Dimensions: support: 910 x 710 mm
Copyright: © Damien Hirst and Science Ltd. | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: Here we have Damien Hirst's "Global a Go-Go - for Joe," a print with these vibrant pink and blue inks. It really makes me think about the Big Bang or some kind of explosive event. What can you tell me about how this work was made and its significance? Curator: This print embodies Hirst's interest in the industrial production of art, moving away from traditional notions of the artist's hand. Consider the materials—inks, paper—and the mechanical processes used. It blurs the line between a unique artwork and a mass-produced object, reflecting on consumer culture. Editor: So, it's not just about the image itself, but also about how it challenges our ideas of art production? That’s interesting. Curator: Exactly! It questions the value we place on originality versus replication in a world saturated with images and commodities. Think about the labor involved, the market forces at play... Editor: I never considered Hirst's work in that light before; it does make you think about art's place in a consumerist world.
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http://www.tate.org.uk/art/artworks/hirst-global-a-go-go-for-joe-p13041
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This is one of the twenty-three etchings that comprise the first volume of two portfolios, In a Spin, the Action of the World on Things I and II. Each etching was made by the artist in London 2002, printed on 350gsm Hahnmuhle paper, proofed and editioned at Hope (Sufferance) Press, London and published by Charles Booth-Clibborn under his imprint, The Paragon Press. There are sixty-eight sets of prints, numbered 1–68 on the colophon page, and six proof copies. Tate’s copy is the second in the edition. Each set is accompanied by a colophon page and presented in a box with an original spin painting in household paint on the cover and the title and artist’s name printed on top. In addition to etchings similar to those in the first volume, the second volume of In a Spin... includes a photograph of the night sky that Hirst took using a long exposure, recording the movement of the stars in the sky caused by the earth’s rotation, and contributing to the notion expressed in the words: the Action of the World on Things. The artist first coined this phrase in 1999, when he was explaining the origin of his spot paintings (see AR00498), differentiating two strands of his work: ‘an involvement with death and decay, and ideas and life: the action of the world on things exists somewhere, and the colour exists somewhere else. And it’s fantastic.’ (Quoted in Damien Hirst and Gordon Burn, On the Way to Work, London 2001, p.119.) In the event, the imagery of In a Spin, the Action of the World on Things I and II unites these two strands.
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