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Damien Hirst

Damien Hirst, Study After Delacroix (the Orphan Girl in the Cemetery), 1981 Pencil on paper, 13 ⅜ × 11 inches (34 × 28 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Study After Delacroix (the Orphan Girl in the Cemetery), 1981

Pencil on paper, 13 ⅜ × 11 inches (34 × 28 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Expanded from Small Red Wheel, 1985 Painted wood, metal, fabric, plastic, and wallpaper construction, 16 × 10 × 4 inches (40.6 × 25.4 × 10.2 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Expanded from Small Red Wheel, 1985

Painted wood, metal, fabric, plastic, and wallpaper construction, 16 × 10 × 4 inches (40.6 × 25.4 × 10.2 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991 Glass, steel, formaldehyde solution, and tiger shark, 84 × 204 × 84 inches (211 × 518 × 211 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991

Glass, steel, formaldehyde solution, and tiger shark, 84 × 204 × 84 inches (211 × 518 × 211 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, 14 Sausages, 1993 Acrylic, silicone, monofilament, sausages, and formaldehyde solution, 25 ¼ × 18 ¾ × 3 ¾ inches (64 × 47.5 × 9.5 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, 14 Sausages, 1993

Acrylic, silicone, monofilament, sausages, and formaldehyde solution, 25 ¼ × 18 ¾ × 3 ¾ inches (64 × 47.5 × 9.5 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Party Time, 1995 GRP composites, foam, and contents of ashtray, diameter: 96 inches (243.8 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Party Time, 1995

GRP composites, foam, and contents of ashtray, diameter: 96 inches (243.8 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Myth Explored, Explained, Exploded, 1993–99 Glass, painted steel, silicone, monofilament, shark, and formaldehyde solution, in 3 parts, dimensions variable© Damien Hirst and Science Ltd. All rights reserved, DACS 2018. Photo: Prudence Cuming Associates Ltd

Damien Hirst, Myth Explored, Explained, Exploded, 1993–99

Glass, painted steel, silicone, monofilament, shark, and formaldehyde solution, in 3 parts, dimensions variable
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018. Photo: Prudence Cuming Associates Ltd

Damien Hirst, A Way of Seeing, 2000 Glass and steel vitrine, table, chair, ashtray, newspaper, slides, cup of tea, sponges, sand, glasses of water, and animatronic man with microscope, 96 × 156 × 120 inches (243.8 × 396.2 × 304.8 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, A Way of Seeing, 2000

Glass and steel vitrine, table, chair, ashtray, newspaper, slides, cup of tea, sponges, sand, glasses of water, and animatronic man with microscope, 96 × 156 × 120 inches (243.8 × 396.2 × 304.8 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, My Problem is You, 2001 Glass, stainless steel, plasterzote, and medical packaging, 70 ¼ × 35 ⅜ × 14 ¼ inches (179.8 × 89.9 × 36 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, My Problem is You, 2001

Glass, stainless steel, plasterzote, and medical packaging, 70 ¼ × 35 ⅜ × 14 ¼ inches (179.8 × 89.9 × 36 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Adam and Eve, Blue for Adam and Pink for Eve, 1997–2003 Glass, steel, formaldehyde solution, cow’s head, bull’s head, and household gloss on canvas, in 4 parts, each vitrine: 18 × 38 × 18 inches (45.7 × 91.4 × 45.7 cm); each canvas: 15 × 23 inches (38.1 × 58.4 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Adam and Eve, Blue for Adam and Pink for Eve, 1997–2003

Glass, steel, formaldehyde solution, cow’s head, bull’s head, and household gloss on canvas, in 4 parts, each vitrine: 18 × 38 × 18 inches (45.7 × 91.4 × 45.7 cm); each canvas: 15 × 23 inches (38.1 × 58.4 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Suicide Bomber (Aftermath), 2004–05 Oil on canvas, 72 × 48 inches (182.9 × 121.9 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Suicide Bomber (Aftermath), 2004–05

Oil on canvas, 72 × 48 inches (182.9 × 121.9 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Beautiful Bleeding Wound Over the Materialism of Money Painting, 2005 Household gloss and credit card on canvas, 60 × 84 inches (152.4 × 213.4 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Beautiful Bleeding Wound Over the Materialism of Money Painting, 2005

