PROPOSAL FOR
REDISCOVERED TRANSFORMATION
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REDISCOVERED TRA ABOUT THE MEETING CONCEPTUAL, THE GREY FROM THE CO HIGHLIGHTING OF C THE DATED.
IT IS ABOUT BREAK IT IS ABOUT YOU.
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ANSFORMATION IS G OF ART AND THE REALIGNMENT OF ONVENTIONAL, THE CONTEMPORARY FROM
KING BOUNDARIES.
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“... a form of denying the possibility of defining art.” - Marcel Duchamp
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PROBLEM STATEMENT The Dada period presents a series of readymades - ordinary manufactured objects that are modified and termed as art. What is art and why are readymades considered a work of art? Even Marcel Duchamp, a strong advocate and contributor of readymades in the Dada period, spoke of readymades as “a form of denying the possibility of defining art.” (Cabanne, 2013)
In the twenty-first century, the difficulty to define art in readymades makes them a questionable form of art (Jones, 2013). While Daderko (2012) argues that “readymades unites material concerns with the invisible function of thought” , Kuspit (2012) counters that readymades are merely “experiments in art”. There is thus a need to redefine the meaning of art in readymades in today’s context.
It is undeniable, however, that ready-mades has built the foundations for various art forms like assemblage and conceptual art. Marcel Duchamp, for example, influenced many with his readymade concepts. Although widely regarded for decades as an insult to art, his ready-made concepts were “adapted by such later artists as Robert Rauschenberg, Andy Warhol, and Jasper Johns.” (Encyclopaedia Britannica, 2013).
Rediscovered Transformation explores the world of readymades, assemblage and conceptual art and seeks to push the audience to arrive at their individual conclusions of their definition of art in readymades. The exhibition also aims to present readymades from different time periods to provide a holistic view of readymades.
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MISSION To question the role of art in readymades and found objects, and put audience in a position to arrive at their individual conclusions of their definition of art in readymades and found objects.
VISION To increase awareness in the general public about the role of found objects, while empowering current and future artist to use found objects in their art.
“ap con art imm ski is int
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ppreciation of ntemporary conceptual t. . . depends not on mediately recognizable ill, but on how the work situated in today’s tellectual zeitgeist.”
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CONTEXT With the rise of conceptual art in the twenty-first century, the communication between artist and its audience becomes strained due to controversial art pieces. In 2002, Ivan Massow, the Chairman of the Institute of Contemporary Arts branded conceptual art “pretentious, self-indulgent [and] craftless” (Wikipedians, 2013). The genre of conceptual art might also push viewers away because of its foreign concepts. Dutton illustrates in his thesis and stated that “appreciation of contemporary conceptual art. . . depends not on immediately recognizable skill, but on how the work is situated in today’s intellectual zeitgeist.” (Dutton, 2009). In his thesis, Dutton is implying that art has become a game for insiders with no connection to popular values of art. He thus states that art is becoming a more foreign concept to viewers than it was before. Because of the rise of conceptual art and the presence of such controversies, Singaporean artists and the general public need to be educated about the relevance of conceptual art in the twenty-first century. It is thus of paramount importance to draw people back to art by exploring found objects and ready-mades. Through studying these objects, a more holistic idea of conceptual art will be built and help viewers to appreciate conceptual art in a more relevant fashion. Because of the rise of conceptual art and the presence of such controversies, Singaporean artists and the general public need to be educated about the relevance of conceptual art in the twenty-first century. It is thus of paramount importance to draw people back to art by exploring found objects and ready-mades. Through studying these objects, a more holistic idea of conceptual art will be built and help viewers to appreciate conceptual art in a more relevant fashion.
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COMMUNICATIVE OBJECIVE Through four mediums (text, workshops and seminars, and video), these objectives will be communicated: 1. Create an awareness in the general public about the presence of found objects. Through a series of work shops and seminars, it will help educate people about readymades and found objects. A documentary video with interviews from experts will be created prior to the exhibition where the topic of art in readymades will be explored. 2. 3.
