Aying1001's Blog

TWO CARS ONE NIGHT

Posted on: May 12, 2010

This was the one of the great shot movie that I like. This shown the real time that you have been doing. The subject matter is could be family, abandonment, small town, culture, the cars, language or the kids. The movie is all about the Maori parent they taken they children out with them,but was at night time. They late them waiting inside the car until they coming out of the nightclub. At the time I have seen how was the kids talk.

Damien Hirst – Report by Amanda Cook

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The Pysical Impossibility of Death in the Mind of Someone Living
(1991)

Alongside his countryman Chis Ofili, the work of Damien Hirst was among some of the most controversial art of the nineties’ “New British Artist” Movement. Ofili’s infamous portrait of the Virgin Mary was shown alongside Hirst’s equally infamous “The Physical Impossibility of Death in the Mind of Someone Living”. While Ofili’s painting was lambasted for portraying the virgin Mary alongside pornographic images and elephant dung, Hirst’s piece was criticized as not being art at all. The Stuckism International Gallery famously parodied Hirst’s work by putting a taxidermy shark in their window and calling it “A Dead Shark Isn’t Art”. Originally commissioned by the famous British gallery owner Charles Saachi, the piece is now on display at the Metropolitan Museum of Art in New York City. The piece consists of a preserved shark carcass suspended in a formaldehyde solution; the original shark had to be replaced in 2006 due to deterioration but Hirst considers it to be the same sculpture.

“The Physical Impossibility of Death in the Mind of Someone Living” serves as an effective window into Hirst’s overall body of work. His art almost always deals with critical human issues, most especially death and decay. His work style is distanced; he cites Andy Warhol as his inspiration for his working methods. Hirst works with a dedicated team of assistants who have collaborated with him for years, and he jokingly says that when he grows old he’ll have to scale his work down to accommodate the backs of his assistants because he doesn’t believe in replacing them with younger people. Hirst believes in the importance of the artistic concept above all else; and his hand is usually far removed from the final product. For example, in his extensive series of dot paintings, he only painted five. One of his recent showings, “Beyond Belief” featured a series of intricate “fact paintings”, which were meticulously painted from photographs by his assistants.

“Beyond Belief” also featured Hirst’s most famous contemporary work, “For the Love of God.” The piece is so named because upon telling his mother of his idea, she exclaimed, “For the Love of God!” The piece is a platinum cast of a human skull which was then covered in diamonds. Again, Hirst did not create the piece himself, but commissioned it from Jewelers in England’s Hatton Garden district. The original teeth from the skull were then placed in the mouth. The piece cost around fourteen million pounds to manufacture (equivalent to about 21.25 miillion US). When asked about the cost of the piece, Hirst replied, “…people don’t really mind money being spent on beautiful things, it’s ugly things that are a problem and there are plenty of ugly fucking buildings in the world that cost way more than the skull”.

This work are very lovely. That so expensive and take time to do it.
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For the Love of God (2007)

Like “The Physical Impossibility of Death in the Mind of Someone Living” and his equally famous “Thousand Years”, “For the Love of God” confronts themes of death and the taboo while simultaneously critiquing conventional forms of art. Hirst frequently challenges the boundaries between the literal and the artistic; “Thousand Years” did not represent death, it created it. The piece featured a rotting cow head, a box of flies and a insect electrocuter; creating an entire life cycle within an art gallery. Hirst has said he is interested in creating “sympathy with meat”, by forcing people to confront the empty carcasses of the dead. Before becoming an artist, Hirst spent time in morgues taking notes and sketching; he famously brought a friend to a morgue and punched the corpses to shock his friend into seeing that bodies are nothing but “meat”.

His frequent use of dead animals has brought him a slew of criticism both within the art world and within society at large. However, one of Hirst’s most enduring themes is his confrontation with fears of death; he has reportedly admitted to being terrified of dying and his work directly (and litereally) represents these fears of decay and lifelessness.

To anyone interested in Hirst’s work, I would definitely suggest a personal viewing. The Chambers Art Hotel in Minneapolis has some of his work on display (including a spin painting and a sheep head in a vitrine), and it is free – even encouraged – to walk through the lobby and take a look. Seeing his work first hand is much different than reading about it or looking at picture. Even though I neither love nor hate Hirst’s work, I can say that I only opened up to his work after I saw a piece with my own two eyes, and not before. Seeing something dead in person is inescapable in a way that a photograph is not, and this is the power of Hirst’s animal works. He is a truly unique and opinionated artist; certainly not for everyone. But nonetheless I think everyone should experience one of his works first hand, if only for the confrontation he forces upon you.

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A Thousand Years (1991)

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Judas Escariot (1994) – On Display at the Chambers Art Hotel in Minneapolis

—–


References:

Hirst, Damien. Beyond Belief. London: White Cube, 2008.

—. Void. München: Schirmer/Mosel, 2007.

Hirst, Damien, and Gordon Burn. On the Way to Work. London: Faber, 2001.

Octavia Nicholson. “Hirst, Damien.” Grove Art Online. Oxford Art Online. 26 Nov. 2008 .

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1 Response to "TWO CARS ONE NIGHT"

This was the one of the great shot movie that I like. This shown the real time that you have been doing. The subject matter is could be family, abandonment, small town, culture, the cars, language or the kids. The movie is all about the Maori parent they taken they children out with them,but was at night time. They late them waiting inside the car until they coming out of the nightclub. At the time I have seen how is the kid talking

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  • Apirath: i love it wow!! great blog....
  • Toni MacKinnon: Good start so far Amornrat. Let's meet next week and talk about how I can assist you with this blog sometime after 3 on Tuesday of next week. cheers,
  • aying1001: This was the one of the great shot movie that I like. This shown the real time that you have been doing. The subject matter is could be family, abando

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