Household gloss and credit card on canvas, 60 × 84 inches (152.4 × 213.4 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Isonicotinoyl Chloride, 2005 Household gloss on canvas, 84 × 84 inches (213.4 × 213.4 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Isonicotinoyl Chloride, 2005

Household gloss on canvas, 84 × 84 inches (213.4 × 213.4 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Aubade – Crown of Glory, 2006 Butterflies and household gloss on canvas, 115 ⅞ × 96 ⅛ inches (294.2 × 244.1 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Aubade – Crown of Glory, 2006

Butterflies and household gloss on canvas, 115 ⅞ × 96 ⅛ inches (294.2 × 244.1 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, For Heaven’s Sake, 2008 Platinum and pink diamonds, 3 ⅜ × 3 ⅜ × 3 ⅞ inches (8.5 × 8.5 × 10 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018. Photo: Prudence Cuming Associates

Damien Hirst, For Heaven’s Sake, 2008

Platinum and pink diamonds, 3 ⅜ × 3 ⅜ × 3 ⅞ inches (8.5 × 8.5 × 10 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018. Photo: Prudence Cuming Associates

Damien Hirst, Painful Memories/Forgotten Tears, 2008 Gold-plated steel, glass, and Cubic Zirconia, in 2 parts, each: 72 ¼ × 108 ⅜ × 4 inches (183.3 × 275.3 × 10.2 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Painful Memories/Forgotten Tears, 2008

Gold-plated steel, glass, and Cubic Zirconia, in 2 parts, each: 72 ¼ × 108 ⅜ × 4 inches (183.3 × 275.3 × 10.2 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Black Sheep with Golden Horns, 2009 Glass, painted stainless steel, silicone, acrylic, gold, cable ties, sheep, and formaldehyde, 43 ½ × 63 ⅞ × 25 ¼ inches (110.3 × 162.3 × 64.1 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Black Sheep with Golden Horns, 2009

Glass, painted stainless steel, silicone, acrylic, gold, cable ties, sheep, and formaldehyde, 43 ½ × 63 ⅞ × 25 ¼ inches (110.3 × 162.3 × 64.1 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Amatoxin, 2010 UK ink and charcoal on canvas, 72 × 57 ½ inches (183 × 146 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Amatoxin, 2010

UK ink and charcoal on canvas, 72 × 57 ½ inches (183 × 146 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Ice Age, 2008–09 Metal, resin, and plaster pills and watercolor on canvas, 36 × 48 inches (91.4 × 121.9 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Ice Age, 2008–09

Metal, resin, and plaster pills and watercolor on canvas, 36 × 48 inches (91.4 × 121.9 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Grapefruit, 2016 Household gloss on canvas, 16 × 24 inches (40.6 × 61 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Grapefruit, 2016

Household gloss on canvas, 16 × 24 inches (40.6 × 61 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Revelation, 2016 Jacquard-woven tapestry made from wool, cotton, and silk, 98 ½ × 98 ½ inches (250 × 250 cm), edition of 20 + 4 AP© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Revelation, 2016

Jacquard-woven tapestry made from wool, cotton, and silk, 98 ½ × 98 ½ inches (250 × 250 cm), edition of 20 + 4 AP
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Veil of Unfolding Life, 2017 Oil on canvas, 108 × 72 inches (274.3 × 182.9 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Damien Hirst, Veil of Unfolding Life, 2017

Oil on canvas, 108 × 72 inches (274.3 × 182.9 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2018

About

People are afraid of change, so you create a kind of belief for them through repetition. It’s like breathing. I’ve always been drawn to series and pairs. A unique thing is quite a frightening object.

—Damien Hirst

Since emerging onto the international art scene in the late 1980s, Damien Hirst has created installations, sculptures, paintings, and drawings that examine the complex relationships between art and beauty, religion and science, and life and death. From serialized paintings of multicolored spots to animal specimens preserved in tanks of formaldehyde, his work challenges contemporary belief systems, tracing the uncertainties that lie at the heart of human experience.

In 1988, while studying at Goldsmiths College in London, Hirst curated Freeze, a rolling exhibition in three parts, featuring his work and that of fellow students. This show is considered the debut of the artists who would come to be known as the Young British Artists, or YBAs, whose approach was characterized by a combination of entrepreneurial and oppositional attitudes, the use of found materials, and an interest in shock and spectacle. In the final iteration of Freeze, Hirst included two of his spot paintings, which he painted directly onto the wall. The spot paintings (1986–2012), of which there are now more than one thousand, present multicolored spots on white or near-white grounds and are painted by hand in glossy house paint. With these works, Hirst sought to paint as a machine yet allow for the subtle imperfections of the artist’s hand. In 2012 Gagosian showed more than three hundred spot paintings at once across all eleven of the gallery’s locations.

