New Releases by Damien Hirst

A revealing collection of quotations from world-renowned artist Damien Hirst Hirst-isms is a collection of quotations—bold, surprising, often humorous, and always insightful—from celebrated artist Damien Hirst, whose controversial work explores the connections between art, religion, science, life, and death. Emerging in the 1990s as a leading member of the Young British Artists (YBAs), Hirst first became famous and gained a reputation as a provocateur with a series of artworks featuring dead and sometimes dissected animals (including a shark, sheep, and cow) preserved in glass tanks filled with formaldehyde. Gathered from interviews and other primary sources and organized by subject, these quotations explore Hirst’s early years, family life, and the beginnings of his fascination with art; the major themes of his work; his influences and heroes; his motivation; his process and the boundary-pushing production of his work; and his thoughts on the art world, fame, and money. The result is a comprehensive and nuanced book that sheds new light on a fascinating and important contemporary artist. Select quotations from the book: “The less I feel like an artist, the better I feel.”“I like it when people love my art. I like it when people hate my art. I just don’t want them to ignore my art.”“Painting’s like the most fabulous illusion, because there’s nothing at stake. Except yourself.”“I’m interested in the confusion between art and life, I like it when the world gets in the way.”“Sometimes you have to step over the edge to know where it is.”

Between 2006 and 2016, two of contemporary art's biggest names--curator Hans Ulrich Obrist and artist, entrepreneur and art collector Damien Hirst (born 1965)--met to conduct a series of conversations. The two cover a wide variety of subjects in their ten years of conversations: the various mediums, methods and themes used by the artist; the gallery system and the ever-changing global art market; artists' books; pop art; Richard Hamilton; money, commercialism and merchandise; life, death and immortality. Blunt and unapologetic, Hirst is an ideal interview subject, and Hirst Interviews allows the artist to speak his mind in his own voice.

Early Hirst: iconic paintings and sculptures from the first two decades of the YBA protagonist's career This volume collects all works featured in End of a Century, a major exhibition of some of Damien Hirst's (born 1965) early pieces from the 1980s and 1990s held at Newport Street Gallery, London. A selection of sketches and preparatory drawings accompany full-color reproductions of the exhibited paintings and sculptures, offering insight into the development of some of the artist's most iconic series. Also included is an original text--part essay, part short story--by writer Harry Thorne, and a number of quotes by Hirst himself on the subjects that have preoccupied him throughout his career: science, religion, life and death.

This book was published on the occasion of the exhibition Damien Hirst: The Veil Paintings at Gagosian, Beverly Hills. Taking the Visual Candy paintings of the 1990s as a point of departure, in this series Hirst embraces color and gestural painting on a large scale. Referencing both Abstract Expressionism and Impressionism, including Georges Seurat and Pierre Bonnard, The Veil Paintings layer brushstrokes and bright dabs of heavy impasto, enveloping the viewer in vast fields of color.0The publication documents thirty-seven paintings in the exhibition with plate and detail images as well as installation photography. It features a new essay by Lisa Small with illustrations and a double-sided dust jacket, available in two options.00Exhibition: Gagosian, Beverly Hills, USA (01.03-140-.04.2018).

The central sculpture is a severed bull's head with golden horns and crowned with a solid gold disc, suspended in formaldehyde and encased in a golden vitrine. Also included is Judgement Day, a 30 foot long gold cabinet filled with close to 30,000 manufactured diamonds. The artist's series of photorealist paintings including The Golden Jubilee (2008), The Agra (2006) and The Premiere Rose (2006) here are illustrated alongside 20 short historical texts, alongside the diamonds.

This book is the first and most significant documentation of Damien Hirst's iconographic spot paintings and this comprehensive publication spans his career. Every spot painting Hirst has produced is included in this substantial publication with over 95% of them illustrated. Conceived at the time of Hirst's 2012 exhibition of the same title held in 11 Gagosian Galleries including New York, London, Paris, Los Angeles, Rome, Athens, Geneva and Hong Kong, this publication has been long in the making.

An alphabet book illustrated by the artwork of Damien Hirst.

This publication accompanies the Damien Hirst 'Two Weeks One Summer' exhibition at White Cube Gallery, May 2012. Painting has always been an important part of Hirst's oeuvre, but unlike the spot paintings and photorealist series which were made using a collaborative studio process, this body of work is altogether more personal: painted from life, by Hirst in his Devon studio.The paintings, often intimate in size, could be seen as traditional still lifes, depicting an array of carefully arranged elements, both natural and inanimate, sometimes memento mori, alongside objects and formal devices that have made their appearance in Hirst's sculptures and installations before. Exquisitely coloured birds on display stands or in simple glass boxes, butterflies, fruit and cherry blossom at the peak of its beauty, intimate the pure joy of spring's transition into summer but also the temporal significance of this natural phenomenon.Next to these bucolic objects, more sinister symbols take their place: oversized scissors, a shark's gaping jawbone, bell jars and even several lonely single or conjoined foetuses floating in jars, elements that are displaced from the laboratory table rather than the domestic one. Some objects are painted with clarity and impasto; others appear hazy and faint, as if they are somehow more insubstantial, part of a sudden apparition or dream-like vision.

