Damien Hirst, Skull, Brown/Blue, (2012)  - Print by Damien Hirst
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Damien Hirst
Damien Hirst, Skull, Brown/Blue, (2012)

2012

About

The skull entitled "Till Death Do Us Part" is by master contemporary artist, Damien Hirst. The series is created in a small edition of only 50 pieces, signed and numbered by the artist. The printing technique of using silkscreen, foil block and glaze creates a unique texture and visual appeal. The bright blue detail color is multi-dimensional, reflecting many tonal variations against an underlay of bubblegum pink and set on a warm brown background. The artwork is framed in a custom black lacquer with black overlay matte, ready to hang. The framed dimensions measure: 28 x 22 x 2 in. / 71 x 56 x 5.1 cm. Damien Hirst regularly uses quotations from religious ceremonies and texts to entitle his works. “Till Death Do Us Part,” is a phrase traditionally used to bind the living in matrimony, however, it is used here to play on the beauty of connection, even in death. Hirst’s infamous eschatology focuses on the morbid aspects of the marital vow as the skull represents the inevitable decay of life. "You don’t like it (death), so you disguise it or you decorate it to make it look like something bearable – to such an extent that it becomes something else.” Hirst uses art to change something into something else and thus subvert emotions. His skulls have the capacity to win over death, at least over the temporal, physical and ugly aspect of it: rotting decay.

Details

  • Dimensions
    H 29 in. x W 23 in. x D 2 in.H 73.66 cm x W 58.42 cm x D 5.08 cm
  • Gallery Location
    New York, NY
  • Reference Number
    LU83515087342
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About Damien Hirst (Artist)

British artist Damien Hirst is widely considered the enfant terrible of contemporary art. He is the most prominent of the so-called Young British Artists, or YBAs, a group, largely composed of Hirst’s classmates at Goldsmiths, in London, that began exhibiting together in warehouses and factories after 1988 and is known for the use of unconventional materials and “shock tactics.”


     In the 1990s, Hirst said, “I can’t wait to get into a position to make really bad art and get away with it.” And indeed, he is notorious for piquing critics and baffling the public with such pieces as his signature glass vitrines containing dead sheep or sharks in formaldehyde, and his diamond-encrusted skull, For the Love of God.


     Working primarily in sculpture, Hirst takes after French modernist master Marcel Duchamp in his use of ready-made objects and materials, which he combines to ironic effect. He often creates in series, as with The Cure (Violet) and The Cure (Turquoise), both from 2014, which are among several pill paintings referencing Andy Warhol’s embrace of mass production. Belonging to his ongoing series of “spot” paintings, begun in the 1980s, the 2005 piece Xylene Cyanol Dye Solution is striking for its machinelike, industrial uniformity and almost childlike simplicity, a seeming rebuke to the idea of the artist-as-genius.


     In addition to making art, Hirst has launched stores that sell editioned works (Other Criteria), a restaurant (Pharmacy2) and even his own London museum (Newport Street Gallery).

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