Facilitate the audience to arrive at their personal conclusion of art in readymade objects. This will be achieved through various mediums, especially in debates. They will be held in every seminar where participants will fight their prepositions to whether found objects is considered a work of art. Inspire and raise a new/existing generation of artists that use found objects to create their artworks.
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Enter into the world of immerse yourself into h role of conceptual art From the Dada period of the contemporary Damien at how readymades and f debatable topic in the
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f conceptual art and healthy debates of the t in today’s context. f Marcel Duchamp to n Hirst, we will look found objects remain a sphere of art.
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TYPES OF WORKS FOUND OBJECTS Found objects are everyday object selected and designated as art. The name was coined by Marcel Duchamp, whose first ready-mades included a snow shovel that he picked up on a snowy day in New York, and a wheel mounted on a stool (1913). They represented a protest against the excessive importance attached to works of art. Duchamp’s anti-aesthetic gestures made him one of the leading Dadaists of his day, and his ready-made concept, though widely regarded for decades as an insult to art, was adapted by such later artists as Robert Rauschenberg, Andy Warhol, and Jasper Johns.
ASSEMBLAGE Assemblage is a form of threedimensional sculpture comprised of found objects arranged in such a way that they create a piece. These objects can be anything organic or man-made. Scraps of wood, stones, old shoes or baked bean cans all qualify for inclusion in an assemblage. Whatever catches the artist’s eye, and fits properly in the composition to make a unified whole, is considered an assemblage.
CONCEPTUAL ART Conceptual art, sometimes simply called Conceptualism, is art in which the concepts or ideas involved in the work take precedence over traditional aesthetic and material concerns. Many of works of conceptual art, sometimes called installations, may be constructed by anyone simply by following a set of written instructions.
LEGEND FOUND OBJECTS
ASSEMBLAGE
CONCEPTUAL
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Marcel Duchamp, Fountain, Philadelphia Museum of Art
1950,
porcelain
urinal.
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Fountain is a controversial artwork by Marcel Duchamp during the Dada Movement. It was submitted for the exhibition of the Society of Independence Artist in 1917. Due to the usage of a porcelain urinal, the committee of the exhibition rejected the artwork. However, art historians and theorists regarded this piece of work as avant-garde due to the meaning behind creating this piece.
002>>
Marcel Duchamp, Box in a Valise, 1935-41, collotype. Philadelphia Museum of Art
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Box in a Valise is an artwork by Marcel Duchamp. It represents a portable museum that would allow him to carry around his life’s work in a traveling box. Duchamp’s most significant works are cleverly arranged inside each box. There are many arguments to Duchamp’s motivation for this artwork. One hypothesis is that Duchamp was humorously commenting on his meager artistic output. Another is that Duchamp was making a self-deprecating joke. This allowed Duchamp to proudly claim that his oeuvre was so small that he could fit it in a small suitcase.
003>>
Man Ray, Man and Woman, 1920, silver salt print mounted on board, Musee National d’Art Moderne, Centre Georges Pompidou, Paris: AM 1973-23
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Man and Woman is an artwork by Man Ray. This piece created gender confusion because of the tilting of different versions of his photograph of an eggbeater. Sometimes dismissed as an error, the second title, Woman, encourages the pendulous form flanked by two rounded elements to be read as once phallic and female.
004>>
Man Ray, Indestructible Object, 1965, replica of 192332 original, wood, fiber, metal, and paper on cardboard. Smithsonian American Art Museum: Gift of Samuel M. Greenbaum and Helen Mark families in memory of Helen Mark Greenbaum.
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The work consists of two elements - one element is a metronome, the other element is a small cutout of a black-andwhite photograph of a woman’s eye. The piece was originally intended as a silent witness in his studio to watch him paint.
