exquisite Pain (a calf in formaldehyde with arrows pierced through it).

Hirst's work is both beautiful and grotesque, ultimately evoking different emotions from the viewer. The references towards Christianity make them all the more shocking and probably hard to swallow for some. His work represents different aspects of death and mortality. In The Incomplete Truth, Hirst creates a contrast between the white dove (a symbol of peace, hope, and also a symbol for the Holy Spirit) and the inevitability of death. The piece is striking both with its seemingly immortal beauty and then with the stark realization that "yes, that is a real bird and it's dead. He killed the freaking bird of peace." Hirst has of course instigated many controversies in his work, namely around the references to Christianity and with the fact that he A) uses dead animals and B) they aren't necessarily already dead when he decides to make artwork out of them. Hirst is probably second only to Anna Wintour on PETA's hit list.

The interpretations are endless, as are the reviews of his work. However, keeping with the goals of the new foundation, I beg the question: Does the exhibit meet the overall purpose? Is it successful in educating and inspiring young artists, or is the Goss-Michael Foundation just trying to give Dallas an element of shock value and show off their collection?

Damien Hirst's work does represent part of an art movement that surfaced in London in the 90's, as Hirst was at the head of a group called the "Young British Artists". The artists in the YBAs generally displayed shocking art work and challenged the public to question what art is. Hirst's work continues to challenge people, including young artists, with this concept. The viewer can't help but to decide one way or another if Hirst's work is or is not art. Where is line? The answer is highly subjective and different for every person, but there almost always will decidedly be an answer. While everyone may not agree with Hirst's work, message, or his methods, few other cities have the opportunity to view this piece of British art history in the making.

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