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1. What do the careers of artists like Ken Done and KAWS tell us about the creation of artistic reputations?                                                                                                        Were Done’s unfavourable reviews owing to the fact that he is ‘not a good artist’ or because his work, with its strong market sensibility, challenges the various assumptions about artists and their careers? (Peter Anderson, ‘Ken Done’s image problem’, Art Monthly Australia, 1995, pp.4-6 )                                

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1. What do the careers of artists like Ken Done and KAWS tell us about the creation of artistic reputations?                                                                                                        Were Done’s unfavourable reviews owing to the fact that he is ‘not a good artist’ or because his work, with its strong market sensibility, challenges the various assumptions about artists and their careers? (Peter Anderson, ‘Ken Done’s image problem’, Art Monthly Australia, 1995, pp.4-6 )                                

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2. How can a powerful group of individuals - artist, dealers, art advisers, private collectors and critics - influence Damien Hirst’s reputation, career and sale of his art?

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2. How can a powerful group of individuals - artist, dealers, art advisers, private collectors and critics - influence Damien Hirst’s reputation, career and sale of his art?

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3. What role has François Pinault and his private museums - Punta della Dogana and Palazzo Grassi, Venice - played in rebuilding and repositioning Damien Hirst's reputation and value within the market? 

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3. What role has François Pinault and his private museums - Punta della Dogana and Palazzo Grassi, Venice - played in rebuilding and repositioning Damien Hirst's reputation and value within the market? 

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Consider this within the context of the exhibition entitled “Treasures of the Wreck of the Unbelievable.”

https://www.theguardian.com/artanddesign/2017/apr/16/damien-hirst-treasures-from-the-wreck-of-the-unbelievable-review-venice

http://www.artnews.com/2017/05/08/a-disastrous-damien-hirst-show-in-venice/

http://www.artnews.com/2017/04/21/one-mans-trash-is-damien-hirsts-treasure-in-venice-the-artist-offers-his-grandest-work-yet/

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Treasures from the Wreck of the Unbelievable

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Treasures from the Wreck of the Unbelievable Damien Hirst Until 3 December 2017 'Treasures from the Wreck of the Unbelievable'.

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Damien Hirst: Forgiving and Forgetting, Rome, July 6–October 23, 2021 | Gagosian

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Find out more about the current exhibition Damien Hirst: Forgiving and Forgetting at Gagosian Rome. Installation views, works, editorial content, and more.

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Seven major sculptures by Hirst are currently on display across Leeds and Wakefield as part of the inaugural edition of Yorkshire Sculpture International.

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Fondation Cartier pour l'art contemporain

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Damien Hirst's latest series, Cherry Blossoms, is a continuation of his career-long investigation into painting. The artist reinterprets, with playful irony, the traditional subject of landscape painting as well as the great artistic movements of the late nineteenth and twentieth centuries, from Impressionism to Action Painting.

Born in Bristol (UK) in 1965, Hirst grew up in Leeds before moving to London in 1984, where he still lives today. Working across sculpture, installation, painting and drawing, Hirst explores themes connected to life and death, excess and fragility. If sculpture-the Natural History series in particular-earned him an important reputation in his early years, painting has always played an essential role in Hirst's work:

"I've had a romance with painting all my life, even if I avoided it. As a young artist, you react to the context, your situation. In the 1980s, painting wasn't really the way to go."

Started after an ambitious sculpture project, Treasures from the Wreck of the Unbelievable, that took 10 years to make, the Cherry Blossoms series marks the artist's return to solitary work in his studio. Hirst rediscovers the exhilarating pleasure to paint and "dive into the paintings and completely blitzing them from one end to the other." He works on several canvases at the same time, constantly returning to some he keeps close by, months after their completion. After devoting three full years to the series, Hirst finished the Cherry Blossoms series in November 2020:

"The pandemic has given me a lot more time to live with the paintings, and look at them, and make absolutely certain that everything's finished."

The exhibition presents 30 paintings chosen by the artist among the 107 canvases of the series, all large-format. The scenography is voluntarily sober, without comments, in order to leave the visitors the pleasure of immersing themselves in the painting.

Cherry Blossoms is Hirst's first museum exhibition in France.

