Damien Hirst finds support from Charles Thomson and the Stuckists

23 November, 2009
by: Tom Jeffreys

Following a near-universal mauling at the hands of the world's art critics, Damien Hirst has recently found support in an unlikely quarter. After turning his back on the kind of conceptual art that made his name, Hirst unveiled an exhibition of paintings at the Wallace Collection back in October and was savaged by the critics. But now, as Jay Jopling prepares an exhibition of Hirst's work across both White Cube galleries, the artist has received a timely boost courtesy of old enemy Charles Thomson, co-founder of the anti-conceptual art movement known as Stuckism.

In the past, the Stuckists – who champion figurative painting above all other art forms, and are particularly well known for their annual protests against the Turner Prize – have been vehement critics of Hirst. But, with Hirst's switch to painting, all that has changed. The Stuckists now see Hirst as an ally in the fight against the tired conceptual hegemony. According to their own website, "He is not a formal member of the movement, but in art historical terms, Damien Hirst is a Stuckist".

Damien Hirst, 'No Love Lost - Blue Paintings'
Photography by Billie Scheepers © Damien Hirst

This may come as something of a surprise to many, none more so perhaps than myself. Firstly, the paintings are terrible (you can read my review here). And secondly, I was in contact with Charles Thomson back in July about the news of Hirst's new move towards painting. Then, Thomson wrote:

"[Hirst's paintings] will be distinctly inferior to those who have cultivated the use of the medium over many years. It will nevertheless be hoovered up by those who have already committed themselves financially to his reputation... it is not the use of the medium, but the input of consciousness, which is the crucial factor. Hirst does not have this, and, though it is not beyond him, it will not come easily or quickly... The little I have seen of his recent painting indicates something sellable, but not durable. Hirst, to his artistic detriment, is a genius at exploiting the art world by creating fascination. He does this like a seller of junk food who spots when passers-by are hungry and satisfies the need of the moment, rather than providing real sustenance. I expect Hirst's paintings to do the same: they will look as though they are something, namely significant, which in reality they are not."

Well he's certainly changed his tune. But is this about-turn another piece of clever PR from the Stuckists, or are Thomson and Co. helping themselves to one monumental slice of humble pie? Well, it's hard to say. In his exceptionally detailed analysis of Hirst's work, Thomson concludes by arguing that "Hirst's previous conceptual oeuvre stands in contrast to this work as a series of studies for it – literally the concepts which now inform his paintings, where the infinitely more subtle and flexible capability of paint is able to bring his meaning into fruition with a previously unachievable clarity and force of expression".

And here we have the crux. In one fell swoop, Thomson has managed to stick two fingers to the critics (his favourite past-time) and perform a big "I told you so" about the superiority of painting over conceptualism (his second favourite). So, not so much humble pie as having your cake and eating it. Greedy? Maybe, but also extremely clever.

Damien Hirst - No Love Lost is at The Wallace Collection until 24th January 2010.
Damien Hirst - Nothing Matters is at White Cube, Hoxton Square and Mason's Yard from 25th November 2009 to 30th January 2010.

The Stuckist Christmas Sale is at Matisonn Burgin Gallery from 28th November to 5th December 2009.

Read Charles Thomson's full article, 'Damien Hirst the Excellent Painter'.

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