Like many of Hirst’s series, the spot paintings evoke various psychological and perceptual dichotomies: they are both calming and unnerving, beautiful and ordinary. A subseries, the Pharmaceutical paintings (1986–2011), features evenly spaced, multicolored circles. The title links these works to the medicine cabinets (1988–2012) and Visual Candy paintings (1993–95), all of which consider the cultural role of prescription drugs, the ways they are advertised, and the many promises that are made to their consumers. The medicine cabinets are filled with the empty packaging of various medications, highlighting the minimalist aesthetic of the boxes and plastic containers. The Visual Candy paintings push the idea of false promises even further. Alluding to movements including Impressionism, Abstract Expressionism, and Pop art, they are exuberant, colorful paintings with euphoric, perhaps facetious, titles such as Happy Happy Happy (1994), Wowee Zowee (1993), and Super Silly Fun (1993).

In 1991 Hirst created The Physical Impossibility of Death in the Mind of Someone Living: a fourteen-foot tiger shark preserved in a tank of formaldehyde. This work, part of the Natural History series (1991–2013), has become a landmark of contemporary art and exemplifies Hirst’s interest in bridging the gap between art and science. The Natural History series includes additional taxidermied animals, including sheep, cows, a zebra, a dove, and even a “unicorn”—some of which are bisected or flayed. That same year, in London, Hirst presented In and Out of Love (White Paintings and Live Butterflies), an exhibition featuring real pupas glued to white canvases. The pupas hatched in the gallery, releasing live butterflies into the space. In 1997 Hirst collaborated on Pharmacy Restaurant and Bar in London, for which he designed the interior, transforming his work into an immersive environment.

Since the early 2000s Hirst has produced ambitious, captivating works ranging from the kaleidoscopic butterfly paintings (2001–08)—made by placing thousands of butterfly wings in intricate geometric patterns onto painted canvases—to For the Love of God (2007), a platinum cast of a human skull set with 8,601 diamonds. Hirst’s first major retrospective, The Agony and the Ecstasy, was presented by the Museo Archeologico Nazionale in Naples, Italy, in 2004, and he was recognized in 2012 with a major retrospective at Tate Modern in London. While his 2017 exhibition Treasures from the Wreck of the Unbelievable filled the Palazzo Grassi and Punta della Dogana in Venice with monumental, fantastical sculptures made of precious metals and stones, covered in illusionistic barnacles, Hirst subsequently returned to the gestural immediacy of painting with the Veil paintings (2017), in which he continued his examination of color and its effects on the eye.

In 2015 Hirst opened the Newport Street Gallery in London, a realization of his long-term ambition to share his art collection with the public.

Damien Hirst

Photo: Oli Scarff/Getty Images

Website

damienhirst.com

Fairs, Events & Announcements

Rembrandt van Rijn, Self-Portrait with Two Circles, c. 1665, English Heritage, The Iveagh Bequest (Kenwood, London). Photo: Historic England Photo Library

Tour

Visions of the Self: Rembrandt and Now
In partnership with English Heritage

Thursday, April 25, 2019, 6pm
Gagosian, Grosvenor Hill, London

Gagosian director and art historian Richard Calvocoressi will lead a tour of the exhibition Visions of the Self: Rembrandt and Now at Gagosian, Grosvenor Hill, London. Calvocoressi will take a look at postwar and contemporary masters of self-representation, anchoring the conversation to an important Rembrandt masterpiece included in the exhibition, Self-Portrait with Two Circles (c. 1665). The event has reached capacity. To join the wait list, contact londontours@gagosian.com.

Rembrandt van Rijn, Self-Portrait with Two Circles, c. 1665, English Heritage, The Iveagh Bequest (Kenwood, London). Photo: Historic England Photo Library

Zeng Fanzhi, Rooster, 2019 © 2019 Zeng Fanzhi

Art Fair

Art Basel Hong Kong

March 29–31, 2019, booth 1C18
Hong Kong Convention and Exhibition Centre
www.artbasel.com

Gagosian is pleased to participate in Art Basel Hong Kong 2019, with works by Georg Baselitz, Edmund de Waal, Urs Fischer, Katharina Grosse, Andreas Gursky, Duane Hanson, Damien Hirst, Thomas Houseago, Yayoi Kusama, René Magritte, Giorgio Morandi, Takashi Murakami, Albert Oehlen, Nam June Paik, Richard Prince, Ed Ruscha, Richard Serra, Andy Warhol, Tom Wesselmann, Rachel Whiteread, Jonas Wood, Christopher Wool, Zao Wou-Ki, Zeng Fanzhi, and others. 

