My Melody Sculpture by Tom Sachs at Lever House, M…
My Melody Sculpture by Tom Sachs at Lever House, M…
My Melody Sculpture by Tom Sachs at Lever House, M…
Inscription on the back of the My Melody Sculpture…
Hello Kitty Fountain by Tom Sachs at Lever House,…
Hello Kitty Fountain by Tom Sachs at Lever House,…
Hello Kitty Fountain by Tom Sachs at Lever House,…
Miffy Fountain by Tom Sachs at Lever House, May 20…
Giant Wind-Up Hello Kitty Sculpture by Tom Sachs i…
Giant Wind-Up Hello Kitty Sculpture by Tom Sachs i…
Giant Wind-Up Hello Kitty Sculpture by Tom Sachs i…
Detail of the "K" on the Giant Wind-Up Hello Kitty…
Giant Wind-Up Hello Kitty Sculpture by Tom Sachs a…
Giant Wind-Up Hello Kitty Sculpture by Tom Sachs a…
Detail of Selections from Pied-A-Terre in the Broo…
Selections from Pied-A-Terre in the Brooklyn Museu…
The Dinner Party by Judy Chicago in the Brooklyn M…
The Dinner Party by Judy Chicago in the Brooklyn M…
Detail of The Dinner Party by Judy Chicago in the…
Detail of The Dinner Party by Judy Chicago in the…
Detail of The Dinner Party by Judy Chicago in the…
Detail of The Dinner Party by Judy Chicago in the…
Detail of The Dinner Party by Judy Chicago in the…
Detail of The Dinner Party by Judy Chicago in the…
Detail of The Dinner Party by Judy Chicago in the…
Setting for the Fertile Goddess in the Dinner Part…
Setting for the Primordial Goddess in the Dinner P…
Setting for Ishtar in the Dinner Party by Judy Chi…
Setting for Kali in the Dinner Party by Judy Chica…
Setting for Sophia in the Dinner Party by Judy Chi…
Setting for an Amazon in the Dinner Party by Judy…
"Pandora" Name on a Tile in the Dinner Party by Ju…
Setting for the Snake Goddess in the Dinner Party…
Setting for Hatshepsut in the Dinner Party by Judy…
"Lilith, Deborah, and Eve" Names on Tiles in the D…
Detail of the Plate for Hatshepsut in the Dinner P…
"Nefertiti and Semiramis" Names on Tiles in the Di…
Setting for Judith in the Dinner Party by Judy Chi…
Setting for Sappho in the Dinner Party by Judy Chi…
Setting for Aspasia in the Dinner Party by Judy Ch…
Setting for Hypatia in the Dinner Party by Judy Ch…
Setting for Boadicea in the Dinner Party by Judy C…
Detail of the Plate for Boadicea in the Dinner Par…
Detail of the Tablecloth for Aspasia in the Dinner…
Setting for Marcella in the Dinner Party by Judy C…
Setting for Theodora in the Dinner Party by Judy C…
Detail of the Plate for Theodora in the Dinner Par…
Setting for St. Bridget in the Dinner Party by Jud…
Setting for Hrosvitha in the Dinner Party by Judy…
Setting for Trotula in the Dinner Party by Judy Ch…
Setting for Hildegarde in the Dinner Party by Judy…
Setting for Eleanor of Aquitaine in the Dinner Par…
Detail of the Tablecloth for Eleanor of Aquitaine…
Detail of the Plate for Eleanor of Aquitaine in th…
Detail of the Plate for Hildegarde in the Dinner P…
Setting for Isabella d'Este in the Dinner Party by…
Setting for Petronilla de Meath in the Dinner Part…
Setting for Elizabeth I in the Dinner Party by Jud…
Setting for Christine de Pisan in the Dinner Party…
Detail of the Plate for Isabella d'Este in the Din…
Detail of the Plate for Elizabeth I in the Dinner…
Setting for Anna van Schurman in the Dinner Party…
Setting for Artemisia Gentileschi in the Dinner Pa…
Detail of the Damien Hirst Exhibition at Lever Hou…
Detail of the Damien Hirst Exhibition at Lever Hou…
Detail of the Damien Hirst Exhibition at Lever Hou…
Detail of the Damien Hirst Exhibition at Lever Hou…
Detail of the Damien Hirst Exhibition at Lever Hou…
Detail of the Damien Hirst Exhibition at Lever Hou…
Detail of the Damien Hirst Exhibition at Lever Hou…
Damien Hirst Exhibition at Lever House, February 2…
Damien Hirst Exhibition at Lever House, February 2…
Damien Hirst Exhibition at Lever House, February 2…
Detail of "In God We Trust" Sculpture by Folkert d…
Detail of "In God We Trust" Sculpture by Folkert d…
Detail of "In God We Trust" Sculpture by Folkert d…
Detail of "In God We Trust" Sculpture by Folkert d…
Detail of "In God We Trust" Sculpture by Folkert d…
Detail of "In God We Trust" Sculpture by Folkert d…
Detail of "In God We Trust" Sculpture by Folkert d…
Detail of "In God We Trust" Sculpture by Folkert d…
Detail of "In God We Trust" Sculpture by Folkert d…
Detail of "In God We Trust" Sculpture by Folkert d…
"In God We Trust" Sculpture by Folkert de Jong at…
"In God We Trust": Giant Chewbacca Pez Dispenser S…
"In God We Trust": Giant Star Wars Pez Dispenser S…
