the harshest reviews of damien hirst's 'two weeks one summer' exhibition


may 26, 2012 - 

This week White Cube Gallery exhibited a new collection of paintings by Damien Hirst entitled "Two Weeks One Summer." To say the exhibition was not well received would be like calling a Hirst piece a bit of an investment.

"The Guardian" critic Jonathan Jones kicked off the bash-fest with a deliciously scathing review comparing Hirst to Saif al-Islam Gaddafi. The piece brings back the thrills of a high school gossip session, where the harshest comments were fair game as long as they were true.
Now it seems like everyone is jumping on the hate train, from UK critics to the Twittersphere. Yet for some reason we doubt Hirst would care. He once said to Reuters: "It's always healthy to have both views -- people love it, people hate it. I once said as long as they spell my name right I don't mind."
We have compiled a list of our favorite critiques of Hirst's newest works, or as Jones calls them "trivial and pompous slabs of hack work." Click here to see Hirst's new works. Amateur, brazen and cliche, we imagine LMFAO would yield a similar result if they tried to play a symphony. Let us know your scathing review in the comments section.

 

"The last time I saw paintings as deluded as Damien Hirst's latest works, the artist's name was Saif al-Islam Gaddafi. A decade ago the son of Libya's then still very much alive dictator showed sentimental paintings of desert scenes in an exhibition sponsored by fawning business allies. Searching for some kind of parallel to the arrogance and stupidity of Hirst's still life paintings, I find myself remembering that strange, sad spectacle... Seriously - Mr Hirst - I am talking to you. It seems you have no one around you to say this: stop, now. Shut up the shed."
– Jonathan Jones
 
"The problem is that Hirst is essentially what he always protests he's not: conceptual. He has a good grasp of the idea of painting as a medium. But understanding the theory isn't enough. It's no more good than an intellectual grasp of how to play the violin; you also need the 10,000 hours of practice that Malcolm Gladwell suggests are necessary to do anything well. Hirst is trying to do it all too fast and too prolifically. There are 35 of these pictures, yet only one thought among them, and that's a cliche."
– Martin Gayford

 

"Standing in front of Three Parrots With Guitar and Jug (2010-12), one of more than 40 new paintings by Damien Hirst, I felt an emotion I never expected this once-brilliant artist to provoke: pity. Hirst’s first oils on canvas, shown at the Wallace Collection in 2009, were dire but, staggeringly, he has got far worse in the past three years. Showing the paintings in this abundance, one cringeworthy and wretched canvas after another, is like prolonging the suffering of a dying animal."
– Ben Luke
 
"Hirst isn't a particularly talented painter and these works are very repetitive. After you've seen half of the gallery, the other half feels like a chore. Even when he tries to shock us with jars containing conjoined foetuses it all seems rather tame considering what he's shown us before."
– Tabish Khan
The paintings carry no weight, have no atmosphere, inspire nothing - not even strong dislike. An artwork, whether it be a painting or a sculpture, should cause some lasting shift in your equilibrium. I'm not sure leaving a bit depressed counts."
– Nancy Durrant

via: huff post arts
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