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BREAKING NEWS
June 4, 2007
Hirst $99 Million Skull Is Bling Art
By Martin Gayford
Is Damien Hirst's ``For the Love of God'' -- the 50 million pound ($99 million) diamond skull on display in London's White Cube gallery -- a significant work of modern art? Or is it a sign of worrying contemporary decadence?

I suggest that it's simultaneously real art, conceptual art and, what's more, it's a clever joke.

In the diamond skull, Hirst has created an object that's both highly traditional and all about what's happening right now -- the enormous sums acquired by financiers and football players, the astronomical bids for artworks such as the $72.8 million Rothko painting sold by David Rockefeller Sr. at Sotheby's in New York on May 15.

Obviously, the piece by Hirst, 41, is all about death, which is highly traditional. That's a subject that has preoccupied human beings from the beginning. Some of the earliest works of art in existence are decorated skulls.

At one level, I'm sure Hirst is sincere when he says that he wants the skull to give people hope, and take their breath away. It's hard not to gasp at least inwardly when you first encounter that small, sinister object glittering in the gloom.

Hirst's skull is not only a symptom of excess, it's also a witty comment on the situation. Like Hamlet, he's holding up the head bone and saying, this will be you too. The fact that Hirst and his team will laugh all the way to the bank -- perhaps an off- shore account -- does not make it any the less darkly amusing.
Bloomberg

Something about the juxtaposition of so much wealth chasing art, and the nature of Hirst's works, seems to call out about today's times.  [Another article notes], “A 4 million-pound diamond decorates the crown, and stained teeth protrude from the mouth.” And, “Gallery officials initially tried to divide them into groups, then gave up and spent the rest of the 10-minute session trying to stop people backing into Hirst paintings, including ones showing biopsy procedures.” We're shown depictions of the mere bones, flesh and blood of our mortality, with enduring precious jewels and metals fetching more money than most mortals see in a lifetime!
--Tiane

The ultimate top indicator?
--Ben G.


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The Only Possible Explanation for the $99 Million Skull
Category: NEWS
By: Pete Kendall, June 4, 2007

“Shared fantasy images” can be an intermediate step between mood change and resulting action. So the “skull look” trend probably speaks to a future and cultural emphasis on death that comes later in a bear market.
Socio Times, July 27, 2006


skull shot
Something about the juxtaposition of so much wealth chasing art, and the nature of Hirst's works, seems to call out about today's times.  [Another article notes], “A 4 million-pound diamond decorates the crown, and stained teeth protrude from the mouth.” And, “Gallery officials initially tried to divide them into groups, then gave up and spent the rest of the 10-minute session trying to stop people backing into Hirst paintings, including ones showing biopsy procedures.” We're shown depictions of the mere bones, flesh and blood of our mortality, with enduring precious jewels and metals fetching more money than most mortals see in a lifetime!
--Tiane

The ultimate top indicator?
--Ben G.

Skull imagery has been appearing in fashion for some time, and we offered our explanation here last year (click here for the full discussion, “Skulls Are Happy Faces? Socionomics Explains Why”). As we noted at that time, the message of these peak-era artifacts is in the juxtapositioning of bull and bear market symbols. It’s certainly hard to imagine a more spectacular blending than Hirst’s skull with its bejeweled grin. Hirst goes a step further than the skull-and-cross bones print bikini we showed here last July because he associates the skull with luxury fever, which is not just a manifestation of the bull market, but of a mania. His work expresses in artistic, as well as financial, terms what the prospects are for everyone who fully dedicates themselves to these episodes of mass derangement. It seems queer later on, but it’s exquisitely appropriate in the moment. 

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