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Damien Hirst’s diamond-encrusted cast of a human skull has been bought by a group of anonymous investors for its asking price of £50 million, the artist’s representatives claimed yesterday.
It is, by a huge margin, the most paid for a work by a living artist.
Entitled For the Love of God, the skull was first displayed at the White Cube Gallery in Mayfair, Central London, in June where thousands queued for a two-minute viewing in a high-security darkened chamber.
Studded with more than 8,500 ethically sourced diamonds, it has been variously described as “an anthropomorphised disco ball”, “the first 21st-century work of art”, “a cosmic wonder”, “the vulgar embodiment of modern materialism” and, by Hirst himself, as “quite bling”.
His aim, he said at the unveiling, was to come up with “the maximum celebration you could make against death”.
Typically, Hirst’s own role in the creation of the object was conceptual rather than hands-on. It was also financial — he funded most of the £15 million project out of his personal fortune, estimated at £130 million. He could receive 75 per cent of the proceeds of the sale.
Frank Dunphy, Hirst’s business manager, said that the full $100 million (£50 million) price of the artwork would be paid in cash. He denied reports in The Art Newspaper that the price had been discounted to £38 million. As part of the deal, the buyers will be required to show the skull for two or three years in museums around the world, he added.
Laurence Graff, the London jeweller and art collector, said that the buyers were probably not “diamond people”, because the skull’s price was so much higher than the value of the diamond content. Graff looked at the skull when it was on show but decided not to buy it. “I’m in the diamond business and I would only be interested in diamonds at diamond prices,” he said.
The deal sets the seal on an extraordinary summer for Hirst, 42, that has established him as a cash-generator without parallel in the contemporary-art market.
It began in June when his Lullaby Spring, a medical cabinet with pills mounted on razor blades, sold at Sotheby’s for £9.6 million, a record for a living artist’s work at auction.
Then a pair of exhibitions of his work at the White Cube galleries in Mayfair and Hoxton, East London, raised £130 million for Hirst and Jay Jopling, his London dealer.
Nothing, however, has matched the impact and range of responses generated by For the Love of God.
Hirst bought the “perfectly shaped” skull from an Islington taxidermy shop two years ago. Radiocarbon analysis suggested that it had probably belonged to a European man who died in his mid-thirties in the 18th or early 19th century.
Bentley & Skinner, the Hatton Garden jewellers, built a life-size cast of the skull from 32 platinum plates and combed the world market for the 8,601 diamonds required to cover it. They found it difficult to source so many precious stones without inflating the price of diamonds on the open market.
The platinum plates were hand-lasered with thousands of holes and the diamonds, which have a total weight of 1,106.18 carats, were individually set. They include a 52.4 carat “internally flawless, light, fancy pink, brilliant-cut diamond” which is mounted in the middle of the forehead.
A spokeswoman for White Cube said that Hirst had “retained a participation in the work, which means that he can ensure that it is made available to a broader audience and displayed internationally”.
Hirst, who has a home in Mexico, said that he had been inspired by Aztec skulls covered with turquoises. But John LeKay, a London artist based in New York, told The Times in June that he had been covering soap and wax skulls with crystals since 1993 and that Hirst had stolen his idea.
Hirst, who was raised in Leeds and educated at Goldsmiths College, London, has polarised opinion on his march to the top of the art world. Several other artists besides LeKay have claimed that Hirst has copied their ideas. He responds that artists have always borrowed from each other. His detractors belittle his level of input into the works made in his name, citing his staff of more than 100 working in factories in London and Gloucestershire. His supporters point out that many great artists, from Rubens to Andy Warhol, operated a similar system.
Most of all, there is disagreement over whether Hirst’s work justifies the prices it commands. He says: “An artwork is only worth what the next guy is going to pay for it.”
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What you are going to see if you visit the White Cube Gallery, is not simply a piece of human scull covered in diamonds but rather a focal point through which many invisible political, social, cultural issues, traumas, misunderstandings, misconceptions are laboriously brought together and materialized into a splendidly inappropriate object.
If I am to respond to the âEmperor´s New Clothesâ metaphor, so often used to discredit contemporary art, I could only say - it is not judgement about the beauty of the fabric which give social justification to the work of artists. It is the ability of the art to disclose what is behind the fabric (by making invisible visible) which counts. In other words, it is not role of art to dress emperor beautifully or appropriately . Function of art is exactly opposite â to expose him (and a power he symbolise) to a public eye by cheating him into getting naked. That is, in my opinnion, the real wisdom of the fairytale.
igor dobricic, amsterdam, netherlands
Concerning the distasteful comments about hungry children and poverty as an argument against the work of the artist, I can only say: I am certain that Damien Hirst (even if we abstract symbolical value of his art work) just by paying his regular taxes to the state, probably contribute more to a social welfare than all those who are lamenting social reality but are actually doing very little to actively confront the issues that they are supposedly talking about.
