History of western art - Damien Hirst

Damien Hirst's Kaleidescope paintings are an embrace of the commodification of art and use of cultural capitol. They also a critique of conteporary beliefs regarding science and religion through the appropriation of medieval stainglass and victorian lepidopterology. This essay will focus on the Kaleidescope painting South Rose Window, Lincoln Cathedral (figure 1), in regards formal, thematic and stylistic characteristicse .

The Kaleidesope paintings are a series of works that are produced by arranging thousands of butterfly wings of vaious species in geometric patterns into houseold paint on canvas. The canvas of South Rose Window, Lincoln Cathedral is circular, reaching 248cm in diameter, surrounded by a gold frame.

At a distance the arrangement of wings are reminisant of gothic stained-glass panels, dominated by the intense chromatic colors of amber, azurite and turquoise and geometric paternation.

Individual specimines become recognisable when the painting is viewed at an intimate distance (figure 2), as opposed to the lives of the saints. Varying in size from large to small and varying from bright to muted colors a plethora of butterfly species have been used, all are divorced of their bodies (Burn 2008). Compositionally the South Rose Window, Lincoln Cathedral has been copied directly by Hirst from the Bishops Eye (figure 3) which is the south rose window of the Lincoln Cathedral. The Bishops Eye does not have the typical revolving structure of other gothic rose windows but instead presents a balanced veritcally symmetrical composition. A network of predominately irregular quatrefoul shapped tracery covers the canvas. The South Rose Window, Lincoln Cathedral circular form is interceted by two arcs of the same diameter. At opposite sides of the composition lie the center of the arcs. These arcs touching in the center of the canvas. The arcs create vertical amygdaliform forms with a line bisecting each of them (Hendrix 2011). Hirst has futher created metasymmetries as the butterflies themselves are epitomes of symmetry. Historically the compositional ease of symmetry has been disparaged by painters and considered to diminish their skilled status. Symmetry tho, particularly for early christian religious paintings, was considered to aid in divine contemplation (Brown 2012).

Growing up in Leeds Damien Hirst was raised a christian in the catholic tradition. His early religious education has greatly influenced his artwork (Bracewell 2012) For Hirst this connection to christianity is integral to his conceptual explorations within South Rose Window, Lincoln Cathedral and he acknolwedges that christian motifs within a secularised society have little impact. It is this emptiness of the motifs that Hirst is exploring. Religion, art and science are reflected by the juxtaposion of materials, cliched symbols and metaphors with in the work.

“I’m more interested in religion filling a hole for people. That’s how I look at it now. There’s a hole there in people. In everybody. In me. A hole that needs filling, and religion fills it for some people. And art for others. I don’t think religion is the answer, but it helps. I use art in a similar way to fill that hole. It’s just ways of looking at the world optimistically rather than just as a brutal swamp. Which it is. But, in order to live you have to make more out of it than that. Religion helps, but it’s failed really.” Damien Hirst (Hagan 2006, 12).

“I suppose I want people to think, mainly. In this instance, I wanted people to think about the combination of science and religion, basically. People tend to think of them as two very separate things, one cold and clinical, the other emotional and loving and warm. I wanted to leap over those boundaries and give you something that looks clinical and cold but has all the religious, metaphysical connotations too. It’s the perfect time now because the church is messing up so badly”  Damnien Hirst (Hagan 2006).

For Hirst this discussion is pertinent in the post-Christian world where no attempt is made to refine throughts about what is good and evil, right or wrong, true of false. The belief is that there are no absolute truths and no one has the authority to define nor impose morals or truths.(Singh 2011)

In the Kaleidoscope series Hirst has connected religion and science by using medieval stained glass compositional aesthetic, the symbolic imagery of the butterfly and the indexing techniques of Lepidopterology.

Throught the direct copying of composition and titling of the painting Hirst is drawing attention to the european medieval period from the 10^th to 16^th century. During that period stained glass windows were considered a predominant pictorial art form. Stained glass could be found in wealthy and public buildings and churches. With in the church the intention was to create a sense of awe, and through the narrative and symbolism was to educate and inspire the masses. It was light transformed by the word of god (Hartshorne 2011).

In South Rose Window, Lincoln cathedral Hirst connection to religion is towards the christian faith. Christianity, particularly the catholic religion, is recognised as the primary european belief in Medieval times. Lives in Middle ages were dominated by the church and religion and regardless of social status, from birth to death (Watkins 2004, 139).