005>>
Leo Malet, This Movement Should Be Repeated Ten Times, 1936, wood, mirror, and magazine illustration. Private collection, Paris.
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This Movement Should be Repeated Ten Times is a T-shaped construction that supports a photograph of a woman’s face and a mirror attached by a hinged pendulum. The swinging mirror bisects the face perpendicularly so that the woman’s eye is cut in half. The resulting symmetrical abstraction suggests female genitalia. When viewers pivot the mirror back and forth ten times, as directed by the title, they simulate a sexual act.
006>>
Salvador Dali, Scatogical Object Functioning Symbolically, 1931, reconstructed mixed media, Salvador Dali Museum, St. Petersburg, Florida.
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Sctogical Object Functioning Symbolically consists of a woman’s shoe, in which a glass of lukewarm milk has been placed, in the middle of a ductile plastic that is excremental in color. The mechanism dips the sugar cube painted with the image of a shoe, so as to observe the disintegration of the sugar cube and, as a consequence, the image of the shoe in the milk. Several accessories (pubic hairs stuck to a sugar cube, small erotic photo) complete the object which is accompanied by a spare box of sugar and a special spoon for stirring the grains of lead inside the shoe.
007>>
Joseph Cornell, Cabinet of Natural History: Object, 1934, 1936-40, box construction with photographs on paperboard, Private collection,Š The Joseph and Robert Cornell Memorial Foundation/Licensed by VAGA, New York, photograph George R. Staley.
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Cabinet of Natural History: Object is said to reflectthe Victorian era’s absorption in things, from the common to the exotic. The Cabinet also harks back to the Victorian use of shadow boxes as show pieces. Rather than the precious minutiae of life, however, Cornell fills his cabinet with his own most precious possessions—the scientists and artists filling and firing his imagination.
008>>
Hans Bellmer, Ball Joint, 1936, assemblage. Private collection.
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Ball Joint is an almost lifesized figure of a young girl. It was recreated in a variety of forms. This version makes the element of sexual fantasy explicit by reducing her to two sets of hips. It also derives from Bellmer’s desire to maximise the articulation of this substitute body/object through the use of ball joints.
009>>
Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, tiger shark, glass, steel.
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The Physical Impossibility of Death in the Mind of Someone Living is an artwork created in 1991 by Damien Hirst. It consists of a tiger shark preserved in formaldehyde in a vitrine. The piece seeks to explore the conceptualization of death.
010>>
Damien Hirst, Let’s Eat Outdoors Today, 1991, Glass, steel, silicone rubber, cow’s head, flies, maggots, sugar, water, InsectO-Cutor, table and chairs, tableware, condiments and food
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‘Let’s Eat Outdoors Today’ was made around the same time as Hirst’s other seminal fly works, ‘A Hundred Years’ (1990) and ‘A Thousand Years’ (1990). The vitrine is split equally. One half contains a steel barbecue covered in raw meat; underneath the barbecue, trays of maggots are inserted where the coals should be. The hatched flies pass through a four inch circular hole, so that the vitrine is reminiscent of the face of a die, in the glass between the two halves. In the other half the abandoned remnants of a typical family’s outdoor meal is presented, a cow’s head lies beneath the table. An Insect-O-Cutor is positioned above the table, it’s tray removed so that the dead flies fall into the food. Hirst describes the work as an exploration into human attempts at “trying to isolate the horror from our lives and remove it.
011>>
Damien Hirst, Mother and Child (Divided), 1993, Glass, painted steel, silicone, acrylic, monofilament, stainless steel, cow, calf and formaldehyde solution.
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Mother and Child (Divided) is a work by Damien Hirst where a cow and a calf were bisected and preserved in four tanks of formaldehyde. The cows are removed from nature, both through their unorthodox presence within a gallery setting, and by death. The artist explains, “In a way, you understand more about living people by dealing with dead people. It’s sad but you feel more ... my cows cut up in formaldehyde have more personality than any cows walking about in fields.”