Bride Fight by E.V. Day, Aug. 2006
Bride Fight by E.V. Day, Aug. 2006
Bride Fight by E.V. Day, Aug. 2006
Bride Fight by E.V. Day, Aug. 2006
Bride Fight by E.V. Day, Aug. 2006
Bride Fight by E.V. Day, Aug. 2006
Foot of the Virgin Mother by Damien Hirst, Aug. 20…
Detail of The Virgin Mother by Damien Hirst at Lev…
The Virgin Mother by Damien Hirst, Aug. 2006
The Virgin Mother by Damien Hirst, Aug. 2006
The Virgin Mother by Damien Hirst at Lever House,…
The Virgin Mother by Damien Hirst, Aug. 2006
The Virgin Mother by Damien Hirst, Aug. 2006
The Virgin Mother by Damien Hirst at Lever House,…
The Virgin Mother by Damien Hirst, Aug. 2006
The Virgin Mother by Damien Hirst at Lever House,…
The Virgin Mother by Damien Hirst, Aug. 2006
The Virgin Mother by Damien Hirst, Aug. 2006
Detail of Venus by Botero in the Boston Museum of…
Venus by Botero in the Boston Museum of Fine Arts,…
Detail of Susie by Lucian Freud in the Boston Muse…
Detail of Nanny and Rose by Scott Prior in the Bos…
Detail of Nanny and Rose by Scott Prior in the Bos…
Nanny and Rose by Scott Prior in the Boston Museum…
Niels by Sean Scully in the Phillips Collection, J…
The Sun and the Moon by Elizabeth Murray in the Ph…
Babel Blocks in the Museum of Modern Art, December…
Epidermits Interactive Pet in the Museum of Modern…
Succulent Eggplants by Milhazes in the Museum of M…
Untitled #216 by Cindy Sherman in the Museum of Mo…
Detail of Mao by Polke at the Museum of Modern Art…
War is No Nice by Kippenberger in the Museum of Mo…
Mao by Polke at the Museum of Modern Art, July 200…
Detail of Places with No Street by Mario Merz in t…
Detail of Places with No Street by Mario Merz in t…
Places with No Street by Mario Merz in the Museum…
Places with No Street by Mario Merz in the Museum…
Places with No Street by Mario Merz in the Museum…
Detail of Bookworms Harvest by Robert Rauschenberg…
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Detail of the Damien Hirst Exhibition at Lever House, February 2008
School: The Archaeology of Lost Desires, Comprehending Infinity, and the Search for Knowledge
by Damien Hirst
Lever House
E. 54th St. & Park Avenue
New York, NY
Damien Hirst and Lever House: In New York, a $10 million 'School'
By Carol Vogel
Published: November 12, 2007
NEW YORK: Never mind that the world financial markets are in turmoil, or that Sotheby's had a very rocky auction night last Wednesday. A rich artist and his developer patron proved this weekend that excess endures.
Saturday night, when the shrouding was removed from Lever House's lobby in midtown Manhattan, viewers confronted a veritable Noah's Ark of roadkill - 30 dead sheep, one dead shark, two sides of beef, 300 sausages, a pair of doves - that the British artist Damien Hirst describes as his most mature piece.
The installation, on view through Feb. 16, was commissioned by the real estate developer Aby Rosen, who owns Lever House, the Seagram Building and the Gramercy Park Hotel, and by Alberto Mugrabi, a Manhattan dealer. Rosen also happens to be one of the leading U.S. collectors of contemporary art. The two have jointly purchased Hirst's installation, titled "School: The Archaeology of Lost Desires, Comprehending Infinity, and the Search for Knowledge," for $10 million for the Lever House Art Collection.
In 2005, the developer asked the artist if he might be willing to create a work of art for Lever House's all-glass lobby, which has been a frequent site of temporary art installations. For Rosen, such commissions are a way of calling attention to the landmark building at Park Avenue and 54th Street, which his company, RFR Holding, bought in 1998.
"It's a great way to make the building more visible by showing great art," he said, adding that he enjoys seeing how different artists relate to the space.
One afternoon last week, as he supervised crew members unwrapping the frozen sides of beef, Hirst said, "The sketch took 10 minutes, but it has taken two years to make this."
Purposely provocative and often disturbing, the artist is perhaps best known for "The Physical Impossibility of Death in the Mind of Someone Living," a shark submerged in a tank of formaldehyde that is on loan to the Metropolitan Museum of Art.
Last summer, Hirst exhibited a $100 million human skull cast in platinum and covered with 8,601 diamonds that attracted thousands to the London gallery White Cube, where it was installed in an all-black room.
