Rendering: Week 2 - Damien Hirst.

The article, which was published on New Republic Paper site on December 12, 2013  and called " Damien Hirst's Transition from Artist to Luxury Brand Is Complete" by Jason Pargo and tells us about the transformation of one of the best and Britain's richest living artist from just a man of art to national brand. It's necessary to point out, that author tells us, that one of the richest artists in the world severs his ties with the world’s most powerful art dealer, after 17 years of working together. Pargo  emphasizes the fact, that they were a perfect pair, Damien and Gogo: the impudent British trickster and the smooth American wheeler-dealer, each of them in his way elevating the art of the deal above art itself.  He also adds, that It was less than a year ago that Hirst and Gagosian foisted onto the world their enormous, absurd eleven-gallery exhibition of Hirst’s “complete” spot paintings, with the artist’s innocuous abstractions filling every one of the dealer’s spaces in what seemed less a presentation of Hirst’s work than an advertisement for Gagosian’s reach. Furthermore, one should not forget that author clearly gives us a thought, that Hirst really did have a major impact in the days of Young British Art, enough so that it’s of secondary importance whether anyone actually likes his later work.Moreover, Pargo proves the fact, that Mr. Hirst is simply there, a big shark in a small tank, forcing even those who aren’t interested to pay attention and even those who don’t like the work to put in on their walls and that Hirst has always been impervious to critical attacks or even to his collectors’ own distaste; he is, like a shark, in perpetual motion.  In addition to that, the author can't deny the fact, that the market for Hirst is going south—depressed, so the consensus goes, by his massive straight-from-the-factory auction of 223 works at Sotheby’s on the very day that Lehman Brothers collapsed. The author tell us, that the other side of the coin is the fact, even after the loss of patronage Hirst will still be represented by White Cube, the gallery based in London but with outposts in two of the four BRICs; they’re mounting a Hirst show in Hong Kong next February, and at Art Basel Miami Beach last week they quietly presented a few Hirsts, with mixed fortunes. It's necessary to admit the fact, that but then again, Ferraris and dog food are both not art, and Hirst, not just critically but economically, is no longer an actor in anything recognizable as artistic practice.The author draws a conclusion saying that Hirst is much closer to the luxury fashion houses or jewelry companies that glom onto the art world in search of collectors’ remaining millions, and he probably doesn’t need a gallery any more than Louis Vuitton does. and adds - a depressed market can always be mitigated through volume, we are learning, and his transition from artist to luxury brand is less a retreat than an apotheosis. So, ,my opinion, that the artist's vein is very fragile structure, and every thrombus, giving us a backstab from a real world, trying to change our behaviour, to mix our thoughts, to entangle our way сan lead to some incurable situation for the artist's mentality - we just can self-destruct our creative potential , to bet our talant just to pick up a poker pot of vanity and wealth - forgetting about your first art headspring.