"In 2005, Černý created Shark, an image of Saddam Hussein in a tank of formaldehyde. The work was presented at the Prague Biennale 2 that same year. The work is a direct parody of a 1991 work by Damien Hirst, ""The Physical Impossibility of Death in the Mind of Someone Living"". In 2006, the work was banned in Middelkerke, Belgium, in Bielsko-Biała, Poland, and also in the German town of Büdelsdorf. With respect to the Belgian situation, the mayor of that town, Michel Landuyt, admitted that he was worried that the exhibit could ""shock people, including Muslims"" in a year"
"of artworks in which dead animals (including a shark, a sheep and a cow) are preserved—sometimes having been dissected—in formaldehyde. The best-known of these was ""The Physical Impossibility of Death in the Mind of Someone Living"", a tiger shark immersed in formaldehyde in a clear display case. He has also made ""spin paintings"", created on a spinning circular surface, and ""spot paintings"", which are rows of randomly coloured circles created by his assistants. In September 2008, Hirst made an unprecedented move for a living artist by selling a complete show, Beautiful Inside My Head Forever, at Sotheby's by auction and"
"in 2004 to Steven A. Cohen for an estimated $8 million. Its technical specifications are: ""Tiger shark, glass, steel, 5% formaldehyde solution, 213 × 518 × 213 cm."" ""The New York Times"" in 2007 gave the following description of the artwork: Mr. Hirst often aims to fry the mind (and misses more than he hits), but he does so by setting up direct, often visceral experiences, of which the shark remains the most outstanding. In keeping with the piece's title, the shark is simultaneously life and death incarnate in a way you don't quite grasp until you see it, suspended"
"shark, sold at Hirst's Sotheby's auction, ""Beautiful Inside My Head Forever"", for £9.6 million (more than £3 million above its estimate). Hirst has made a miniature version of ""The Physical Impossibility of Death in the Mind of Someone Living"" for the Miniature Museum in the Netherlands. In this case he put a guppy in a box (10 × 3.5 × 5 centimetres) filled with formaldehyde. In 2003, under the title ""A Dead Shark Isn't Art"", the Stuckism International Gallery exhibited a shark which had first been put on public display two years before Hirst's by Eddie Saunders in his Shoreditch"
"retrospective, which included the exhibition of his refurbished piece, ""The Physical Impossibility of Death in the Mind of Someone Living"", a shark in a tank of formaldehyde. On the same day as the Saatchi opening, the Stuckism International Gallery in Shoreditch—under the title ""A Dead Shark Isn't Art""— exhibited another dead shark, which had first been put on public display in 1989 (two years before Hirst's was first shown) by Eddie Saunders in his Shoreditch shop, JD Electrical Supplies. The Stuckists suggested Hirst may have seen this at the time and copied it, and pointed out that whether Hirst plagiarised"
"Greek ship, with pieces that range from Ancient Egyptian-alike items to Disney character reproductions, encrusted with shells and corals. Some of Hirst's principal works are as follows. This artwork features a large tiger shark suspended in formaldehyde. The tank in which the shark is floating creates the illusion of the animal being cut into three pieces due to the container looking like three separate sections. The work was created in 1991, and since then, the formaldehyde preserving the shark has slowly eaten away at the animal's body, which shows signs of decay. Hirst says that the formaldehyde surrounding the shark"
"The Curious Economics of Contemporary Art"", suggests a higher figure. Owing to deterioration of the original tiger shark, it was replaced with a new specimen in 2006. It was on loan to the Metropolitan Museum of Art in New York City from 2007 to 2010. It is considered the iconic work of British art in the 1990s, and has become a symbol of Britart worldwide. The work was funded by Charles Saatchi, who in 1991 had offered to pay for whatever artwork Hirst wanted to create. The shark itself cost Hirst £6,000 and the total cost of the work was"
"(London) shop, JD Electrical Supplies. The Stuckists suggested that Hirst may have got the idea for his work from Saunders' shop display. In a speech at the Royal Academy in 2004, art critic Robert Hughes used ""The Physical Impossibility of Death in the Mind of Someone Living"" as a prime example of how the international art market at the time was a ""cultural obscenity"". Without naming the artwork or the artist, he stated that brush marks in the lace collar of a painting by Velázquez could be more radical than a shark ""murkily disintegrating in its tank on the other"
"shark in formaldehyde ""the world's most over-rated marine organism"" and attacked the artist for ""functioning like a commercial brand"", making the case that Hirst and his work proved that financial value was now the only meaning that remained for art. Hirst's 2009 show, ""No Love Lost"", of paintings by his own hand, at the Wallace Collection in London, received ""one of the most unanimously negative responses to any exhibition in living memory"". Tom Lubbock of ""The Independent"" called Hirst's work derivative, weak and boring: ""Hirst, as a painter, is at about the level of a not-very-promising, first-year art student."" Rachel"