igor dobricic, amsterdam, netherlands
I can not get into Damien´s Hirst head so i will never know if what i see in his work is fully understood and intended by the artist, but this is not the point after all. As Duchamp would say â work of art is not simply made by the artist. To be able to exist it need to be completed through the way it interact with the public realm. So, âFor the Love of Godâ is obviously not simply his in any conventional sense, it is rather produced and ultimately made meaningful by the fascinating convergence and juxtaposition of the social and cultural contexts both immediate and historical that it manage to pull together - Aztec art, European pictorial tradition of memento mori, global (diamond) trade, international (and especially British) art market, treat of fundamentalism, western materialism and absence of faith, etc....
igor dobricic, amsterdam, netherlands
Never has a so called "artwork" (not even Duchamp's Urinal)raised so many issues about what is art, what do we mean by value, talent, originality, authenticity, but let's not waste time on all that, lets just say "the most expensive emperor's new clothes of all time". Or even just " Crap" . You could say that it teaches us about the insanity of just how surplus value drives things in a world where people starve and poverty denies a child with a cleft palate the surgery that would give them a normal human face. But we know enough about that already. We also know that with globalisation we are seeing the end of a living critical tradition in the visual arts, popular music, etc . We know that however rich Damien gets and however clever he is supposed to be at manipulating the art market, he's just a boring cliche of a man, not an artist by any shareable definition of the word.
Pat Harvey, Bingley, West Yorkshire
"More than 8,500 ethically sourced diamonds"?
Where's the ethics in that, I don't know.
But "vulgar" and "bling" are unquestionable dimensions of that stupid idea.
"Cosmic indecency or decadence" rather than "wonder", I think.
I suggest they lock the maker and the buyers in another "high-security darkened chamber", for life, if possible.
And, please, please, don't tell me that my comment is just the kind of middle-class reaction the alleged artist wanted to cause.
In fact it was typical of bourgeois middle-class that "thousands queued for a two-minute viewing in a high-security darkened chamber".
Ronnie, PARIS, FRANCE
People in the world starving to death and we have something so absurd like this whats the world coming to Hirst is so wealthy he could have afforded to donate this item of art to the national museum .I hope that he does something positive with the money he has made on the purchase after all how do you spend 130 million plus?
oswald, koh phangan suratthani , Thailand
My reflection:
The grotesque becomes art, violence becomes currency, special interest becomes human rights, nature becomes a commodity, technology becomes science, governments become corporations and corporations become governments, hypocrisy become political correctness and humanity becomes inhuman.
Beta, Toronto,
Brilliant!
Mike, Pittsburgh,
Just think of the theatrical possibilites for that very special gala opening! -- "I knew him, Horatio: a fellow of infinite jest, of most expensive fancy". There's also a fantastic Lope de Vega sonnet for it too: "Esta calavera, cuando viva, tuvo / sobre la arquitectura de estos huesos, / carne y cabellos, por quien tuvo presos / los ojos que mirándola detuvo .....";
Oh, memento mori indeed! Sed in luxuria!
eugene, heidelberg, germany
If an artist has an idea which is based on the old artistic theme of the memento mori, has a platinum model made from a found skull and employs a team of technicians to apply the diamonds, to what extent can he be called an artist? Emperor's new clothes.
KJ, Estepona, Spain
just goes to show, there's an ass for every saddle.
Tommy, Colorado Springs, Colorado USA
Er, has anyone noticed that Hirst is a businessman not an artist? When you buy a load of diamonds and sell them at a profit, that's just commerce. He doesn't do art; he just does capitalism.
Remember that programme some time ago on 'Brit Art-ists'? The mic. picked up his conversation as he talked to others and it wasn't about art or ideas - it was just about how much he was selling stuff for... Sterile business-speak.
cath, london,
all kudos to damien hirst, for creating, and reaping the benefits from, the largest con in the history of art. well played sir!
sean, liverpool,
To me a part of this work was infact the asking price. In Hirst's words it is a comment on mortality in the modern world, and by its context, it is also a comment on ego in the modern world. I think Hirst gets the last laugh here. Remember all those 19th century paintings of a man's baubles that had a skull and a candle? I think that is what "For The Love Of God" is all about
Whoever the buyer is, they bought into the message of this work by agreeing to pay the exuberant full asking price, and by agreeing to display the work in public (thus confirming the ego element). I think the ego effect would even be reinforced by the buyers desire to remain anonymous, and somewhat aloof in that way.
Likewise, coverage of the sale in the media must be an important element of the work, as a self fulfilling element of the message , and the work's success in communicating it.
Fantastic job Mr Hirst. Mortality and ego, packaged and sold at £50m.
William Broadmore, London, UK
Funny isn't it! Damien sells his stunt for £50 million, and what does he do with the money? Well, you may not know it but Mr Hirst actually makes investments in the Art market too: Classical Antiquities. Someones putting their money in the wrong place.
Arnold Attard, Brighton, UK