012>>
Tracey Emin RA, Everyone I Have Ever Slept With 1963–1995, Appliquéd tent, mattress and light 122 x 245 x 214 cm
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Everyone I Have Ever Slept With 1963–1995 was an artwork created by Tracey Emin RA. The work was a tent with everyone she had ever slept with, but not necessarily in the sexual sense.
013>>
Tracey Emin, My Bed 1998 Mattress, linens, pillows and objects 79 x 211 x 234 cm 31 x 83 x 92�
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My Bed is a work by the British artist Tracey Emin. It consisted of her bed with bedroom objects in an abject state, and gained much media attention. The artwork generated considerable media furore, particularly over the fact that the bedsheets were stained with bodily secretions and the floor had items from the artist’s room (such as condoms, a pair of knickers with menstrual period stains, other detritus, and functional, everyday objects, including a pair of slippers). The bed was presented in the state that Emin claimed it had been when she said she had not got up from it for several days due to suicidal depression brought on by relationship difficulties.
014>>
Tracey Emin, The Perfect Place to Grow 2001, Wooden birdhouse with metal roof, wooden steps, wooden trestle, plastic watering can, plants and film, Super 8, shown as 2590 x 2950 x 2000 mm
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This work pays homage to the artist’s Turkish Cypriot father who, she says, is a fantastic gardener but a terrible carpenter. It consists of a wooden birdhouse-like structure on wooden stilts. The little wooden chamber has a sloping corrugated iron roof and an old wooden stepladder attached to the side which the viewer is invited to ascend in order to look through a small peephole. Inside the birdhouse a short video loop plays (originally shot on super-8 but transferred to DVD). It features Emin’s father walking back and forth through vegetation in a bright, hot sun. Wearing a pair of blue bathing trunks and a cloth sun-hat, he pushes through the fronds of tall, swaying, reedlike plants. He approaches the camera carrying a pink dahlia in one hand, which he extends towards the viewer. After smiling and blowing a kiss, he turns and walks away, his brown back disappearing into the foliage. The same footage repeats with a red flower held in the other hand. The sound of cicadas chirruping loudly in the heat accompanies the visual drama. On the floor beside the hut on stilts is a single wooden trestle, constructed by Emin’s father, surrounded by flowering plants in pots such as geraniums, clematis and lilies and a green plastic watering can. The artist has stipulated that this should be full of water because she likes the idea that she could come into the gallery and water the plants herself.
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NATIONAL MUSEUM OF SINGAPORE With a history dating back to its inception in 1887, the National Museum of Singapore is the nation’s oldest museum with a progressive mind. It is custodian of 10 National Treasures, and its Singapore History and Living Galleries adopt cuttingedge and varied ways of presenting history and culture to redefine conventional museum experience. A cultural and architectural landmark in Singapore, the Museum hosts innovative festivals and events all year round – the dynamic Night Festival, visually arresting art installations, as well as amazing performances and film screenings – in addition to presenting thought-provoking exhibitions involving critically important collections of artefacts. The programming is supported by a wide range of facilities and services including F&B, retail and a Resource Centre. The National Museum of Singapore also emphasizes on education and outreach initiatives. This is crucial for this exhibition because of the medium of using seminars and lectures to further push the debate of found objects and art. With the rich network with education institutions the museum has, Rediscovered Transformation can be easily publicized and supported by schools.
REASONS FOR MUSEUM CHOICE 1. The National Museum of Singapore has large galleries and have the capacity to hold very large galleries with international works. One such example is the Princely Treasures from the House of Liechtenstein which featured over 90 pieces of artworks collected over 500 years. This capacity to handle delicate artworks is important for the proposed exhibition because of the nature of the artworks. 2. The National Museum of Singapore also holds lecture seminars programs in conjunction with Singapore Arts Museum. This could help in fulfilling one of the objectives in communication which is through debate and lectures/seminars. 3. The museum is also located at the heart of Singapore, which makes it accessible to the public. Festivals like the Night Festival was also held in the museum, displaying its contemporaneity and appeal to the general public.
