It appears these past few months the Museum of Fine Arts, Boston, has been more concerned with mettlesome profile exhibits, rather than showing art. The Ralph Lauren car collection has necessary mass appeal, and it is clear that this is partially the reason for it being on display. The same goes for the Rockwell and the Red Socks exhibit that conveniently opened with the generator of baseball season for the World Series champs. The motivation for the Damien Hirst show, A selection of black markets by Damien Hirst from Various Collections, however, is less app arnt. It seems the MFA treasured someone who has a high-status in the art world, and who better than the most(prenominal) famous living British artist Damien Hirst. Although, attached with the defecate Damien Hirst-- undoubtedly comes controversy.
        The MFA boasts Hirsts celebrity artist profile in the write-up about(predicate) the show, calling him one of the most influential living artists. The textbook, which describes his charge since the 90s, appears in the brochure and also in the entry guidance of the Foster gallery where most of his work is displayed. In addition, go with all his pieces are short explanations with quotes directly from the artist. For the people who are unfamiliar with Hirsts work, the wall labels serve to instruct and fill in the viewer.
However, in an attempt to do this, the wall labels end up reducing the art to single and easy-to-grasp concepts such as oddment or beauty. Due to the extremely instructional nature of the labels, which explicitly explain the piece and artists intention, there is little inhabit for the viewer to construct their own opinions.
        What adds to the instructive nature of the text is the sense that it is defending the work and the artist himself. Essentially the work is meant to shock...
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