To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at artbasel.com.

Download the full press release in English, Simplified Chinese, or Traditional Chinese

Zeng Fanzhi, Rooster, 2019 © 2019 Zeng Fanzhi

Damien Hirst, Truffle, 2016 © Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Art Fair

artgenève

January 31–February 3, 2019, booth B19
Palexpo, Geneva
www.artgeneve.ch

Gagosian is pleased to participate in artgenève 2019, with modern and contemporary artworks by Georg Baselitz, Chris Burden, Urs Fischer, Romuald Hazoumè, Damien Hirst, Sally Mann, Olivier Mosset, Steven Parrino, Giuseppe Penone, Richard Serra, Rudolf Stingel, Spencer Sweeney, Mark Tansey, Tatiana Trouvé, Tom Wesselmann, Franz West, and others.

To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at artgeneve.ch. To preview our booth, go to artsy.net.

Download the full press release in English or French

Damien Hirst, Truffle, 2016 © Damien Hirst and Science Ltd. All rights reserved, DACS 2018

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Museum Exhibitions

Walton Ford, Grifo de California, 2017 © Walton Ford. Photo: Christopher Burke

Just Opened

Book of Beasts
The Bestiary in the Medieval World

Through August 18, 2019
Getty Center, Los Angeles
www.getty.edu

This exhibition is inspired by The Bestiary, a popular medieval book that describes the beasts of the world with vibrant and fascinating images. With over one hundred works on display, this major loan exhibition will transport visitors into the world of the medieval bestiary. Work by Damien Hirst and Walton Ford is included.

Walton Ford, Grifo de California, 2017 © Walton Ford. Photo: Christopher Burke

Damien Hirst, Death Is Irrelevant, 2000 © Damien Hirst and Science Ltd. All rights reserved, DACS 2019

On View

Damien Hirst in
Death Is Irrelevant: Selections from the Marc and Livia Straus Collection, 1975–2018

Through August 2, 2019
Hudson Valley MoCA, Peekskill, New York
www.hudsonvalleymoca.org

Through a selection of figurative sculptures by artists from seventeen countries, Death Is Irrelevant looks at how artists consider their existence and how they express their present sociopolitical and personal situation. The exhibition questions whether the practice of making art is a method of self-preservation, a road to immortality; whether figurative sculpture is a form of self-reflection or represents the outward projection of ideas of the surrounding world. Work by Damien Hirst is included.

Damien Hirst, Death Is Irrelevant, 2000 © Damien Hirst and Science Ltd. All rights reserved, DACS 2019

Carsten Höller, Upside-Down Mushroom Room, 2000 © Carsten Höller. Photo by Attilio Maranzano, courtesy Fondazione Prada

On View

Atlas

Opened April 20, 2018
Fondazione Prada, Milan
www.fondazioneprada.org

The group of exhibited artworks, realized between 1960 and 2016, represents a possible mapping of the ideas and visions that have guided the creation of the collection and the collaborations with the artists  that have contributed to the activities of the foundation throughout the years. Work by Walter De Maria, Michael Heizer, Damien Hirst, Carsten Höller, and Jeff Koons is included.

Carsten Höller, Upside-Down Mushroom Room, 2000 © Carsten Höller. Photo by Attilio Maranzano, courtesy Fondazione Prada

Sterling Ruby, WIDW. BALLISTIC., 2017 © Sterling Ruby

Closed

Present Tense
Selections from the Lenhardt Collection

September 8–December 30, 2018
Phoenix Art Museum
www.phxart.org

Present Tense includes more than twenty paintings, prints, photographs, and sculptures all drawn from the private collection of Dawn and David Lenhardt. The show places recent contemporary acquisitions by the Lenhardts in conversation with works by modern artists. Work by Damien Hirst, Roy Lichtenstein, Sterling Ruby, and Andy Warhol is included.

Sterling Ruby, WIDW. BALLISTIC., 2017 © Sterling Ruby

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Press

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