Thursday, 25 June 2009
being a brand name
Celia Lury, “‘Contemplating a Self-portrait as a Pharmacist’: A Trade Mark Style of Doing Art and Science”, Theory, Culture, Society, Vol.22(1), London: Sage, pp.93-110.
Lury, a professor of Sociology of Goldsmiths College discusses how Damien Hirst can ba viewed as a brand name by exploring the concept behind it.
She begins her article Contemplating a Self-portrait as a Pharmacist by mentioning Hirst’s quote, ‘Becoming a brand name is an important part of life. It’s the world we live in’ (93). His quote is clearly evidencing Hirst’s view of the significance of brand name and this makes me question the value of branding myself as an artist. In addition, how important could this ‘becoming a brand name’ be in relation to the value and success of the artist? I believe Hirst is suggesting that it is unavoidable in the world we live in. I cannot fully disagree with him. This is because, especially in the art world, trademark is an important part of an artist's to survival even though producing art is not all about a marketing strategy.
To make a contrast to Hirst’s view, Meg Cranston (7) once said, ‘we were taught not to trademark – that was unethical, to brand yourself.’ I won’t discredit artists who go deep, but go broad. I prefer to go from flower to flower. Having a particular style seemed hokey in a way...’ I believe her point of view is evidencing her pure passion toward art making outside of marketing field. However I believe having no particular style can also be seen as a typical style.
Damien Hirst is a successful artist famous for his series of dead preserved animals. He draws attention to the ways in which the transformation of the producer’s function or role in a brand name and in his practice. His practice may be seen as science, but he views himself as a scientist and also as a pharmacist drawing attention to an interdisciplinary field between art and science. I believe Hirst’s work cannot be read separately from his image. Furthermore, I wonder without his marketing process and his trademark, weather he would still be wealthy and famous as now.
Cranston, Meg, and Israel, Nico. "Running On Light Feet", Hot Pants In A Cold Cold World: Works 1987-2007, Auckland: Artspace and Clouds, 2008. 6-21.
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I personally disagree with Hirst’s opinions about branding in the place of art as an integral part of an artists practice. As you mention in your blog post he states that becoming a brand name is unavoidable. However branding yourself as an artist does not have succumb to the extent that Hirst has taken it were his art seems to be playing in to the hands of capitalism and consumerism. I do not deny that making a name for yourself as a creative practitioner is important, it is if you wish to be successful, but the way in which this ‘fame’ is attained for me is important, true acknowledgement and ‘fame’ in the past has tended to be given to artist who have accomplished revolutionary ideas in the sphere of art, however when I view a Hirst work I see basic and simple ideas, not worthy of the acknowledgement they have obtained.
ReplyDeleteIn response to your question, "I wonder without his ways of marketing process and his trademark, weather he be still be wealthy and famous as now."
ReplyDeleteI think Damien Hirst has created and learned a formula for marketing and using art as a business much like Andy Warhol learned to do with his artworks and practice. But I suppose we have to question whether this marketing has interested us? In other words, are we intrigued by his work because of its marketing strategy or because of his concepts, fine quality, use of materials, and lavish expense and prices? I would have to say his work intrigues me more than the price we pay for it but it is a personal opinion based on interest in his materials for me. -Julia Chiesa