SALON ROOM
The Salon room is an appropriate choice of space in the National Museum of Singapore because of it’s ample space that allows housing of up to 120 person at one time. The open space also allows versatility of set up in the exhibition.
FLOOR PLANS
Level 1, National Museum of Singapore
The Salon, National Museum of Singapore
ACTUAL LAYOUT
1.
Marcel Duchamp, Fountain, 1950, porcelain urinal. Philadelphia Museum of Art
2.
Marcel Duchamp, Box in a Valise, 1935-41, collotype. Philadelphia Museum of Art
3.
Man Ray, Woman, 1920, silver salt print mounted on board, Musee National d’Art Moderne, Centre Georges Pompidou, Paris: AM 1973-23
4.
Leo Malet, This Movement Should Be Repeated Ten Times, 1936, wood, mirror, and magazine illustration. Private collection, Paris.
5.
Man Ray, Indestructible Object, 1965, replica of 1923-32 original, wood, fiber, metal, and paper on cardboard. Smithsonian American Art Museum: Gift of Samuel M. Greenbaum and Helen Mark families in memory of Helen Mark Greenbaum.
6.
Salvador Dali, Scatogical Object Functioning Symbolically, 1931, reconstructed mixed media, Salvador Dali Museum, St. Petersburg, Florida.
7.
Joseph Cornell, Trade Winds No.2, c. 1956-58, mixed media box construction, The Robert Lehrman Art Trust, Washington D.C
8. Hans Bellmer, Ball Joint, 1936, assemblage. Private collection. 9.
Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, tiger shark, glass
10.
Damien Hirst, Out of Sight. Out of Mind., 1991, Glass, painted steel, silicone, cows’ heads and formaldehyde
11.
Damien Hirst, Mother and Child (Divided), 1993, Glass, painted steel, silicone, acrylic, monofilament, stainless steel, cow, calf and formaldehyde solution.
12.
Tracey Emin RA, Everyone I Have Ever Slept With 1963– 1995, Appliquéd tent, mattress 122 x 245 x 214 cm
13.
Tracey Emin, Sleep 1996, Monoprint and stitched label on cotton pillowcase 50 x 73 cm
14.
Tracey Emin, The Perfect Place to Grow 2001, Wooden birdhouse with metal roof, wooden steps, wooden trestle, plastic watering can, plants and film, Super 8, shown as 2590 x 2950 x 2000 mm
TARGET AUDIENCE The main audience would be people who have studied about art and are interested to understand the role of art in the 21st century. The secondary audience would be people who are interested to view internationally acclaimed artworks from artists like Marcel Duchamp and Damien Hirst. Based on this demographics, the audience will most probably be interested in having an exhibition that provides information that facilitates in their judgement to whether an artwork is considered a work of art. This can be achieved through a universal application of a serious and corporate tone throughout the exhibition. In order to measure the success in meeting the objectives of the exhibition, one can gauge by the audience’s ability to arrive at their personal conclusion to whether found objects are considered a work of art at the end of the exhibition.
DELIVERABLES The exhibition should give an imagery of minimalism, while portraying an objective mindset. This minimalism will help to allow the artworks to stand out more and create an atmosphere suitable for the viewers to appreciate the artworks and formulate their personal beliefs. The overall design should look clean and flat, yet have a bold brand color that highlights information or images in application. The reason for having a clean and flat look is to retain the objectiveness of the viewers when they consider if the artworks are pieces of art. The usage of a color to highlight information brings the viewers back to the main objective of having to make a stand at the end of the exhibition.
