On Damien Hirst

Will’s Multicultural Man column on the artist JG Ballard rhapsodised as “a novelist who writes very short books”:

“Arguably, never in the decline and fall of the avant-garde had so few sold out for so much so quickly. From 1997, when the Royal Academy daringly mounted the Sensation exhibition, in less than five years, the likes of Hirst, Tracey Emin, Marc Quinn et al., went from maybe scandalising to definitely cashing in: far more than the Britpop bands, it’s these lite – and often quite high – artists who personified the Blair era, with its serious comfort when it came to being seriously rich sugar-wrapped in social conscience.”