Ever since Damien Hirst organised the first exhibition of the Young British Artists’ (YBAs) work in East London in 1988, almost everything he has made, done or said has been scrutinised and discussed throughout the art community and by the public at large. Throughout his career, opinions have been divided: is he a genius or a fraud? To say that Hirst has been financially successful is an understatement in the extreme: Sotheby’s landmark sale of Hirst’s work in 2008 made 111 million pounds, and that was just one day — he has been doing this for 25 years.
Assault on the senses
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