BRANDING
LOGO:
REDISCOVERED TRANSFORMATION
+ Merging
Grey area of found objects/ assemblage/conceptual art
Highlighting an artwork
REDISCOVERED TRANSFORMATION IS ABOUT THE MEETING OF ART AND THE CONCEPTUAL, THE REALIGNMENT OF GREY FROM THE CONVENTIONAL, THE HIGHLIGHTING OF CONTEMPORARY FROM THE DATED. IT IS ABOUT BREAKING BOUNDARIES. IT IS ABOUT YOU.
BRANDING
REDISCOVERED TRANSFORMATION
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BUDGETTING Consultants Curator (5 months) $12500 Editor (5 months) $10000 Graphic Designer (4 months) $8000 Exhibit Designer (3 months) $6000 Photographer (1 month) $2000
Pre and Post Exhibit Transit Conservation Art Conservation $10,000 Equipment Maintenance $8000 Insurance In transit $80,000 On premise $60,000 Venue Singapore Arts Museum
$100,000
Artworks Lease of Artworks $200,000 Exhibit Supplies Display stands $800 Text panels $200 Labels $80 Free standing walls $1000
Printing/Publication Poster $3000 Brochure $5000 Invitation $1000 Advertising/Promotion Press kit $1000 Newspaper advertisement $15,000 Television advertising $20,000 Radio advertising $10,000
Total: $636,380
SCHEDULE Pre-Show Strategy and Supporting Tactics December 2014 – March 2014 January 2014 - March 2014 February 2014 – July 2014
Corporate branding/awareness Media and press interaction Hire staff
Initiation 1 – 7 December 2014 1 – 7 December 2014 1 – 7 December 2014
Setting up exhibition management Allocation of roles Planning of budget
Planning 7 – 31 December 2014 7 – 31 December 2014 7 – 31 December 2014
Planning of exhibition content Planning of marketing strategy Finalizing artwork selection
Administration January January January March -
– March 2014 Application for loan of artwork – February 2014 Application for rental of museum room – February 2014 Logistic arrangement for shipment April 2014 Set up exhibition
Creative January – April 2014 January – April 2014
Designing of marketing collaterals Conceptualization of marketing campaigns
Marketing and Public Relations January – March 2014 January – July 2015 January – July 2015
Collaboration with government agencies Booking of advertising spots Social media marketing
Promotion March – July 2014 April - May 2014
Invitation & publicity Press releases
Shipping January – February 2014 Shipping of artworks to Singapore
Tear-down March – April 2015 March – June 2015
Complete tear down Ship artworks back
BIBLOGRAPHY Cabanne. Dialogs with Marcel Duchamp. 1971. Print. Jones, Jonathan. “Is Ready-Made Art More Powerful Than Painting?” 2013. Daderko, Dean. It Is What It Is It. Or Is It? Print. 2012 Kuspit, Donald. “A Critical History of 20th- Century Art.” 2012 Wikipedians. The Arts. Print 2013. Davis, Ben. “In Defense of Concepts.” Dutton, Dennis. “Has Conceptual Art Jumped the Shark Tank?”
2009.
Damien Hirst cited in ‘An Interview with Damien Hirst’,Stuart Morgan, ‘No Sense of Absolute Corruption’ (Gagosian Gallery, 1996),18-19. Damien Hirst cited in Damien Hirst and Gordon Burn, ‘On The Way to Work’, (Faber and Faber, 2001) 228. Damien Hirst, ‘I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now’ (Booth-Clibborn Editions; Reduced edition, 2005), 299; Damien Hirst cited in ‘Like People, Like Flies: Damien Hirst Interviewed’, Mirta D’Argenzio, ‘The Agony and the Ecstasy: Selected Works from 1989–2004’ (Electa Napoli, 2004),145. Damien Hirst, ‘The Agony and the Ecstasy’ 145. Encyclopaedia Britannica, (2013). “ready-mades”. Retrieved, 6th November 2013 from http://global.britannica.com/EBchecked/topic/551322/social-mobility