Through our newsletter we deepen our market understanding, unlock value for our clients, and cultivate a diverse audience of intelligent and inquisitive individuals who are not traditional art world participants. We recognize a broad demand for insightful critique of art and the art world, plus an under explored dynamic interplay with the growing market for Digital Art. As we develop innovative products to engage and expand our audience; we are committed to creating value in the art market.
When Goldenberg Met Hirst
Published 5 months ago • 8 min read
When Goldenberg Met Hirst
Published: Tuesday, 23 July 2024
The right way to describe the artistic oeuvre [1] of Damien Hirst is shock and delight (and sometimes just 'Shock!'). It’s a style he deliberately leans into, saying 'a unique thing is quite a frightening object'. Hirst was a formative part of the iconic Young British Artists (YBA) art movement which exploded in the United Kingdom in the 1980s and 1990s. Hirst is known for his provocative artworks that explore themes of life, death, and the human condition, often using, ahem 'unusual' materials and presentation methods (and yes, I do mean sharks in formaldehyde [3]).
Hirst often used throw-away materials and deliberately sought sensationalism… so it may surprise you to learn that a Damien Hirst piece was at the heart of the Ralph Goldenberg collection we discussed last week. It might also have surprised Damien: Goldenberg showcases the piece in a new and different light than the artist himself [4]. This provides us an opportunity to discuss Hirst and this artwork, and also to highlight the difference a collector can contribute by making the whole more than the sum-of-the-parts.
This high gloss and gold leaf painting, Forget, formerly part of the Ralph Goldenberg collection, sold for GBP156,000 (within its “estimated price range” [5]) at the Sotheby’s Contemporary and Modern Art sale on June 26, 2024.
Forget, Damien Hirst (b. 1965), 2003, household gloss on canvas with gold leaf, 204.5 x 251.4.
Goldenberg acquired this piece on the primary market (i.e. directly from the artist) at White Cube Gallery within a year of its execution date; it then stayed in his private collection for nearly two decades. Unfortunately, we do not know who the successful buyer was at the auction last week, but I think it's important to discuss the changing perspective, understanding, and appreciation when the work was in Goldenberg’s collection and what it potentially means now as a standalone piece.
Same piece, different angle: detail of Forget by Damien Hirst.
As a Contemporary artist, Damien’s artistic narrative examines the relationship between art and beauty, religion and science, and life and death. He encapsulates these notions in his work through various mediums, styles, and composition. Examples include his Spot paintings, Natural History series (viewer discretion is advised), and the Mickey series.
The Spot paintings evoke various psychological and perceptual dichotomies: they are both calming and unnerving, beautiful and ordinary. When gazing upon Forget, what do you see or think at first? Full disclosure: my first thoughts included 'why is it a bunch of dots?', 'I can’t even really see them', 'Is this what playing Connect Four is like when you’re colourblind?', and 'if I had 150 grand, I wouldn’t spend it on that'.
A closer look reveals more: a work that subtly plays psychedelic mind games in such a way that the painting appears to move and take on new shape. It’s more immediately obvious with two other similar pieces from the same series:
The visual effect becomes more obvious when something as simple as background colour changes. Do you prefer this multi-colour aesthetic? Or do you now prefer the calming and potentially less stimulating effect Forget has on your eyes?
In either case, comparing these pieces highlights two very important components that can completely change the perception and appreciation of an artwork: setting and light.
The 'Setting' can be the room in a home, museum exhibition, or office where a work is displayed. Setting also includes other artworks present in the same room or next to the work. 'Light' is highly correlated with the setting but can also vary significantly within the setting. Light can be both natural or artificial, close or distant, static or changing. The paint colour of the walls can even impact the way light reflects in a room and on an artwork.
Let's look at how Forget appeared in a Hirst gallery exhibition, before its purchase by Ralph Goldenberg:
Installation view of the present work at Romance in the Age of Uncertainty exhibition, WHITE CUBE, LONDON, 2003 (all works shown are by Damien Hirst)
Here the setting and light do nothing to enhance Forget. The white gallery walls and window make it near-invisible. The setting is cold and uninviting, and his other more colourful (and graphic) works immediately distract the eye and entice the viewer [6].
Now compare Forget in the White Cube gallery, to the setting and light Forget was curated in at Goldenberg’s home:
How Forget (1) was displayed in Hay’s Mews next to other works: 2. Untitled by Marco di Suvero 3. Untitled by Dan Flavin 4. Drawing for Floor Piece by Rachel Whiteread 5. Ohne Titel by Blinky Palermo
This picture was in last week’s newsletter. To be honest, at first I didn’t even notice Forget on the wall, which is why we added the red boxes.
