Most Popular Books by Damien Hirst

The visual candy paintings'' were made between 1992 and 1994. The works showcase the ways in which Damien Hirst used the signifier of candy during the early 1990’s, exploring questions of pure aesthetics. Addressing the viewer on a deliberately emotional and instinctive level, these works, abetted by their exuberant titles, among them Some Fun (1993) and Dippy Dappy Dabby (1993), set out to question the implication that aesthetically pleasing art is inherently insignificant.0.

With full-color plates of paintings and sculptures, this title was produced for the inaugural exhibition at Gagosian Gallery, Hong Kong, Damien Hirst: Forgotten Promises. It includes "For Heaven''s Sake" (2008), a life-size human baby skull cast in platinum and covered in 8,128 pink and white diamonds, as well as beautiful diamond cabinets in gold and silver. A group of paintings from 2008 to 2009, including "Age of Magnificence" and "Fading Magnificence," show real butterflies entombed in layers of shiny metallic paint. The new Love Paintings are painted in oil with painstaking attention to realistic detail. "Why else would you do it, when you could just get a photograph that looks identical?" Hirst has said. "But it''s not the same thing, is it? A photograph is from a moment, a split second. Painting is about stopping to look at the world, considering it, and giving it more and more importance."

Published on the occasion of renowned British artist Damien Hirst’s double exhibition at White Cube''s two London galleries, Mason’s Yard and Hoxton Square, in November 2009, Nothing Matters presents Hirst’s new series of large-scale color triptychs opening into lush gatefolds. Plus, Hirst''s his oil paintings on newspaper are reproduced for the first time.. The book also includes an in-depth interview with Gordon Burn.

Published on the occasion of Damien Hirst''s exhibition at White Cube in Hong Kong in the spring of 2013. Amongst new works illustrated in the publication are some of Hirst''s latest series: the ''Entomology'' paintings and the ''Blade'' paintings.

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

In 2005 Damien Hirst began photographing every dispensing pharmacy in the Greater London area. Shooting both the individual pharmacists behind their counters and the exterior views of the city''s 1,832 chemists, the project has taken over a decade to complete. The images are brought together in their entirety in this extraordinary ten-volume artist''s book, which presents a portrait of the city through the people and places that prescribe the medicines we take on a habitual and daily basis. Hirst''s career-long obsession with the minimalist aesthetics employed by pharmaceutical companies--the cool colors and simple geometric forms--fi rst manifested in his series of Medicine Cabinets, conceived in 1988 while still at Goldsmiths College. For his 1992 installation Pharmacy Hirst recreated an entire chemist within the gallery space, stating: "I''ve always seen medicine cabinets as bodies, but also like a cityscape or civilization, with some sort of hierarchy within it. [ Pharmacy ] is also like a contemporary museum. In a hundred years it will look like an old apothecary." Pharmacy London similarly embodies the artist''s realization of an "idea of a moment in time." The publica- tion also, however, reads as a distilled expression of Hirst''s continuing belief in the near-religious role medicine plays in our society.

This exquisite hardback volume, boasting a ribbed leather spine, presents the second collection of a series of drawings on paper by Damien Hirst (born 1965), rendered in a range of mediums including silverpoint, charcoal and ink. The drawings form part of Hirst''s most ambitious project to date, Treasures from the Wreck of the Unbelievable, presented at the Pinault Collection''s two Venetian museums--the Palazzo Grassi and the Punta della Dogana--from April to December 2017. The exhibition marked the first time in the Collection''s history that both museums had been dedicated to the work of a single artist.

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).

Gagosian Gallery is pleased to present Damien Hirst: Poisons + Remedies, a catalogue illustrating the two new painting series which debuted at Gagosian Gallery, Davies Street in London 2010. The Poisons paintings feature skulls, a recurrent icon in Hirst''s oeuvre, silkscreened in black UV ink with charcoal onto large canvases and titled after toxic chemical preparations, suggesting possible causes of death accompanying each ghostly visage. The Remedies paintings contain colored resin and plaster pills scattered across a white background in a chaotic arrangement. Poisons + Remedies reminds us of the tenuous boundaries between life and death, acknowledging the life-altering role of science while alluding to the redemptive powers of art. This fully illustrated catalogue also features two essays by novelist Gary Shteyngart.