"of Myra Hindley and the Virgin Mary. It was criticised by New York City mayor Rudolph Giuliani and others for attempting to boost the value of the work by showing it in institutions and public museums. The artworks in ""Sensation"" were from the collection of Charles Saatchi, a leading collector, advertising mogul and publiciser of contemporary art. Norman Rosenthal, the Royal Academy of Arts exhibitions secretary, helped to stage the 110 works by 42 different artists. Many of the pieces had already become famous, or notorious, with the British public (for example, Damien Hirst's shark suspended in formaldehyde titled ""The"
"philosophical question was acknowledged by Hirst, as to whether the replacement shark meant that the result could still be considered the same artwork. He observed: It's a big dilemma. Artists and conservators have different opinions about what's important: the original artwork or the original intention. I come from a conceptual art background, so I think it should be the intention. It's the same piece. But the jury will be out for a long time to come. Hirst has made other works subsequently which also feature a preserved shark in formaldehyde in a vitrine. In September 2008, ""The Kingdom"", a tiger"
"is the process of death and decay. Some critics argue that the minimalistic qualities of the work, coinciding with the ‘stereotypical’ death theme, are too bland for such a prestigious artist. One critic wrote, ""But the famous shark, shackled to its coffeebar-existentialist title – The Physical Impossibility of Death in the Mind of Someone Living – seems ever more dilapidated, more fairground sideshow, with every dowdy showing. What clichéd menace it may once have theoretically possessed has evaporated."" Another art critic, Luke White, disagrees, saying that others had earlier perceived sharks ""...as ugly and dangerous, but by the end of"
"to replace the shark, an operation which Cohen then funded, calling the expense ""inconsequential"" (the formaldehyde process alone cost around $100,000). Another shark was caught off Queensland (a female aged about 25–30 years, equivalent to middle age) and shipped to Hirst in a 2-month journey. Oliver Crimmen, a scientist and fish curator at London's Natural History Museum, assisted with the preservation of the new specimen in 2006. This involved injecting formaldehyde into the body, as well as soaking it for two weeks in a bath of 7% formalin solution. The original 1991 vitrine was then used to house it. A"
"was a shark in formaldehyde in a vitrine, and sold for £50,000. The shark had been caught by a commissioned fisherman in Australia and had cost £6,000. The exhibition also included ""In a Thousand Years"". As a result of the show, Hirst was nominated for that year's Turner Prize, but it was awarded to Grenville Davey. Hirst's first major international presentation was in the Venice Biennale in 1993 with the work, ""Mother and Child Divided"", a cow and a calf cut into sections and exhibited in a series of separate vitrines. He curated the show ""Some Went Mad, Some Ran"
"Away"" in 1994 at the Serpentine Gallery in London, where he exhibited ""Away from the Flock"" (a sheep in a tank of formaldehyde). On 9 May, Mark Bridger, a 35-year-old artist from Oxford, walked into the gallery and poured black ink into the tank, and retitled the work ""Black Sheep"". He was subsequently prosecuted, at Hirst's wish, and was given two years' probation. The sculpture was restored at a cost of £1,000. When a photograph of ""Away from the Flock"" was reproduced in the 1997 book by Hirst ""I want to spend the rest of my life everywhere, with everyone,"
"group at this time because he objected to Thomson's leadership. From 2002 to 2005 Thomson ran the Stuckism International Centre and Gallery in Shoreditch, London. In 2003, under the title ""A Dead Shark Isn't Art"", the gallery exhibited a shark which had first been put on public display in 1989 (two years before Damien Hirst's) by Eddie Saunders in his Shoreditch shop, JD Electrical Supplies. It was suggested that Hirst may have seen this and copied it. In 2003 they reported Charles Saatchi to the UK Office of Fair Trading, complaining that he had an effective monopoly on art. The"
"the century, they found them instead exhilarating, fascinating, and sublime."" White argues that sharks have been seen as transcendent, awe-inspiring creatures throughout centuries, a creature that is the embodiment of sublimitude as well as a metaphorical representation of our mind helps, relaying the importance of how special our thoughts really are. Beautiful Inside My Head Forever was a two-day auction of Hirst's new work at Sotheby's, London, taking place on 15 and 16 September 2008. It was unusual as he bypassed galleries and sold directly to the public. Writing in ""The Independent"", Cahal Milmo said that the idea of the"
"dead sheep."" The Stuckist art group was founded in 1999 with a specific anti-Britart agenda by Charles Thomson and Billy Childish; Hirst is one of their main targets. They wrote (referring to a Channel 4 programme on Hirst): In 2003, under the title ""A Dead Shark Isn't Art"", the Stuckism International Gallery exhibited a shark which had first been put on public display two years before Hirst's by Eddie Saunders in his Shoreditch shop, JD Electrical Supplies. Thomson asked, ""If Hirst’s shark is recognised as great art, then how come Eddie’s, which was on exhibition for two years beforehand, isn’t?"
