He who controls the economics’ of art, controls art. Art is just a commodity
as the critic and writer Sir Herbert Read points out, ‘works of art only differ from the laws governing the distribution and sale of bacon by the relative scarcity of the artistic product‘.
Hirst it could be argued is just wanting to take more control of his financial destiny, and as he says himself, ‘The first time you sell something is when it should cost the most’. Galleries rely on the fact that many an artist have a problem dealing with both the money side and the physical selling, and as such, the gallery owners like the idea that the artist is just an artist intent on creating the art. The gallery offers a complete professional service that encompasses everything needed within such an environment in which the prospective buyer is enticed to buy. So, it goes without saying they want their share of the sales revenue. What Hirst is doing at best, is hoping that bidders at auction push the final sale price above what could have been gained in a gallery; alongside a saving on the gallery commission. But then again (in Hirst’s case), that is potentially a huge amount of money; the lots that sold at Sotheby’s raised over £100 million. In artistic terms that is a staggering amount of money.
But what does this all mean to the art world?
Perhaps more important, what does it all really mean to the budding artist or the man in the street?

Looking at the viewing route flyer, you realise the work is spread across several floors and numerous rooms: it reminded a little of Tate Liverpool. On entering Sotheby’s my first impression was that of a hotel reception. To me it was far removed from both the atmosphere and décor you normally encounter (Sotheby’s are obviously used to entertaining a different sort of clientele).
In fact on walking around on several occasions I clocked sales staff chaperoning worthy types who obviously had the means to buy what was on display. Anyway, reading the room plan I had been given, I start wondering around in search of inspiration as to what all the fuss is about regards Hirst. This is the first time for me in viewing Hirst’s work in the flesh, so to speak, and according to the review by Waldemar Januszczak in the Sunday Times Culture magazine, I should be having a deep meaningful experience. Does he really mean an orgasm, not sure. But any way’s, as I stroll around the rooms I wonder how honest Waldemar had been, because what ever it was that gripped him was not being translated in the same way to me. Yes, the Cathedral stained glass window style artworks (made of dead butterflies), were eye candy to me (very decorative), and you could see that some of the works had taken time and patience to undertake. But, overall the ideas did not float my boat. In fact in a strange way, the whole show took me back to the 1970s and the surrealist cigarette advertising of that time. Somehow it all came across as designed just like some advertising campaign might have been.
But hang on a minute, this is not a gallery or museum this is an auction house! Yes, Hirst’s beautifully quirky mind has transformed a world of certainty into a world of uncertainty. What do you mean I hear you ask. Well, Hirst the last time I heard is alive and well, in fact (rumour has it), Hirst is the wealthiest living artist walking on this planet. So he’s not dead. But then, you don’t have to be dead to have your art sold at auction. Were is he going with this I hear you shout. ‘Beautiful Inside My Head Forever’ is made up of 223 pieces of new work.
Pass the ginger nuts.
Never before has an artist of Hirst’s standing bypassed the gallery system and gone direct to auction. It just isn’t done. Until now.

The sensible thing to do would be to start at the beginning. But who wants to be sensible all there life. Damien Hirst for one does not. But that’s what I admire about him. Hirst’s art (many would argue) is what makes him different, and perhaps it does. But not for me. For me its his attitude that makes him so interesting, alongside his willingness to challenge the established order. This is why I made the journey to Sotheby’s a few weeks back. To be precise, Tuesday September 9th 2008. This would be the most important excursion into the world of art I would take this year. No. This would be the most important journey of my eight year discovery of what art means to me. Actually, I’d go further. I personally believe this is one of the most important shows the art world has seen in the last one hundred years. And for that reason I had to see Hirst’s work for myself. I had to be there.
My day did not start well. It was raining and for some reason my car alarm was not disarmed when I unlocked the door. I ended up driving to the station with the alarm ringing in my ears. Fortunately I managed to sort things out, buy my ticket and boarded the 9.18 train for London. It was my ears again that took a battering on the train: the variety of ring tones always amazes me, as does peoples unwitting willingness to share far too much information regards there life. Still, I was soon at St. Pancras station ordering a latte, which unfortunately never delivers the quality of my local Italian bakery. For some reason they just cannot make a decent coffee. Anyway, onto the tube and the Victoria line as far as Oxford Circus. There I switched onto the Circle line getting off at Bond Street. Back out in the fresh air and sunshine I consult my map and head off along Oxford Street. Within a short walk I find myself at Sotheby’s entrance. This is a new experience for me and to be honest I have no idea what to expect. Except, inside this building (and free of any charge) I had the opportunity of viewing Hirst’s ‘Beautiful Inside My Head Forever’.

Going to a gallery can be a daunting prospect. You can feel inferior and inadequate about entering that type of building. I remember the same types of emotions many years ago when I first wanted to explore art and what art might mean to me. I eventually overcame those fears, but it did take some time. Although, it did take another person far brighter than myself, to point out that what was inside those grand buildings was something I partly owned. It is incredible but true, I did not really grasp the fact that the art in these public institutions is owned by us all. Even better, these galleries are free to enter and can provide immense enjoyment and enlightenment in discovering what art means to you. I have taken many a Gallery Journey since that time and I will willing share those experiences with you, the reader.
But first, what is Poor Man’s Pollock all about?
Firstly, I wanted to find a home in which I could share my thoughts and ideas regards visual culture, and this site I hope will be the perfect place. Secondly, I realised that my experience of working in the creative sector has given me a wealth of knowledge. That knowledge, I hope, could be helpful to all sorts of individuals wishing to embark on a career in art, or those just wishing to understand more about what art means to them.
Enjoy