Friday, April 25, 2014

Spot the head-spinning irony as Science exposes fake Hirsts

Fake Damien Hirst paintings Fake Hirst spin painting
(image courtesy Manhattan District Attorney's Office)
The outcome of a recent court case in New York suggests that one way of establishing the authenticity of Damien Hirst spin or spot paintings — all of which were made by studio assistants — is the absence of any indication that the work was made by a specific studio assistant. Stop sniggering, this is serious stuff.

A Florida pastor was recently convicted in a Manhattan court of selling fake Hirst paintings. After the case, one of the jurors spoke on condition of anonymity to the Brooklyn-based art blog Hyperallergic

The juror reports that one of the fake paintings produced in evidence at the trial, “had something on it that certified that the work was made by someone in the studio.” This was clearly added by the faker in the (misguided) belief that it would indicate authenticity.

It’s perhaps not surprising that a faker might seek to insert something into a painting that would signal its author. After all, works of art have traditionally been signed by the artist who painted them or from whose studio they originated. Not all of Hirst’s works are signed, and nor do they come to market with the kind of “authentication letter” that apparently accompanied the fake works in the New York case.

And yet despite the absence of these traditional indicators of authenticity (after all, who is the real ‘author’ of an original Hirst spin or spot painting?) it is still possible to establish through size, canvas quality, etc., whether or not a work is a ‘genuine’ Hirst. The aptly named Science Ltd. — Hirst’s production company — are responsible for this quasi-scientific authentication process, but even they must be struggling to manage the imbroglio that his opportunistic modus operandi has created. 

Although no single assistant is ever credited with any particular work issuing from Hirst’s studio, he has said of one of his assistants, Rachel Howard, “She's brilliant. Absolutely fucking brilliant. The best spot painting you can have by me is one painted by Rachel.” (Burn, G., On the Way to Work, Faber, 2001) Very funny, given that definitively establishing which works Rachel Howard painted would be nigh on impossible.  

Howard is now a successful painter in her own right. As a Quaker-educated child she is said to have pondered the deep existential question: ‘If God made me, then who made God?’. Only a cynic would reply with the name Frank Dunphy for Howard’s own work testifies to a far more aesthetically curious and emotionally engaged approach to the possibilities of painting than the mind-numbingly banal merchandise that issued from the Hirst factory. 

Another assistant, on leaving Hirst’s employ, asked him for one of his paintings as a souvenir of her time with him. According to Hirst, he told her, “‘Make one of your own.’ And she said, ‘No, I want one of yours.’ But the only difference, between one painted by her and one of mine, is the money.’” (Burn, ibid

Fake Hirst spin painting
(image courtesy Manhattan District Attorney's Office)
We can assume from this exchange that Hirst correctly interpreted the assistant’s request as a request for money. After all, why else would she want the art when it’s something anyone could make? 

The factory set-up isn't the only reason authenticity is a problematic issue for Hirst Inc. It’s common knowledge that Damien likes breaking the art market rules, slaughtering sacred cows, and generally changing the terms of engagement. After his spot print editions flew off the walls of their original retailer, Eyestorm.com, he was said to have been considering producing a new work in an edition of a million. Classic Hirst hubris or maverick instinct for marketing? It matters little, for he never proceeded with the idea, perhaps advised against it by Frank Dunphy, his business manager and the real architect of his apotheosis from art world enfant terrible to global luxury brand. 

The prospect of having to sign so many prints might have been another factor in dissuading him from going ahead with the million print edition. Hirst found signing his Eyestorm spot prints so onerous that in order to break the tedium he occasionally signed other names instead of his own. I recall seeing ‘Mickey Mouse’ and ‘David Hockney’ scrawled on the border of two spot prints in the Eyestorm warehouse.

What those jokily signed works are worth today will remain an imponderable until one of them comes to market. Even then, who could authenticate it? Will connoisseurship do the trick? Or will Science once again prevail?


1 comment:

Patent Attorney said...

I guess that science is always going to prevail in these situations! It's incredible how real these forgeries can look...