One of these days I read that a 4 meter shark has been put in preserving liquid in an enormous glass container. See
here. Some multi-millionaire bought it for six million pounds and noticed that the shark was decaying because of bad preservation work . See also
http://www.felixsalmon.com/000344.html. He didn’t get angry but simply asked for a new one, better preserved this time.
The artist is Damien Hirst, the seller Charles Saatchi who bought it for “only” 50,000 British pounds, and now multiplied that amount in his selling.
You understand this is conceptual art, a kind of revival of Dadaism. The shark in its container is not the piece of art, but the idea and its realization are. That’s why it was no big deal to replace the original rotting shark by a new one, which would be impossible with a rotting Rembrandt.
This raises several questions: first, isn’t it ridiculous, not to say a shame, that these amounts are spent to something only because a group of people agree that it is art? Second, what exactly is art? Third, should everybody agree on what is art and what isn’t, and if not, how many should agree, then?
I will try to answer these questions. In Western culture we have art since the ancient Greek (Thanks Conrad for having corrected me on this point). Art had to be the product of skilfull people and had to be admired by all who watched the piece. Producing something that wasn’t admired by most people was nonsense: it simply wasn’t produced, because there was no reason for it. At least, not until the 19th century when questions were raised by groups of artists about the criteria of what makes art art. These criteria were established by the artists themselves, not by art enjoyers or clients. The artist became a kind of prophet, teacher, or priest, and, really, we learned a lot from them as an audience: beauty of expression of emotions, events, situations, life itself, in unusual colours, composition, shapes. The dissatisfaction with their clients’ taste among the artists already began with artists experimenting and studying on their own subjects in their spare hours when they didn’t have to work on assigned, paid-for projects. This artists’ emancipation evolved further and further, until now, in the 19th century, groups of artists started to produce art in a supply-market instead of the pre-19th century demand-market: like it or leave it. It became a desirable goal for an artist to turn down assignments he didn’t like to perform, or to be rejected by the museum-visiting audience. He gradually formed his own elite-audience of rich people and musea, and a certain “clothes of the Emperor” - effect seemed to creep in. Is it a shame that somebody pays six million pounds for pieces of art that seem intended to be innovative, because all other means of expression are exhausted? Much of such art is around the theme of excrements (produced by a machine, canned, in glass cases, etc.) and decay (rotting cow head, with flies around it). Other pieces are more focused on senselessness (dada, an electricity pylon stuffed with loaves, etc.) or are nice moving constructions that are now called “art” because in the old days nobody would think about making them, but now you are called an artist so you make them.
No, I don’t think it’s a shame that artists or art-owners get millions of pounds for their shark preservation work, nor is it a shame when a multi-millionaire pays these amounts for these kinds of products: it is art, because the newspapers and the self-appointed groups who determine what is art and what isn’t, call it art, period. Our free society leave them doing their things. Jealous? Do as they do, but first become accepted by the self-appointed groups and join them.
What I don't find a shame, but a pity, is that “great art” seems to be dead. Maybe that’s what the dead shark is symbolizing. We watch dead corpses of humans who voluntarily made their bodies available for artistic processing, we watch a dead shark, excrements, decay, and call it art. We? Or is it groups of people who produce, buy and sell these things against astronomical prices? I think “we” continue visiting exhibitions of more traditional artists and enjoy their masterpieces. The other two questions now have been answered as well: art has no definition agreed on by all people, but has different meanings to different groups and cultures. That’s I think what most people agree on, and I also have the fullest right, like everybody else has the right to define a heap of shit as art, to get disgusted by death and decay-showing “art”, at the same time tolerating it. The taxes will get their share.