The South Rose Window, Lincoln cathedral in the context of the Lincoln cathedral's Bishop's Eye represents the Holy Spirit where as the north represents the devil. In order to invite and watch for the candelabra of heaven the bishop faces south (Hartshorne 2011).

To futher enhance the connection to christianity Hirst has employed the symbolism of the butterfly within the work. The butterfly is considered by christians a symbol for the resurrection of Christ and of believers. With its fragile existance and brief lifespan the caterpillar vanishes within the chrysalis apprearing dead, symbolic of the entombing of christ. Then to emerge beautiful, powerful and transformed, from "death" (Reimer 2000). The bodiless butterflies are a reoccuring motif for Hirst and for him they possess idealised beauty and are representative of spirituality and transcendency (Burn 2008).

This connection to christianity is important as it recognises that for the medieval person, all knowlege was merged through theology and interpreted through god; god was all pervasive. As opposed to the contemporary beliefs and methods of processing information.

Hirst makes a connection to scientific and rational beliefs as opposed to faith also through the use of the butterflies. Lepidopterology or butterfly collecting was a popular past time during the Victoran Era. Collecting enthusiasts would rent the homes of locals of hotspots during the butterfly flight periods. Collectors would pay ludicrous sums for rare species that were gathered by children. For many that abhorred the cruelty of traditional fox hunting, such as the clergy, butterfly collecting provided a suitable hobby. Rows of redwood drawers would be filled with pinned butterflies within Victorian drawing rooms (Bely 2012). It is this scientific indexical nature of the Victorian collectors that Hirst is interested in.

Within the British terrestrial insect and invertebrate groups, butterflies act as indicators of the state of the enviroment. In the present day almost two thirds of British butterflies are in decline. It is prohibited to catch some species of butterfly now and the persuit of collecting is underappreciated but signficant finds are made by collectors and thier supplies nourish science (Brereton 2004). So one must consider Hirsts Kaleidoscope works in this vane. To create a work of art and a beautiful object, this delicate creature dies (Burn 2008).

Damien Hirst is not only a creative visionary, drawing on history to enrich his conceptual exploration. Hirst has embrace of the commodification of art by bridging the gap between artist and businessman. Building his celebrity branded status within the art world, Hirst is one of the wealthiest living artist and in 2010 was reported as being the United Kingdoms weathiest artist by the Sunday Times Rich List (Brooks 2010). His ability to command exorbitant prices for his works has been compared to Jasper Johns and Jeff Koons (Bracewell 2012).

In an unusual move in 2008 by Hirst, he auctioned his work directly to the public, bypassing his usual galleries.The notorious auction was held at Sotheby's in London and was called “Beautiful Inside My Head Forever”. Critics were convinced that the market could not absorb the 223 artworks on sale, but 97% of the works sold for approxumately $225 Million AUD. The auction was also memorable as it took place on the eve of the financial market plunge. The South Rose Window, Lincoln Cathedral was sold as a part of “Beautiful Inside My Head Forever” for 1.6 million AUD. The Kaleidoscope series in itself is a celebration of consumer culture, They were mass produced in Hirsts studios in Peckham and Lambeth, London, by workers reaching over 55 Kaleidoscope (Henry 2008). This production continued as even after the financial collapse the Kaleidoscope series has has appeared in nine of the top ten sales since the “Beautiful Inside My Head Forever” sale. (The Economist 2010, 100)

Hirst aided the success of the sale of The South Rose Window, Lincoln Cathedral, which had not previously been exhibited, having no prestige, through the use of cultural capitol.

For Pierre Bourdieu the ability to understand and use educated language and to have a familiarity with the dominant culture are the key elements of cultural capital. In short the assumption is made by the education system that cultural capitol is possesed, but this possession varies dependant on social class (Sulivan 2002, 110).

For Hirst he has made the assumption that his viewers are educated in regards to medieval history, British butterfly collecting traditions and the value of stain glass windows. He is also drawing on the historical significance and presteige associated with the Lincoln cathedral.

Located in Lincoln, England, Lincoln Cathedral was built during several phases of the medieval period. Between 1311 and 1549 it was reputed as the tallest building in the world. Architectural scholars still revere the structure. Victorian writer John Ruskin wrote: "I have always held... that the cathedral of Lincoln is out and out the most precious piece of architecture in the British Isles and roughly speaking worth any two other cathedrals we have" (Hartshorne 2011). The Lincoln cathedral is in the top visited tourist attactions list of the east midlands with over 200 000 people visiting annually.

