Other Criteria | Damien Hirst | Marc Jacobs

Other Criteria has released a Limited Edition t-shirt in collaboration with Damien Hirst and Marc Jacobs. The t-shirt features the Artwork of
Damien Hirst’s unique representation of Mickey Mouse, using his
trademark spots to interpret one of Disney’s most loved characters.

All proceeds will be donated to Kids Company.

Get them while you can: https://othercriteria.com/browse/marc-jacobs

Magnificent Obsessions: The Artist as Collector |Barbican

12 Feb – 25 May 2015

The Barbican, London

This is the first major exhibition in the UK to present the fascinating personal collections of post-war and contemporary artists. Ranging from
mass-produced memorabilia and popular collectibles to one-of-a-kind
curiosities, rare artefacts and specimens, these collections provide
insight into the inspirations, influences, motives and obsessions of

While some artists are connoisseurs, others accumulate
hoards of objects, never letting anything go. Many live with and make
direct use of their collections and others keep them under wraps or in
storage. Collecting objects for research and study is key to the
practice of many artists in the exhibition. Presented alongside examples
of their work, their collections, in turn, help to elucidate their art.

Featured artists

  • Arman
  • Peter Blake
  • Hanne Darboven
  • Edmund de Waal
  • Damien Hirst
  • Howard Hodgkin
  • Dr Lakra
  • Sol LeWitt
  • Martin Parr
  • Jim Shaw
  • Hiroshi Sugimoto
  • Andy Warhol
  • Pae White
  • Martin Wong/Danh Vo

( http://www.barbican.org.uk/artgallery/event-detail.asp?ID=17071 )

Jealous Print Studio take over Cock ‘n’ Bull Gallery

Shoreditch, London | 16 January – 28 February 2015

Fantastic selection of art? Check.  Private view with live do-it-yourself printing? Check.  Art gallery in the basement of a Mark Hix restaurant that has a gigantic Damien Hirst formaldehyde sculpture of a cow and a cock? Check.

Exhibition on now, runs until 28th February 2015.


Dario and I were introduced at the beginning of this year by our mutual friend and one of my favourite artists, Charming Baker. It became obvious that a collaborative exhibition was on the cards and what better way to kick off 2015?

I went to see Jealous Print Studio around the corner from CNB Gallery where I walked up the windy staircase to one of the most vibrant and energetic working spaces I’ve seen. The whole life and soul of Shoreditch seemed concentrated and compressed into this space. I can’t wait to bring an element of what they’re doing up in the Jealous Towers to our subterranean art space.

Rebecca Lidert

After a chance meeting, and discovering a mutual passion in supporting emerging artists, screen printing and having a good time, Jealous and CNB Gallery are delighted to be working together for the first time in January. The show is an opportunity to showcase the best and latest editions produced in our East London Print Studios at one of East London’s most vibrant spaces.

With live printing at the opening party, a print launch or two, exclusives and the opportunity to run workshops with the local community and children this will hopefully mark the beginning of a very exciting partnership and , oh yes, good fun.

Dario Illari

The relationship between Jealous Gallery and CNB Gallery has been forged through a love and enthusiasm for supporting emerging artists and breaking down the conventions of traditional gallery experiences. Throughout the exhibition, a printing press will be set up in CNB Gallery, where, on the opening night, Jealous will invite members of the public to help demonstrate the art of screen printing. Jealous will also be inviting a local school to print in the gallery with Master Printer, Matthew Rich. Matthew will be introducing the young minds of the future to screen printing and helping them to produce their very own print to take away with them.

Jealous has worked with contemporary Bristish artist Dave White to produce his limited edition screenprints throughout 2014, with an exclusive print launch for the exhibition. After the sell-out edition ‘Eagle – Diamond Dust’, White has re-imagined the luxuriously beautiful eagle. The limited edition of only 5 prints will feature hand applied diamond dust and 24-carat gold leaf and will be exclusively launched at the opening. The exhibition will include an eclectic mix of screen printed works from Jealous Studio, including: Charming Baker, Kate Gibb, Russell Marshall, Rowan Newton, Magda Archer, Jess Wilson, Anthony Burrill, Adam Dix, Hayden Kays, Janet Milner, Joe Webb and many, many more!

http://cocknbullgallery.co.uk/portfolio/jealous-take-over-cnb-gallery/ )

Damien Hirst | Black Scalpel Cityscapes | White Cube São Paolo

Photo: Prudence Cumming Associates Ltd, Exhibition Photos: Eduardo Ortega

White Cube São Paolo’s Damien Hirst exhibition is on now, Black Scalpel Cityscapes.  


