Damien Hirst - Gallery Art in a Material World

Thanks to:

1) Introduction

a) How does Hirst Depict Consumption?

b) How is the Term Consumer Culture Used in this Study?

c) Sources

2) Consumption Concepts and their Use in the Present Investigation

a) The Term Consumption

b) Consumerism

i) The Concept of Consumerism

ii) Cultural Critique, Critique of Authority and Environmental Criticism

c) Consumer Society

i) Narrowing down »consumer society«

ii) Emergence of Consumer Societies

d) Consumption and Religion

e) Consumption in Art History

i) Marcel Duchamp

ii) Andy Warhol

iii) Jeff Koons

3) London at the Turn of the Millennium

a) London's Cultural Landscape since 1980

b) Damien Hirst and Young British Artists

c) What Makes a British Artist in the 1990 s a Young British Artist?

i) YBAs after 2000

ii) Blair, BritPop and Cool Britannia

4) Damien Hirst

a) The »Natural History« Series

b) »The Golden Calf« (2008)

i) Material Matters – Animal, Gold and Showcase

ii) Art auction / happening – »Beautiful Inside My Head Forever«

c) Butterfly Paintings (1991 – 2008)

i) »Girls, Who Like Boys, Who Like Boys, Who Like Girls, Like Girls, Like Boys« (2006)

ii) »Devotion« (2003)

iii) Fly Paintings and Sculptures (1997 – 2008)

d) »For the Love of God« (2007)

e) Spot Paintings (Since 1986)

i) »One of a Kind« Work of Art or Mass Production? Hirst and Series

ii) Hirst and the Tradition of Painting

iii) Drugs, Medicine (Cabinets) and Candy

iv) Reality and Ritual

v) Yuppie Art for 'Over the Sofa«? – Spot Paintings in Movies

vi) The Handling of a Location – White Cube and Museum

vii) Faith in Medicine and Advertising

viii) Over-Identification with the Viewer

5) Banksy and Damien Hirst

a) Street Art – The Rise of Banksy

b) The Spectacularization of Art

c) »Keep it Spotless (Defaced Hirst)« (2007)

d) The Location Reference – Street (and) Art

6) Artistic strategies for Dealing with Consumer Phenomena (Conclusion)

a) Hirst’s Illusion of Consumer Paradise

i) The Controlled »Shock«

ii) Over-Identification and Irony

b) Images of Images

c) (Dis-) Placement and Staging

d) Brands not Products

e) Advertising

f) The Viewer-Buyer and Collector as Perfect Consumer

g) (Im-)Material Things

7) Bibliography

i) Web Sources Naming an Author

ii) Web Sources without Naming an Author

iii) Further Websites

iv) Printed Newspaper Articles, Essays in Magazines and Interviews

v) Books and Exhibition Catalogues

vi) Videos

Index