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Damien Hirst's latest series, Cherry Blossoms, is a continuation of his career-long investigation into painting. The artist reinterprets, with playful irony, the traditional subject of landscape painting as well as the great artistic movements of the late nineteenth and twentieth centuries, from Impressionism to Action Painting.

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Damien Hirst scales back business activities to focus on making art

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Damien Hirst scales back business activities to focus on making art

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The Art Newspaper ANNY SHAW

1st October 2018

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Damien Hirst, the artist who famously built his global brand with an art production line, sales and marketing team, administrative sector and finance and investment division, is streamlining his business to "focus on his art", according to a spokeswoman for his company, Science (UK) Ltd.

As part of the restructuring, the British artist has laid off 50 members of staff, mainly working in finance and IT, although there have also been some losses in his London and Gloucester studios. Directors James Cameron, Jude Kelly and Sylvia Park all left the firm last year. The spokeswoman declined to comment on current staffing figures.

Investments are instead being made in a new studio on Beak Street in Soho, central London, which Hirst bought for around £40m, according to Companies House. The new complex is expected to open next year after extensive renovations and is set to become Hirst's flagship studio in the UK capital, comparable in size to his workshop in Southwark, south London.

The artist's recent return to painting is well-documented, but the company's restructuring will not mean an end to pickled sharks and cows cleaved in two. Hirst's spokeswoman say he will continue to create large conceptual sculptures and installations for collectors; he recently redesigned the bar at the Palms Casino Resort, complete with trisected shark, as part of a $620m renovation by the art-loving brothers Frank and Lorenzo Fertitt.

Put succinctly, the artist is keen to "spend more time in the studio", she says. "These changes are not driven by a need to reduce costs but by his desire to cut the corporate elements of the business to get back to a simpler way of working."

To this end, Hirst is due to shut the Quay restaurant in Ilfracombe, Devon next month; some of the redundancies are a result of this closure. According to sources, he is refurbishing several properties on the seafront which he will either rent or sell.

However, Verity, Hirst's imposing bronze statue showing a cross-section of a pregnant woman installed near the restaurant, will stay put; the 25-tonne statue is on long-term loan to north Devon council.

Hirst shut his Other Criteria gallery in Ilfracombe last year, but the publishing company continues to produce books and catalogues. The £25m Newport Street Gallery, which Hirst opened in Vauxhall in 2015, ostensibly to showcase his Murder Me collection, will also continue to operate as normal.

Hirst's decision to go back to basics comes exactly ten years after his infamous Beautiful Inside My Head Forever auction at Sotheby's London on 15 September 2008, which netted £111.4m over two days. The sale unfolded just as the financial markets collapsed amid the subprime mortgage scandal, marking the end of an era of decadence for the contemporary art market.

A recent report on Artnet found that 19 works by Hirst from the Sotheby's auction have since been resold, 17 of which have depreciated in value, with a collective loss of almost £2.2m. Collectors' wallets are likely to have been dented further by fees and storage costs. According to a mockumentary released by Hirst on Netflix in January, the artist ploughed the profits from the sale into his most ambitious exhibition to date, Treasures from the Wreck of the Unbelievable, which closed in Venice in December 2017, racking up a reported £250m in sales.

As for the state of his market a decade later, Hirst recently took to Instagram to address his critics. He recalls how he was playing snooker with world champion Ronnie O'Sullivan during the Sotheby's sale while someone was reading out the hammer prices. "I couldn't even process it-it was going crazy. I kept saying 'they've got it wrong', I couldn't make sense of it because the prices were so high," Hirst says.

Straight away, Hirst says he recognised "something really wasn't right". He says: "After it was such a success it would have been easy to think I was some kind of great artist and everything I made would sell for huge sums... [But] it was the brink of the crash and there was still so much money flying around from all the hedge fund guys, and when the market stumbled after the auction, people forget, but that was things actually getting back to the real market."

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Damien Hirst scales back business activities to focus on making art

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Damien Hirst, the artist who famously built his global brand with an art production line, sales and marketing team, administrative sector and finance and investment division, is streamlining his business to "focus on his art", according to a spokeswoman for his company, Science (UK) Ltd.

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Newport Street Gallery | About Damien Hirst's art collection

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Newport Street Gallery presents exhibitions of work from Damien Hirst's art collection. Located in Vauxhall, south London. Free admission.