Historically Lincoln cathedral has two key rememberences. For hundreds of years the cathedral held one of the four remaining copies of the original Magna Carta, whom Hugh of Wells, the bishop of Lincoln was signatory. The copy is currently on display at the Lincoln Castle. Secondly the cathedral is know for the boy marty, Little Saint Hugh, who died in 1255 (Bennett 2005, 263).

An unusual feature for medieval architecture in England of the Lincoln Cathedral is its two large rose windows .The Bishop's Eye built c1325-1350 to the south and the Dean's Eye to the north side of the cathedral. The curvilinear tracery and continuous curves of the Bishop's Eye are the largest example of medieval architecture in england.

Damien Hirst used the medieval historical significance of the Lincoln cathedral as cultural capitol as defined by Pierre Bourdieu to increase the sale value of South Rose Window, Lincoln Cathedral. And has celebrated celebrity culture with the mass production of the Kaleidoscope series and direct sale to the public via aution houses. Conceptully his exploration regarding science and religion has looked to the Medieval and Victorian period. Using the medieval religious beliefs and stained glass compositional apporpriation of the Bishops eye and Victorian lepidopterology.

Figure 1. Damien Hirst South Rose Window, Lincoln Cathedral 2007, butterflies and paint on canvas, diameter: 2438 mm .

Source:http://www.damienhirst.com/south-rose-window-lincoln-cat

Figure ,. Damien Hirst Detail of South Rose Window, Lincoln Cathedral 2007, butterflies and paint on canvas .

Source:http://www.damienhirst.com/images/hirstimage/DHS6686_c_771_0.jpg

Figure 3. Bishop's Eye c1325-1350, stained-glass, diameter: 24 feet .

Source:http://www.paradoxplace.com/Photo%20Pages/UK/Britain_Centre/Lincoln_Cathedral/Lincoln_Images/Aug%202007/800/Bishops-Eye-Aug07-D7488sAR800.jpg

List of References

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Bely, Lev. 2012. “Damien Hirst's great and terrible butterflies.“ Last modified 20 April. URL:http://insecta.pro/community/8633

Bennett, Gillian. 2005. Bodies: Sex, Violence, Disease, and Death in Contemporary Legend. University of Mississippi Press.

Brereton,Tom. 2004. Butterfly Conservation Report to the Forestry Commission

Report no. SO4-35. Forestry UK. URL:http://www.forestry.gov.uk/pdf/BC-ButterfliesForestBioIndicatorsRep.pdf/$FILE/BC-ButterfliesForestBioIndicatorsRep.pdf

Burn,Gordon. 2008. Beautiful Inside My Head Forever. Sotheby’s.

Reimer, Margaret. 2000. “Symbols of resurrection“ Canadian Mennonite, 15 May. Canada. Accessed 15 April.

Brown, Neal. “Damnien Hirst.“ Art and Christianity 70:6. Accessed 16 April 2016. URL:http://acetrust.org/art-and-christianity/issue/70.

Ferris, Jabr. 2012. “Evolution: How does a Caterpillar turn into a Butterfly.“ Scientific America , 10 August. Accessed 30 April 2016 . http://www.scientificamerican.com/article/caterpillar-butterfly-metamorphosis-explainer/

Hagan, Sean. 2006. Damien Hirst: New Religion. London: Paul Stolper/Other Criteria

Hartshorne, Pam. 2011. Lincoln Cathedral: A Journey from Past to Present. Third Millennium

Henry, Julie. 2008. “Damien Hirst lays off workers.“ Telegraph, 22 November. Accessed 30 April 2016. URL:http://www.telegraph.co.uk/finance/financialcrisis/3500553/Hirst-lays-off-workers.html

Hendrix, John Shannon. 2011. Architecture as Cosmology: Lincoln Cathedral and English Gothic Architecture. New York:Peter Lang Publishing Inc.

Singh, Prasidh Raj. 2011 “Consumer Culture and Postmodernism“ Postmodern Openings, 5:5, Accessed 29 April 2016. URL:http://postmodernopenings.com/archives/285

Sullivan, Alice. 2002. “Bourdieu and education“ Tire Netherlands 'Journal of Social Sciences 2:38-110. Accessed 30 April 2016. URL: www.cls.ioe.ac.uk/library-media/documents/BOURDIEU%20NetherlandsJournal.pdf

The Economist. 2010. “Hands up for Hirst; The art market“ The Economist. Accessed 16 April 2016. URL: http://www.economist.com/node/16990811

Watkins,Carl "Folklore" and "popular religion" in Britain during the Middle Ages“

Folklore. 115.2. URL:http://www.history.ucsb.edu/archived/courses/tempdownload.php?attach_id=5645