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My name is Scott Listfield. I paint astronauts and, sometimes, dinosaurs.
Turkey Pond (1944) by Andrew Wyeth
Salvador Dalí by George Platt Lynes 1939
Ever-shameless Damien Hirst stands beside the 2006 piece “I Am Become Death, Shatterer of Worlds”, made from butterflies and household gloss on canvas. (AP Photo/Matt Dunham)
Damien Hirst Butterfly Fiasco: Artist Kills 9,000 In The Name Of Art
Damien Hirst has never been a fan favorite amongst animal rights activists. They didn’t love his formaldehyde-soaked shark and they weren’t so pleased with his severed cow’s head, so you can imagine how they reacted to the butterfly massacre that was his recent exhibit.
The atrocity art installation, titled “In and Out of Love,” was shown at the Tate Modern earlier this year. It consisted of of just two white and windowless rooms filled with live butterflies whizzing about, and was part of a larger retrospective that involved other winged insect-inspired creations. But it’s entering headlines (and enraging the humane population of the world) this week because The Telegraph announced on Sunday that the absurd Tate show resulted in the total death toll of over 9,000 butterflies. Stepped on, violently swatted, or bored to death by contemporary art, the 23 week-retrospective reportedly led to approximately 400 winged deaths per week.
[…]
The Tate Modern defended Hirst’s exhibit, remarking to The Telegraph: “The butterflies used in this work were all…selected from varieties known to thrive in the conditions created. The butterflies lived out the final stage of their natural life cycle inside this room.”
Hirst himself stood up to defend his slaughter as well, saying in a statement to The Daily Mail that he employed a butterfly expert for his show at “considerable cost.” He added that the living conditions created at the museum were “perfect” and “resulted in many butterflies enjoying longer lifespans due to the high quality of the environment and food provided.”
As far as we know, butterflies do not thrive well in windowless museum halls, but we’re not a professional like Nabokov or anything. And the survival rate reported by The Telegraph — a couple of hours to several days — does not measure up well to the the particular species’ actual lifespan in the wild — several months. But again, we’re not “considerably costly” experts, are we?
As someone who’s spent a considerable amount of time in art school, I find Hirst’s exhibit to be deplorable. Then again, I’ve never been a fan of his “work.” I’ve talked about using live animals as art before and it is my contention that any work which harms the life of another either is not art at all or is incredibly bad art. Hirst does things which he knows to be controversial to gain notoriety as a so-called artist and while one may consider that some form of art in itself, I find the cheapness of it all to be embarrassingly bad and a new form of kitsch. True art should never require the suffering of another life. It’s selfish and disgusting.
Andy Warhol and Mick Jagger 1975
Self Portrait (1912) by Egon Schiele
Egon Schiele sometime around 1910's
Girl with Blue Veil (1902) by Gustav Klimt
Degas
Moraine (1908) by John Singer Sargent
Two Wine Glasses (1874) by John Singer Sargent
Self-Portrait by Edgar Degas
Gustav Klimt 1914 by Anton Josef Trcka
Cashmere (1908) by John Singer Sargent
Virginie Avegno Gautreau (1859-1915) was one of John SInger Sargent’s most infamous sitters. Born in New Orleans, raised in France, and married to a French banker, she was known as a “professional beauty” - meaning that she intentionally manipulated her skin, hair and body shape in order to conform to a specifically extreme kind of femininity. Her skin was covered with an arsenic based paste called “chlorate of potash” which gave her a lavender color. Her hair was dyed red with henna. Her ears were left unpainted, and tinted red. John Singer Sargent pursued her aggressively to paint her for an un-commissioned portrait, saying he was obsessed with her “beautiful lines” and the “lavender color” of her skin. When Madame X, his painting of her from 1884, a study in blacks and whites, was exhibited at the Salon, it was praised and censured in equal measure. Viewers and critics alike claimed she looked too much like a corpse.
Virginie was devastated, and hid from view in the South of France for much of the rest of her life. Sargent sold the painting to the Metropolitan Museum in 1915 after her death. Two other portraits of her exist, one also in profile by Gustav Courtois from 1891, and a view with a feather by Antonio de la Gandara of 1898.
Carnation, Lily, Lily, Rose (1885-1886)
John Singer Sargent
Frida Kahlo, What The Water Gave Me, 1938
Make sure to check out the Florence + The Machine song that this painting helped inspire.