Initially, Forget still blends in with the walls, like it did at the White Cube gallery. After a moment, though, the viewing changes. The setting is slightly more 'homey' with the dining table and chairs. Notice how calming the work now appears next to the other artworks carefully selected by Goldenberg. The mood lighting and selected works gives me the effect of an 'art spa'.
It gets even better from a different angle. In the corner of the room is a light source, a piece of art in its own right. The neon light by Dan Flavin has a profound effect on the Hirst painting next to it… take a look.
Different angles of Forget with the effect of Dan Flavin’s neon art piece.
As you move around the work, the details, and colour of the painting shift due to the light source (Dan Flavin’s neon light piece). It is an entirely new experience and work of art compared to the painting we saw in isolation. Often, collectors mention how each time they walk into a room they notice something new in a piece of art. That must have been true of Goldenberg’s collection, and the Damien Hirst piece within it. Whether that's due to the light in the room based on the time of day, the length of time they stare at a painting, or if a guest points something out when they gaze upon it for the first time. Remember there is always more than what meets the eye with contemporary art, even if you think 'my kid could do that.'
I believe this move was intentionally brilliant on Goldenberg’s part. He continues Damien Hirst’s psychology and artistic endeavor to study and portray the effects of colour on the human eye by utilizing the artistic talents of another artist. The combination of Hirst and Flavin I believe strengthens Hirst’s Forget as a captivating work of art full of shock-value. How Ralph discovered this, I'm not sure, but this demonstrates the importance of the collection on a single work of art when it's not in isolation, the vision of the collector, and how something as simple as context and light can impact its perception.
Unfortunately, we can make the same point from the opposite direction: in the pre-auction exhibition at Sotheby’s, Hirst’s Forget and Flavin’s neon light were not displayed next to each other as they were in Hay’s Mews. They weren’t even in the same room. Forget, while surrounded by works on paper and sculptures, was forgotten [7] in a sea of monochromatic black, white and beige. Flavin, with its captivating light, welcomed others in its little corner where the softness of colour could be independently appreciated.
This effect and experience of Forget I've presented to you may never be seen again. Two independently beautiful works that created a striking conversation between themselves are now isolated once more in new settings, with new light sources, in new collections. To me, there is now a sense of emptiness to the work after being spoiled with the experience in Goldenberg’s collection. Hopefully its new owner has the same artistic creativity demonstrated by Ralph to replicate or create something new with this new addition and contribution to the conversation of their collection.
I enjoy researching and writing this newsletter, and I hope you enjoy reading it. If you have any feedback, questions, or suggestions for future newsletters, please reply to this email!
[1]
Oeuvre is a fancy French word meaning 'the complete body of an artist’s work'. Etymology goes back to the Latin opus [2], meaning 'work, effort, product of labo[u]r, work of art'.
[2]
And the plural of opus is… opera! The more you know.
[3]
Did you know that the opposite of 'formal-de-hyde' is 'causal-de-jekyll'? (No, I will not apologise for that joke, it's so silly).
[5]
'Estimated price range' are basically 'guesstimates' of the likely transaction price, but also have a formal purpose. They are provided by the auction house and are almost always a range rather than a fixed estimate. The estimate starts to create the market by indicating to possible buyers what the auction house (in the opinion of their experienced experts) think.
Importantly, the price range also signals to buyers what the 'seller’s reserve' could be. The 'seller’s reserve' is the minimum price that the auctioneer is allowed to accept… if no-one bids that amount, then the item is pulled from the auction (i.e. the auctioneer does not just keep lowering the price until a transaction happens).
The 'seller’s reserve' can be below the low estimate but cannot be higher; usually the lower end of the estimated price range is also the 'seller’s reserve'. That way, the potential buyer knows they are unlikely to buy the item for materially lower than the quoted price range (they are, of course, welcome to bid higher than the top end of the range!).
TLDR, here’s an example:
The auction house lists an item for sale with an estimated price range of $150,000-180,000.
The seller tells the auction house that they will not accept a sale price below $140,000 (the 'seller’s reserve').
This $140,000 number is not disclosed to the public, but interested buyers can make an educated guess from the price range that they are unlikely to be able to be able to buy the piece for e.g. $80,000, so they can make their decision on how much to bid (or whether to bid at all) accordingly.
[6]
To be fair to Damien, that may not have been the case had we physically experienced this exhibition in person. Setting also refers to a digital v. in-real-life experience, which can make a material difference.
[7]
Ok, I will apologize for that joke, sorry. However, I did tell you that you’d see the painting in a “new light”… lol.
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Through our newsletter we deepen our market understanding, unlock value for our clients, and cultivate a diverse audience of intelligent and inquisitive individuals who are not traditional art world participants. We recognize a broad demand for insightful critique of art and the art world, plus an under explored dynamic interplay with the growing market for Digital Art. As we develop innovative products to engage and expand our audience; we are committed to creating value in the art market.