"the most influential piece of English sculpture of the 19th century. The sculpture was exhibited at the Royal Academy in 1877 under the title ""An Athlete Wrestling with a Python"" but it is sometimes also known as ""An Athlete Strangling a Python"" or ""An Athlete Struggling with a Python"". The original full-size bronze was acquired for the nation using funds from the Chantrey Bequest, and is displayed at Tate Britain in London. The sculpture depicts a dramatic scene of life and death, with a classically proportioned male nude wrestling with a large snake. Leighton conceived the composition while working on"
"and giving them concrete existence in sculptural form with works like ""A Thousand Years"". Hirst gained the European record for the most expensive work of art by a living artist—his ""Lullaby Spring"" in June 2007, when a 3-metre-wide steel cabinet with 6,136 pills sold for 19.2 million dollars to Sheikh Hamad bin Khalifa Al-Thani, the Emir of Qatar. In June 2007, ""Beyond Belief"", an exhibition of Hirst's new work, opened at the White Cube gallery in London. The centre-piece, a Memento Mori titled ""For the Love of God"", was a human skull recreated in platinum and adorned with 8,601 diamonds"
"and image showing an African child perched on his knee. This design was not to the liking of the record company executives, and was replaced by reindeer in the snow standing next to a child. In December 2004, ""The Physical Impossibility of Death in the Mind of Someone Living"" was sold by Saatchi to American collector Steve Cohen, for $8 million, in a deal negotiated by Hirst's New York agent, Gagosian. Cohen, a Greenwich hedge fund manager, then donated the work to The Metropolitan Museum of Art, New York. Sir Nicholas Serota had wanted to acquire it for the Tate"
"Do we perhaps have here an undiscovered artist of genius, who got there first, or is it that a dead shark isn’t art at all?"" The Stuckists suggested that Hirst may have got the idea for his work from Saunders' shop display. In a 2008 Channel 4 documentary called ""The Mona Lisa Curse"", art critic Robert Hughes claimed that Hirst's work was ""tacky"" and ""absurd"". Hughes said it was ""a little miracle"" that the value of £5 million was put on Hirst's ""Virgin Mother"" (a 35-foot bronze statue), which was made by someone ""with so little facility"". Hughes called Hirst's"
"bypassing his long-standing galleries. The auction raised £111 million ($198 million), breaking the record for a one-artist auction as well as Hirst's own record with £10.3 million for ""The Golden Calf"", an animal with 18-carat gold horns and hooves, preserved in formaldehyde. In several instances since 1999, Hirst's works have been challenged and contested as plagiarised. In one instance, after his sculpture ""Hymn"" was found to be closely based on a child's toy, legal proceedings led to an out-of-court settlement. Hirst was born as Damien Steven Brennan in Bristol and grew up in Leeds. He never met his father; his"
"glued to highlight other areas. The inspiration for Shaw's first major exhibition was Hieronymus Bosch's ""Garden of Earthly Delights"" (1480–90). In a fantastical, hedonistic, phantasmagoria, populated by creatures, part aquatic/part animal/part human, Shaw describes an erotic underwater world clenched in perpetual orgasm. In part a response to the ""Holbein in England"" exhibition held in 2006–2007 at Tate Britain, Shaw reinterprets some of German artist Hans Holbein the Younger's (ca.1497–1543) English sitters. Creatures both natural and fantastic in medieval dress, romp amid architectural settings based on Holbein's designs for jewellery, stained glass, and book illustrations. A bird-headed man is engaged in"
"At the same time it represents death as something infinitely more relentless. Compared to the tearful sadness of a vanitas scene, the diamond skull is glory itself."" Costing £14 million to produce, the work was placed on its inaugural display at the White Cube gallery in London in an exhibition ""Beyond Belief"", with an asking price of £50 million. This would have been the highest price ever paid for a single work by a living artist. The base for the work is a human skull bought in a shop in Islington. It is thought to be that of a 35-year-old"