White Cube São Paolo is pleased to present an exhibition of new paintings by Damien Hirst. Described by the artist as ‘portraits of living cities’, the ‘Black Scalpel Cityscapes’ are made up of vast numbers of surgical instruments that combine to create bird’s-eye views of urbanised areas from around the world. With the series, Hirst investigates subjects pertaining to the sometimes-disquieting realities of modern life – surveillance, urbanisation, globalisation and the virtual nature of conflict – as well as elements relating to the universal human condition, such as our inability to arrest physical decay.

In the paintings, manmade features and natural elements such as buildings, rivers and roads are depicted in scalpels as well as razor blades, hooks, iron filings and safety-pins, all set against black backgrounds. For this exhibition, Hirst selected 17 cities, which are either sites of recent conflict, cities relating to the artist’s own life, or centres of economic, political or religious significance. The selection includes, amongst others, Washington, DC; Rome and the Vatican City; Leeds (where the artist grew up); Beijing; Moscow; New York; and London. Each city’s particular history is written into its geographical spread, showing how it has incrementally grown and developed over the years. The paintings bear witness to Hirst’s trademark technique of patterning, systematic repetition and grids, as used in earlier series including the ‘Spot Paintings’, ‘Colour Charts’, ‘Entomology Cabinets’ and the ‘Kaleidoscope Paintings’. This methodology is essentially an exercise in applying order to chaos, whilst acknowledging that order or control are often concepts that remain impossibly remote in life.

The ‘Black Scalpel Cityscapes’ make reference to the military procedure of ‘surgical bombing’ or ‘surgical strikes’, commonly used in modern warfare, which aims to limit collateral damage by targeting precise areas for destruction. The suggestion of a remote, digital conflict inevitably reduces the tragic and devastating realities of war. In a similarly misleading manner, the perspective of an aerial map minimises the life beneath it to a series of detached systems and patterns of collective existence; recalling the imagery used in the films Powers of Ten (1968, 1977) by Charles and Ray Eames, as well as the compressed, slow motion, time-lapse footage of US towns in Godfrey Reggio’s cult film Koyaanisqatsi (1982) – touchstones in the modern conception of urban living. Hirst’s paintings, therefore, make inevitable allusions to the all-seeing eye, that of surveillance tools such as Google Earth, now used by approximately half a billion people and whose roots are traceable to a 3D mapping application used by US military during the Iraq War.

Hirst has described the steel scalpels, which have recurred in his work since the early ‘90s, as ‘dark but at the same time light’, a reference to the visual appeal of the highly reflective, precision-tooled metal, and the universal fear of the surgeon’s knife. Playing on elements of wordplay surrounding ‘surgical strikes’, Hirst here uses them to dissect not only individual concerns over mortality, but the deep-rooted, society-wide anxieties over surveillance, the digitisation of warfare and the sense of a remote Orwellian order and its imposition on our individuality.

Damien Hirst was born in 1965 in Bristol, UK. He lives and works in London and Gloucestershire. Solo exhibitions include ‘Relics’, Al Riwaq: Museum of Islamic Art, Doha (2013); ‘Artists Rooms’, New Art Gallery, Walsall (2012); ‘Cornucopia’, The Oceanographic Museum of Monaco (2010); ‘No Love Lost’, The Wallace Collection, London (2009); ‘Requiem’, Pinchuk Art Centre, Kiev (2009); ‘For the Love of God’, Rijksmuseum, Amsterdam (2008); Astrup Fearnley Museet fur Moderne Kunst, Oslo (2005); Museum of Fine Arts, Boston (2005); and ‘The Agony and the Ecstasy’, Archaeological Museum, Naples (2004). An exhibition of the artist’s private collection, ‘Murderme’, was held at Serpentine Gallery, London in 2006 and in the Pinacoteca Agnelli in Turin, 2012. In 2012, Tate Modern, London held a major retrospective of Hirst’s work to coincide with the London 2012 Cultural Olympiad. He received the DAAD fellowship in Berlin in 1994 and won the Turner Prize in 1995. 

