A revealing collection of quotations from world-renowned artist Damien Hirst\nHirst-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.\nGathered 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.\nSelect 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.”

Hirst-isms

Arts & Photography

HIRST, Damien

History & Criticism

Princeton University Press

Paul Fryer's first collection of poems is illustrated with keen insight by Damien Hirst. Together they have produced a beautiful diatribe against current complacencies that, remarkably, also show a precious tolerance and love for their fellow men and women. They have concocted an acute distillation of manners, cultures and prejudices, a polemic, even, that reflects a light suffused with a powerful disinterest, a disturbing sine qua non.

Don't Be So...

Miller, Harland

Fryer, Paul

Individual Artists

Trolley Books

This catalogue was produced to accompany Damien Hirst's 2003 exhibition at White Cube gallery, London. The show dissected and recast the story of Jesus and his disciples through paintings and sculptural work while revealing the uncertainty at the heart of human experience. The exhibited works included The Apostles,a series of 13 clinical steel and glass cabinets filled with medical instruments, weapons, ornaments, blood, and life's detrius: a dozen canvases encrusted with flies suspended in resin, each given a fatal disease for a title: skinned cows'/bulls' heads in individual tanks punctured/lacerated/stabbed with knives and glass fragments; and huge canvases embedded with butterfly wings arranged in extraordinary grid systems. This book contains 46 colour illustrations, including many details of the exhibited works and four gatefolds. An introductory essay by Annushka Shani examines each work more closely, drawing out the themes of love, life and death explored by Hirst through this exhibition.

Romance in the Age of Uncertainty : Damien Hirst

London: Jay Jopling/White Cube

In this unique art book and epic collaboration, long-term friends, photographer Rankin and artist Damien Hirst, leverage their respective 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. When Rankin met one of Hirst's favourite subjects, the pair gained a third collaborator in model, Dani Smith. Originating from Damien's fascination with the ancient world, and with Rankin keen to push himself creatively beyond the constraints of the expected fashion and beauty photography, the trio worked together to create menacing beasts and ethereal creatures from other times. This is an exploration of imagined narratives and the monsters of the ancient world, viewed through a modern lens. It will appeal to people who have an eye for high art and an appreciation of the surreal. This publication accompanies an exhibition of the same name, showing in London and Los Angeles in Autumn 2011.

Myths, Monsters and Legends

Rankin, Photographer

Photography & Video

Rankin Photography

Disputes over free expression in the arts have always loomed as struggles between creativity and repression, transgression and outrage, candor and hypocrisy. But while high-profile shootouts at art museums and less visible skirmishes at schools, libraries, and theaters persist, overt censorship is no longer the only, or the most dire, threat to free expression. On the one hand, society has become more accepting of provocative imagery, with media conglomerates often leading the way in the depreciation of taboos. On the other hand, artists, while enjoying some unprecedented liberties, are hemmed in by new constraints that often fall beyond the range of First Amendment protection. The current terrain bears little resemblance to the culture wars of a decade ago, much less to what the First Amendment's Framers could have imagined. And since Sept. 11, 2001, the frontlines of the free-expression debate have been shifting once again. Based on a Columbia University conference organized by the National Arts Journalism Program, The New Gatekeepers explores the reconfigured ranks of those who decide what the public gets to see, hear and read, from struggles over intellectual property and copyright, to continuing debates about acceptable and offensive content in the cultural marketplace, to the less visible biases of the arts funding system. This heavily illustrated book also includes a historical overview of censorship and contributions by 40 scholars, artists, experts and journalists from around the United States. Discussed and participating artists include Edouard Manet, Jake and Dinos Chapman, Robert Mapplethorpe, Richard Serra, Damien Hirst, Jeff Koons, Andres Serrano, Carolee Schneemann, Dread Scott, Gran Fury, Joel-Peter Witkin, Kara Walker, Jock Sturges, Chris Ofili, and Tom Sachs.