"neutral and impartial humanitarian organisation. John Buckley (sculptor) John Buckley (born 1945 in Leeds, England) is an English sculptor whose best known work is the sculpture ""Untitled 1986"", better known as ""the Shark House"" or ""The Headington Shark"" in Headington, a suburb of Oxford. Buckley went to sculpture classes in the evenings when studying for his O-levels in a technical college. He went on to Winchester School of Art and Leicester College of Art, and thereafter worked as a lorry driver and labourer while getting his career as sculptor off the ground. In 1976, his friend Bill Heine invited Buckley"
"The Headington Shark The Headington Shark (proper name Untitled 1986) is a rooftop sculpture located at 2 New High Street, Headington, Oxford, England, depicting a large shark embedded head-first in the roof of a house. The shark first appeared on 9 August 1986. Bill Heine, a local radio presenter who owned the house until 2016, has said ""The shark was to express someone feeling totally impotent and ripping a hole in their roof out of a sense of impotence and anger and desperation... It is saying something about CND, nuclear power, Chernobyl and Nagasaki"". The sculpture, which is reported to"
"the farm near Wallingford, Oxfordshire where he was based, the shark itself weighs 203 kilograms and is 25 feet long. Buckley regards it as an integral part of ""Untitled 1986"" or ""Shark House"", a work of """"Mixed Media, Brick, slates, wood, metal, polyester resin, glass, plaster, oil paint, lace curtaining and window boxes……."""" In the village of Checkendon in South Oxfordshire is his public work 'The Nuba Survival' which features two giant skeletons embracing each other.The piece was created in 2001 after ghe visited the Nuba peoples in Sudan. John Buckley is a patron of MAG (Mines Advisory Group), a"
"£50,000. The shark was caught off Hervey Bay in Queensland, Australia, by a fisherman commissioned to do so. Hirst wanted something ""big enough to eat you"". It was first exhibited in 1992 in the first of a series of ""Young British Artists"" shows at the Saatchi Gallery, then at its premises in St John's Wood, north London. The British tabloid newspaper ""The Sun"" ran a story titled ""£50,000 for fish without chips."" The show also included Hirst's artwork ""A Thousand Years"". He was then nominated for the Turner Prize, but it was awarded to Grenville Davey. Saatchi sold the work"
"wins the Turner Prize for ""Shedboatshed"", a wooden shed which he had turned into a boat, floated down the Rhine and turned back into a shed again. The Stuckist group of artists, founded in 1999, proclaimed themselves ""pro-contemporary figurative painting with ideas and anti-conceptual art, mainly because of its lack of concepts."" They also called it pretentious, ""unremarkable and boring"" and on July 25, 2002, in a demonstration, deposited a coffin outside the White Cube gallery, marked ""The Death of Conceptual Art"". In 2003, the Stuckism International Gallery exhibited a preserved shark under the title ""A Dead Shark Isn't Art"","
"forged links with post-war American artists, encouraging them to donate works for the charity auction ""New Art: New World."" In the late 1980s, he formed a friendship with the artist Damien Hirst. Hirst had already sold a number of works to the influential collector Charles Saatchi, but Jopling enabled the artist to realise more ambitious projects, including the sculpture ""The Physical Impossibility of Death in the Mind of Someone Living"" and more recently the diamond skull ""For the Love of God"". After completing his M.A. in 1984, he moved to London and began working with artists of his generation. In"
"Damien Hirst Damien Steven Hirst (; born 7 June 1965) is an English artist, entrepreneur, and art collector. He is one of the Young British Artists (YBAs), who dominated the art scene in the UK during the 1990s. He is reportedly the United Kingdom's richest living artist, with his wealth valued at £215m in the 2010 ""Sunday Times"" Rich List. During the 1990s his career was closely linked with the collector Charles Saatchi, but increasing frictions came to a head in 2003 and the relationship ended. Death is a central theme in Hirst's works. He became famous for a series"
"weigh and is long, and is made of painted fibreglass, is named ""Untitled 1986"" (written on the gate of the house). The sculpture was erected on the 41st anniversary of the dropping of the atomic bomb on Nagasaki. It was designed by sculptor John Buckley and constructed by Anton Castiau, a local carpenter and friend of John Buckley. For the occasion of the shark's 21st anniversary in August 2007, it was renovated by the sculptor, following earlier complaints about the condition of the sculpture and the house. On 26 August 2016 Bill Heine's son Magnus Hanson-Heine bought the house in"