Works Exhibited
About
It’s about violence and danger and escapism and death and warning signs and being safe or getting caught.
—Damien Hirst
Gagosian is pleased to present Emergency Paintings, Danger Paintings, Hazard Pictures and Seizures, the third phase of Damien Hirst’s yearlong takeover of the Britannia Street gallery. The exhibition features paintings, photographs, and sculptures that address the experiences and emotions of warning, danger, crime, rescue, and death. The works take their inspiration from a variety of sources, including the bold designs on emergency vehicles, the skins of dangerous animals, and media images of police activity. The exhibition follows the inaugural installment in the takeover sequence, Fact Paintings and Fact Sculptures, and the second, Relics and Fly Paintings.
The Emergency Paintings series (2014–16) was born from long car journeys during which Hirst was struck by the graphics emblazoned on emergency vehicles and their use of color as a warning. He took photos of these disturbing and beautiful designs with his phone and incorporated their high-visibility stripes and chevrons into his paintings. Powerfully conveying a sense of real-world crisis, these works also evoke the hard-edge abstractions of such painters as Ellsworth Kelly, Kenneth Noland, and Frank Stella. Featured alongside the paintings is a framed selection of Hirst’s original source photos, which the artist values for their raw documentary quality: “They aren’t careful or considered. . . . They are quick and easy snaps taken as the world was flying by,” he remarks, “and all the better for it.”
#HirstTakeover
Truth Revealed: Damien Hirst and James Fox on Ashley Bickerton
In conversation with James Fox, Damien Hirst reflects on the artwork of his longtime friend.
Now available
Gagosian Quarterly Fall 2021
The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.
For Sale: Baby Shoes. Never Worn.
Sydney Stutterheim meditates on the power and possibilities of small-format artworks throughout time.
In the Studio: Damien Hirst’s Veil Paintings
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.”
Damien Hirst: Visual Candy
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.
Damien Hirst: Colour Space Paintings
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.