Both works seem modest by comparison with his latest stunt. Lining the entire lobby will be some 15 medicine cabinets (a past theme for Hirst) filled with thousands of empty boxes and bottles with labels for antidepressants, cough medicine and other drugs. The 30 sheep are lined up in row after row of formaldehyde-filled tanks, evoking docile schoolchildren in a classroom.
Submerged in a giant tank 12 feet, or 3.7 meters, tall are two sides of beef, a chair, a chain of sausages, an umbrella and a birdcage with a dead dove.
Hirst describes it as an homage to Francis Bacon's 1946 "Painting" at the Museum of Modern Art, which depicts cow carcasses suspended in a crucifix shape. Hirst said the installation - which cost $1 million to assemble - is in fact a nod to a host of modern artists. "We've got everybody in here," he said. There is Dan Flavin (the strips of fluorescent lighting); Warhol (the notion of repetition, as in the rows of dead sheep); Joseph Cornell (the boxes encasing the dead animals); Jannis Kounellis, who uses live birds in his work; and René Magritte, who painted an egg in a birdcage.
All the components, including the 500-plus gallons of formaldehyde, were flown in from England. Hirst said he bought the sheep from a butcher and the shark from a supplier, both of them in Cornwall. "We didn't kill anything - everything was destined for food," Hirst said.
Despite the over-the-top decadence of Hirst's work, he revels in details. He designed a red stencil that he used randomly to stamp the sheep as though they were branded. The chair subm
by Damien Hirst
Lever House
E. 54th St. & Park Avenue
New York, NY
Damien Hirst and Lever House: In New York, a $10 million 'School'
By Carol Vogel
Published: November 12, 2007
NEW YORK: Never mind that the world financial markets are in turmoil, or that Sotheby's had a very rocky auction night last Wednesday. A rich artist and his developer patron proved this weekend that excess endures.
Saturday night, when the shrouding was removed from Lever House's lobby in midtown Manhattan, viewers confronted a veritable Noah's Ark of roadkill - 30 dead sheep, one dead shark, two sides of beef, 300 sausages, a pair of doves - that the British artist Damien Hirst describes as his most mature piece.
The installation, on view through Feb. 16, was commissioned by the real estate developer Aby Rosen, who owns Lever House, the Seagram Building and the Gramercy Park Hotel, and by Alberto Mugrabi, a Manhattan dealer. Rosen also happens to be one of the leading U.S. collectors of contemporary art. The two have jointly purchased Hirst's installation, titled "School: The Archaeology of Lost Desires, Comprehending Infinity, and the Search for Knowledge," for $10 million for the Lever House Art Collection.
In 2005, the developer asked the artist if he might be willing to create a work of art for Lever House's all-glass lobby, which has been a frequent site of temporary art installations. For Rosen, such commissions are a way of calling attention to the landmark building at Park Avenue and 54th Street, which his company, RFR Holding, bought in 1998.
"It's a great way to make the building more visible by showing great art," he said, adding that he enjoys seeing how different artists relate to the space.
One afternoon last week, as he supervised crew members unwrapping the frozen sides of beef, Hirst said, "The sketch took 10 minutes, but it has taken two years to make this."
Purposely provocative and often disturbing, the artist is perhaps best known for "The Physical Impossibility of Death in the Mind of Someone Living," a shark submerged in a tank of formaldehyde that is on loan to the Metropolitan Museum of Art.
Last summer, Hirst exhibited a $100 million human skull cast in platinum and covered with 8,601 diamonds that attracted thousands to the London gallery White Cube, where it was installed in an all-black room.
Both works seem modest by comparison with his latest stunt. Lining the entire lobby will be some 15 medicine cabinets (a past theme for Hirst) filled with thousands of empty boxes and bottles with labels for antidepressants, cough medicine and other drugs. The 30 sheep are lined up in row after row of formaldehyde-filled tanks, evoking docile schoolchildren in a classroom.
Submerged in a giant tank 12 feet, or 3.7 meters, tall are two sides of beef, a chair, a chain of sausages, an umbrella and a birdcage with a dead dove.
Hirst describes it as an homage to Francis Bacon's 1946 "Painting" at the Museum of Modern Art, which depicts cow carcasses suspended in a crucifix shape. Hirst said the installation - which cost $1 million to assemble - is in fact a nod to a host of modern artists. "We've got everybody in here," he said. There is Dan Flavin (the strips of fluorescent lighting); Warhol (the notion of repetition, as in the rows of dead sheep); Joseph Cornell (the boxes encasing the dead animals); Jannis Kounellis, who uses live birds in his work; and René Magritte, who painted an egg in a birdcage.
All the components, including the 500-plus gallons of formaldehyde, were flown in from England. Hirst said he bought the sheep from a butcher and the shark from a supplier, both of them in Cornwall. "We didn't kill anything - everything was destined for food," Hirst said.
Despite the over-the-top decadence of Hirst's work, he revels in details. He designed a red stencil that he used randomly to stamp the sheep as though they were branded. The chair subm
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