Damien Hirst: The Elusive Truth
Gallery installation view
Damien Hirst: The Elusive Truth
Gallery installation view
Damien Hirst: The Elusive Truth
Gallery installation view
Damien Hirst
Two Pills, 2004
Oil on canvas, 60 × 40 inches (152.4 × 101.6 cm)
Damien Hirst
Minerals, 2002–03
Oil and acrylic on canvas, 72 × 89 inches (182.9 × 226.1 cm)
Damien Hirst
Hospital Corridor, 2004
Oil on canvas, 78 × 136 ½ inches (198.1 × 346.7 cm)
Damien Hirst
Vivisection, 2004–05
Oil on canvas, 15 × 21 inches (38.1 × 53.3 cm)
Damien Hirst, Addicted to Crack, Abandoned by Society, 2004–05
Oil on canvas, Diptych: 72 × 48 inches each (182.9 × 121.9 cm)
Gagosian is pleased to present new work by Damien Hirst. Entitled The Elusive Truth, the exhibition comprises approximately thirty paintings that have been completed over the past three years.
This exhibition, Hirst’s first in New York since 2000, signals a new direction in his work.
Hirst’s 2004 exhibitions include his first survey exhibition, The Agony and the Ecstasy, at Museo Archelogico Nazionale, Naples, Italy; and In-A-Gadda-Da-Vida: Fairhurst, Hirst, and Lucas, at Tate Britain, London. Damien Hirst: From the Cradle to the Grave, Selected Drawings was also published in 2004. It presents an important selection of drawings and sketches spanning Hirst’s entire career.
The exhibition will be accompanied by a large-format catalogue that highlights twenty-four paintings featured in the current New York exhibition. Measuring eighteen by twelve inches, the book will include full-color reproductions on tipped-in plates, a raised plastic cover displaying the painting Two Pills (2004), an essay by JG Ballard, and die-cut windows that highlight details of the paintings. Additionally, Damien Hirst has written or selected texts to accompany each painting throughout the catalogue.
In conversation with James Fox, Damien Hirst reflects on the artwork of his longtime friend.
The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.
Sydney Stutterheim meditates on the power and possibilities of small-format artworks throughout time.
Damien Hirst speaks about his Veil paintings with Gagosian’s Alison McDonald. “I wanted to make paintings that were a celebration,” he says, “and that revealed something and obscured something at the same time.”
James Fox considers the origins of Damien Hirst’s Visual Candy paintings on the occasion of a recent exhibition of these early works in Hong Kong.
Blake Gopnik examines the artist’s “dot” paintings in relation to the history of representation in Western art, in which dabs of paint have served as fundamental units of depiction and markers of objective truth.
London’s River Café, a culinary mecca perched on a bend in the River Thames, celebrated its thirtieth anniversary in 2018. To celebrate this milestone and the publication of her cookbook River Café London, cofounder Ruth Rogers sat down with Derek Blasberg to discuss the famed restaurant’s allure.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