The New Gatekeepers: Emerging Challenges to Free Expression in the Arts

Menand, Louis

Manet, Édouard

Walker, Kara

Schneemann, Carolee

Mann, Charles

Newman, Roger

SERRA, Richard

Chapman, Jake

Brenson, Michael

Koons, Jeff

Becker, Carol

Sunstein, Cass

Ofili, Chris

RODIN, Auguste

Sachs, Tom

Adler, Amy

Cahill, Timothy

Gurstein, Rochelle

Tepper, Steven

Godfrey, Marian

Chapman, Dinos

Ferguson, Laura

Scott, Dread

Serrano, Andres

National Arts Journalism Program

331p first edition with dustjacket, signed by the author to half title, large format (29x34cm) innovatively and lavishly illustrated with photographs, graphic design, pop-ups, transparencies, moveable plates, fold-outs, inserts, die-cuts etc, dustjacket very well preserved, front hinge cracked, binding otherwise holding well, a rather well used copy, some of the more fragile moveables are damaged, poster missing although acetates are present

I Want to Spend the Rest of My Life Everywhere, With Everyone, One to One, Always, Forever, Now

see notes for publisher info

I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Alway s, Forever, Now

The Monacelli Press

su-per-no-va: n., pl. A rare celestial phenomenon involving the explosion of most of the material in a star, resulting in an extremely bright, short-lived object that emits vast amounts of energy. Given the massive shift in the West's cultural sensibility in the wake of the 9/11 attacks and the current global political situation, the 1990s and its over-the-top, anything-goes art scene suddenly appear much more historical than contemporary. If we really are at the turning point that we seem to be, then we've arrived at a particularly opportune moment for reconsideration, for assessing the legacy of the decade after the frenzy has subsided. Supernova brings together a number of curators and critics--each of whom was actively involved in constructing the 1990s art discourse--to step back and consider what trans-identity, broad-based thematic trends can now be identified as emblematic of, or seminal to, the decade. The Kent and Vicki Logan collection of contemporary art offers a compelling and visually alluring vehicle to consider such issues, as these ambitious collectors were firmly planted at the center of the scene--acquiring some of the most challenging and iconic art of the period, including works by Young British Artists (YBAs), Asian practitioners and a diverse array of influential women artmakers. In Supernova, reproductions of these artists' works are dispersed among contributors' essays, which explore such themes as beauty and the abject, iconoclasm and the role of social activism in art.

Supernova: Art of the 1990s From the Logan Collection

Benezra, Neal

Gober, Robert

Murakami, Takashi

Gonzalez-Torres, Felix

Siegel, Katy

Zhang, Huan

Antoni, Janine

Currin, John

Yuskavage, Lisa

Fritsch, Katharina

Grynzstejn, Madeleine

D.A.P./San Francisco Museum of Modern Art

Following Damien Hirst's Biennale Grand Prize, which he was awarded in 2001 for The Last Supper prints, Ljubljana International Biennale of Graphic Arts invited the artist to produce an entirely new show for their 25th Biennale in 2003. In response, Hirst exhibited his first ever exhibition of drawings which, spanning his career, consisted of approximately 100 pieces. Many were sourced from private and public collections and displayed the studious, preliminary and imaginative workings of the artist. A number of drawings dated form his early teenagehood, others were lent by close friends, who had been given personal drawings by the artist. Included in the exhibition were a number of preparatory sketches for later and larger works including paintings and sculptures. This publication reproduces over 300 drawings and is a fascinating and diverse insight into the artist's working mind and methods, it manages to convey his humour and integrity in the making process. In the words of Hugh Allan, "these drawings should be seen as the spirits or shadows of more robust 'living' things … Urgent to render and explanation, Hirst has the energy of a dying man desperate to tell us a truth; as the title of the show suggests, cradle and grave bracket what lies between."

From the Cradle to the Grave: Selected Drawings

Other Criteria

From the Cradle to the Grave presents a key selection of drawings and sketches produced by the famed English artist and provocateur Damien Hirst over the past 15 years. For Hirst, drawing is a way of maintaining the flow of imagination, and he does it constantly. Ranging from raw, impulsive sketches to detailed and well-thought-out drawings, these works allow us to explore the artist's preoccupations and passions and his fascination with the ambiguity at the heart of human experience: the confusing relations between art and life, life and death, image and reality, communion and isolation. The drawings are complemented by a selection of thumbnail photographs of finished sculptures and paintings. Accompanying essays by well-known writers Annuska Shani and A. A. Gill help the reader make connections between the drawings and Hirst's other works of art. Exquisitely produced using a six-color printing process, From the Cradle to the Grave illuminates how Hirst's compelling drawings were conceived and shows us the vitality behind their creation. This is a signed, limited edition. 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.

From the Cradle to the Grave (Signed Edition): Selected Drawings SIGNED EDITION

Booth-Clibborn Editions

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