Jonathan Yeo is one of Britain's best-known portrait painters. Over more than a decade, he has gained an international reputation for painting some of the most famous faces of our age. Models and movie stars, artists and actors, politicians and princes all have been the subject of his iconic, and often ironic, portraits. Coinciding with a retrospective exhibition at London's National Portrait Gallery, 'The Many Faces of Jonathan Yeo' is the first major publication on the artist. Featuring his most popular paintings, drawings, collages and prints, the book also presents several new canvases made especially for the show.

In this unique art book and epic collaboration, long-term friends, photographer Rankin and artist Damien Hirst, leverage their creative mediums and shared dark wit. Inspired by their conversations around myths, monsters and legends, they decided to extend their exploration of the subject by creating something tangible. Working to break boundaries of convention, the resulting photographs are ethereal and menacing, the ancient world viewed through a modern lense.

Published on the occasion of the exhibition at the Wallace Collection, London 14.10.2009 - 24.1.2010.

White Cube was pleased to present nineteen new paintings by Damien Hirst. The exhibition was staged at White Cube Mason's Yard and White Cube Hoxton Square. At White Cube Hoxton Square, Hirst presented a group of paintings, which included three triptychs from 2007-09, each depicting crows shot in mid-flight against blue skies, with outspread wings and violent splatters of red paint across their bodies. In the four triptychs on show in the lower ground floor at White Cube Mason's Yard, these crows reappear, as omens of bad news. They often share the space with ghost-like figures, skeletal forms and objects, including chairs, lemons, knives, animal skulls, wine glasses or a scorpion.

Requiem is a major retrospective in two volumes covering over one hundred works dating from 1990 to 2008.

Malerier.

This book is a creative guide to the making of arguably the most extraordinary art object to be made in the 21st century. Published to accompany the 2007 exhibition Damien Hirst: Beyond Belief at White Cube, London, it gives a fascinating pictorial insight into how Hirst's diamond skull piece "For the Love of God" was conceived and produced. Illustrated with candid behind-the-scenes photographs by Johnnie Shand Kydd, the book includes a number of preparatory drawings by Damien Hirst and a fold out image of the diamond skull. Accompanying this is an essay by the art historian Rudi Fuchs, who writes: "The skull is out of this world, celestial almost. I tend to see it as a glorious intense victory over death." A number of leading experts in the fields of archaeology and dentistry have also contributed detailed studies on the diamond skull, including analyses of its age and ancestry.

Due to popular demand, this extraordinary book project by Damien Hirst is now available in a reduced format. This dynamic and provocative collection of Hirst's ideas and obsessions is a powerful combination of text and visual elements. Each piece is set against a visual narrative of drawings, words, photography, typography, pop-ups, and other special effects that make this book like no other. An essay by cult novelist Gordon Burn looks at Hirst's work and the breadth of its impact. Designed by Jonathan Barnbrook, this is a landmark publication that has redefined the fine art monograph. AUTHOR BIO: Damien Hirst was born in Bristol and studied fine art at Goldsmiths College in London. In 1995, he won the prestigious Turner Prize. He has had recent solo exhibitions at the White Cube, London; the Marble Palace, Russia; Saatchi Gallery, London; Gagosian Gallery, New York; and Tate Gallery, London. Gordon Burn is an award-winning writer of both fiction and nonfiction. His book of interviews with Damien Hirst, On the Way to Work, was published in 2002.

Published to accompany the exhibition held at the Serpentine Galley, London, entitled, 'In the darkest hour there may be light: works from Damien Hirst's murderme colection', 25 November 2006 - 28 January 2007.

This catalogue is published to accompany the exhibition - New Religion, a major new project by Damien Hirst, and the artist's first to be shown in an active church. It highlights the conflicts between science and religion, art and beliefs.

This comprehensive monograph was produced to accompany the drawings retrospective ‘Damien Hirst: Corpus: Drawings 1981-2006’ held at Gagosian Gallery, Madison Avenue, New York in 2006. It features more than two hundred drawings which offer a historical insight into rarely seen aspects of the artist’s work and process. Included are early drawings from Hirst’s student days; pencil sketches for seminal sculptures such as ‘The Physical Impossibility of Death in the Mind of Someone Living’ 1991, ‘A Thousand Years’ 1991, ‘The Acquired Inability to Escape’ 1992, ‘Away from the Flock’ 1994 and ‘The Hat Makes the Man’ 2003; preparatory diagrams for early spot paintings and medicine cabinets; a large-scale series of fourteen drawings for The Stations of the Cross (2004); and proposals for unrealised and future projects. Accompanying the drawings is a conversation between the artist and political philosopher John Gray (author of Straw Dogs, False Dawn and Al Qaeda and What It Means to Be Modern), and an essay by British historian Simon Baker. Hardback/with 29 gatefolds and book ribbon

Catalog of an exhibition organized by Visual Arts, The British Council for the 25th International Biennale for Graphic Arts, Ljubljana, Slovenia, which opened at Tivoli Gallery, Ljubljana June 10 - Sept. 28, 2003.