( http://whitecube.com/exhibitions/damien_hirst_black_scalpel_cityscapes_sao_paulo_2014/ )

Damien Hirst | Crucible2

‘Crucible2’ curated by  includes two  sculptures  

Damien Hirst | Schizophrenogenesis

Paul Stolper Gallery, London

New show “Schizophrenogenesis” from Damien opening 9 October-15 November gallery

Predominantly based upon the minimalist aesthetic of the medicinal pill, the works that will be on display at Paul Stolper in October act as a continuation of Hirst’s life-long investigation into our almost-spiritual relationship with the rigours of science and the pharmaceutical industry. He explains: “Pills are a brilliant little form, better than any minimalist art. They’re all designed to make you buy them… they come out of flowers, plants, things from the ground, and they make you feel good, you know, to just have a pill, to feel beauty.”

Included in the exhibition will be ‘The Cure’; a wall of thirty silkscreen prints, each depicting a two-colour pill set against vibrant backgrounds of pop-candy colours. Also on display will be a series of corresponding sculptural works; fourteen hugely enlarged resin pills, each measuring thirty centimetres long, as well as ten smaller pills, rendered in an array of seductive, immaculate colours. Sculptures of medicine bottles, pharmaceutical boxes, ampoules, syringes, a scalpel, and drug packaging that all play with concepts of scale – the tallest measuring nearly one and a half metres. The editions continue Hirst’s exploration of contemporary belief systems; religion, love, art and medicine.

Rachel Howard — & Vixen| Other Criteria

Damien Hirst’s have some fantastic Rachel Howard works available:

Damien Hirst | ‘Gone but not Forgotten’ (2014)

amfAR’s annual Cinema Against AIDS gala, to be held on Thursday 22nd May.

Brilliant new work ‘Gone but not Forgotten’ (2014) to be sold in aid of

In this major new work, Hirst presents the gilded skeleton of a three-metre tall woolly mammoth, in a colossal steel and glass vitrine.

The sculpture forms part of Hirst’s ‘Natural History’ series, which he began in the early 1990s, with work including the shark in formaldehyde, ‘The Physical Impossibility of Death in the Mind of Someone Living‘ (1991), and the bisected cow and calf, ‘Mother and Child (Divided)‘ (1993).

The unique piece was donated by the artist, to aid amfAR‘s work in the fight against AIDS. Founded in 1985, amfAR is dedicated to ending the global AIDS epidemic through innovate research. It has invested more than $388 million in its programs and has awarded more than 3,300 grants to research teams worldwide.

Held at the Hotel du Cap-Eden-Roc, Cinema Against Aids is one of the highlights of the Cannes Film Festival, attracting support from global stars such as Sharon Stone, Heidi Klum and Aishwarya Rai. Artwork by Andy Warhol, Robert Rauschenberg and Julien Schnabel have been auctioned at previous galas.

Simon de Pury, who will conduct the auction of ‘Gone but not Forgotten’, stated: “Damien Hirst’s contribution of a work of this magnitude to amfAR is noteworthy in both the art and philanthropic worlds. Hirst is an unparalleled figure in contemporary art, and this piece embodies themes that resonate with amfAR’s history and the new sense of possibility in the search for a cure for HIV/AIDS.

Hirst explained of the piece: “The mammoth comes from a time and place that we cannot ever fully understand. Despite its scientific reality, it has attained an almost mythical status and I wanted to play with these ideas of legend, history and science by gilding the skeleton and placing it within a monolithic gold tank. It’s such an absolute expression of mortality, but I’ve decorated it to the point where it’s become something else, I’ve pitched everything I can against death to create something more hopeful, it is Gone but not Forgotten.”

A timelapse film of the fabrication of the work can be seen below.


For more information, visit www.amfar.org


Celebrating the launch of our full website (www.artmattermagazine.com) today with the Damien Hirst installation from 1990, “1,000 Years”

A telling quote about the piece from painter Lucian Freud who told Hirst, ”I think you started with the final act, my dear.”