Support Hyperallergic’s independent arts journalism.
In a move that contradicts his reputation and career trajectory, ever-diversifying commercial enterprise Damien Hirst announced massive cutbacks to his organization, in the interest of getting back to making art. This restructuring has resulted in the layoffs of some 50 employees, at least some of which work in connection with Hirst’s various interests in the seaside town of Ilfracombe, Devon. This includes the popular Quay restaurant, where art tourists, drawn to the town by the 20-meter Hirst statue, “Verity,” could enjoy the catch of the day while looking at Hirst’s pickled fish, and other works.
Though residents of Ilfracombe will surely bemoan any curtailing of tourist trade as a result of the closure, it seems that a handful of Hirst-owned properties have been standing vacant on the main strip for some time now, presenting an impediment to the doubtlessly otherwise bustling nature of the former maritime trade town with a population of 11,000 residents (according to a 2011 parish census). Last year, Hirst abandoned plans for the “Southern Extension,” a 750-unit development of eco-friendly homes on property owned by the artist, which also included a primary school and a health center. Maybe he scored an advance screener of Wild, Wild Country and realized cult leadership is not all it’s cracked up to be, no matter how many Rolls Royces you get to have. As a sort of consolation prize, Ilfracombe does get to keep Hirst’s giant bronze statue on the pier on long-term loan; when reached for comment, the town said, “Eh.”
Of course, even after paring down his ambitions to no longer include annexing an entire town, Hirst’s humble return to his roots does include the purchase of a new studio on Beak Street in Soho, central London for a reported £40 million (~$52 million). Come on, guys — you cannot expect an artist to make paintings and pickle formerly living creatures and such without several multi-million dollar facilities. Hirst is showing real restraint here, possibly keeping his operations budget under £1 billion (~$1.3 billion); no doubt we can expect great revelations from this Siddhartha-like renunciation of his worldly holdings. If there’s one thing Hirst has demonstrated throughout a career based in conceptual market engagement, it’s that at the end of the day, he’s all about the art.
Art, when reached for comment, reportedly said: “Hey Damien, no hard feelings — it’s totally cool with me if you want to stick with being a restaurateur, or whatever!”
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…