Word: saatchis
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Dates: during 2000-2009
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...married?’” he said. After graduating from Brown in 1995, Werbach, then 23, became the youngest-ever president of the Sierra Club. He later founded Act Now, which advised companies on how to improve their sustainability. The firm eventually merged with global marketing firm Saatchi & Saatchi. At his talk, Werbach described becoming disillusioned with many environmentalists’ goals. He told of a time when he met a female biologist who prioritized her desire to reduce noise pollution affecting wildlife over concerns about human suffering. “I’m talking to people...
...When you ask Hirst about his early influences, it's not an artist he brings up first. It's Charles Saatchi, a former ad tycoon and collector who established a gallery in 1985 to show his own collection. The sheer size of the place made Hirst think big. "I had never seen a gallery of that scale," he says. "Britain was always small. Then Saatchi came and put things on a big f___ing American scale. So I just started making work like that. It didn't matter that I didn't know where...
...early 1990s Saatchi was one of Hirst's biggest collectors and promoters. It was Saatchi who commissioned that pickled shark, which he sold 13 years later to American hedge-fund manager Steven Cohen for a reported $12 million. It was Saatchi who bundled Hirst together with other British artists he collected, like Sarah Lucas and Marc Quinn, to create the media phenomenon called Young British Artists. What they had in common other than age was work that was abrasive, unconventional and a little unappetizing - Lucas' first solo exhibition was called "Penis Nailed to a Board"; Quinn produced a self-portrait...
...providers and the audience, which means that the new culture includes people like Ji Lee, who “both know how [the system] works and. . .how to break it,” according to Connor. Ji Lee was once the artistic director for the global advertising firm Saatchi & Saatchi. Now, he works as the branding director for Droga5, a boutique advertising agency, and as a culture jammer who “edits” street advertisements by putting speech bubble stickers on them that any passerby can fill in. It is an effort to allow the viewer, forced...
...life as inspiration and tries to recreate the East Village of yesteryear. The piece is an amalgamated portrait of junkie life: a cheap leather couch held up on cinder blocks, a fake plastic tree, snakeskin boots, and a framed news clipping detailing the aforementioned events. The Saatchi Gallery now features this installation (along with other works by Snow) and calls it “a portrait of a monster as a sad, pathetic, ridiculous cliché.” I’m not so sure of the extent to which Snow is conscious of these clichés. Perhaps...