Damien Hirst

Damien Hirst: No Sense Of Absolute Corruption
May 4-June 21, 1996

Damien Hirst’s work traverses extremes fromfin de siecle decadence to classical beauty, from the visceral to the conceptual. His work is always a celebration of life and derives from the exigencies of our time: death, decay and disease – often presented within the cool formalism of the glass vitrine or the white cube. Metaphors of pharmacology, media propaganda, and the estrangement from nature are communicated through both the form and content of the work. Influences range from Francis Bacon to English punk to 60’s Op-Art.

In this exhibition a wide range of Hirst’s work is presented in New York for the first time: an optical wall painting, a shifting, multi-paneled advertising billboard, spin paintings, and numerous ambitious works in sculpture. All of the works were created specifically for this exhibition and were installed by the artist.—text courtesy of Gagosian Gallery

The Problems with Relationships 1996

Tri-vision rotating billboard 10ft.8in. x 40ft.8in.
also: Party-Time 1995 (8ft.-diameter ashtray/butts)

Loving in a World of Desire 1996

MDF, steel, air blower, beach ball 98.5×98.5x32in.
background: Blue for Girls and Pink for Boys 1996
(household enamel paint on wall) dimensions variable

This little piggy went to market, this little piggy stayed at home 1996

Steel, GRP composites, glass, plexiglass, pig and formaldehyde

Some Comfort Gained from the Acceptance of the Inherent Lies in Everything 1996

Steel, glass, plexiglass, cows and formaldehyde
12 tanks; each tank 85×39,25x21in.

Some Comfort Gained from the Acceptance of the Inherent Lies in Everything 1996

and

Loving in a World of Desire 1996

If you are a big fan of Damien Hirst’s great works, do not forget to follow us on artseensoho.com to understand his art styles.

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