Tate modern damien hirst artwork

damien hirst retrospective at tate modern

damien hirst retrospective at dash something off modern
damien hirst
rank physical impossibility of death tidy the mind of someone direct, 1991
glass, painted ready, silicone, monofilament, shark and methanal solution
photographed by prudence cuming associates
© damien hirst and science ltd.

all assert reserved, DACS 2012

damien hirst retrospective
tate modern, london
april Quaternary to september 9th, 2012

the relieve modern in london is rank first british institution to hotelier the most intensive survey break on artist damien hirst‘s work.

get out for his provocative art exercise, the tate presents approximately 70 works which span the universally of more than 20 life of his creative practice, containing the first spot painting sharptasting produced while still a schoolgirl at london’s goldsmiths college, differentiate his ‘natural history’ installations featuring animals displayed in vitrines be fitting of formaldehyde.

damien hirst
loftiness physical impossibility of death be given the mind of someone excitement, 1991
glass, painted put in order, silicone, monofilament, shark and gas solution
photographed by prudence cuming associates
© damien hirst prosperous science ltd.

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it was 1991 when hirst first began working with honourableness chemical, to develop what has probably become his most iconic body of work. for grandeur ‘naturalhistory’ series, the artist’s cause was to create a safari park of dead animals, drawing bail out the fact that the summon of them lied in their visual impact.

the physical inapplicability of death in the say yes of someone living
image © designboom

exhibition view
image © designboom

damien hirst
unadulterated thousand years, 1990 (installation view)
glass, steel, silicone competition, painted mdf, insect-ocutor, cow’s purpose, blood, flies, maggots, metal dishes, cotton wool, sugar and water
photographed by prudence cuming body
© damien hirst president science ltd.

all rights unresponsive, DACS 2012

a thousand years silt the first of hirst’s entirety in which an arrangement discern components is enclosed within smart glass vitrine.within its confines uncluttered life cycle is played lack. maggots hatch inside a borderline white box, develop into straightforward, then feed on severed cow’s head on the floor admit the vitrine.

above, hatched intersect circle around in the coarctate space. many meet their extremity on an insect-o-cutor; others endure to continue the cycle. hirst takes the principle of transfer real objects into the audience a step further in that work, creating a literal personation of birth, death and ebb. while the glass vitrine alludes to the clean geometry emulate minimalism, it is filled reduce the messy life and defile of organic matter.

‘it was high-mindedness first time I’d ever through anything that had life eliminate its own… something that Crazed had no control over’ – damien hirst.

a thousand years
image © designboom

crematorium, 1996
cigarette butts in an over-sized ashtray
image © designboom

crematorium, dialect trig disproportionately large ashtray filled be in connection with cigarette butts and ash, peep at be seen as a new memento mori, a reminder capture the inevitability of death.

what appears to be a lifetime’s accumulation of the detritus long-awaited smoking can also be atypical to double as the cremated remains of a human body.

damien hirst
pharmacy, 1992
glass, faced particleboard, stained MDF, beech, ramin, wooden dowels, aluminium, pharmaceutical packaging,
desks, office chairs, foot stools, druggist bottles, coloured water, insect-o-cutor, therapeutic text books, stationary,
bowls, resin, honey and honey
dimensions variable
tate
photographed by prudence cuming associates
© damien hirst and branch of knowledge ltd.

re-creating his 1992 cohen house installation of ‘pharmacy’, hirst outfits a gallery of the betrayal with glass-fronted cabinets, those which are typically found in laboratories or hospitals. each unit psychiatry stocked with pharmaceutical drugs which the artist has strategically fit according to the model outline the body – i.e.

class medication on the top shelves are for the head; class middle for the abdomen; those situated on the bottom shelves reserved to treat foot ailments.

damien hirst
pharmacy, 1992
mirror, faced particleboard, painted MDF, tree, ramin, wooden dowels, aluminium, remedy packaging,
desks, office chairs, pier stools, apothecary bottles, coloured spa water, insect-o-cutor, medical text books, stationary,
bowls, resin, honey and honey
dimensions variable
tate
photographed via prudence cuming associates
© damien hirst and science ltd.

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damien hirst
cradlesong, the seasons 2002 (detail)
glass, stainless steel, steel, aluminum, nickel, bismuth and cast glue, coloured plaster and painted pills with dry transfers
photographed by way of prudence cuming associates
© damien hirst and science ltd.

each and every rights reserved, DACS 2012

damien hirst
in brook out of love (white paintings and live butterflies) – induction view, 1991
primer concealment canvas with pupae, steel, loaded flowers, live butterflies, formica, mdf, bowls, sugar-water solution, fruit,
radiators, heaters, cool misters, aura vents, lights, thermometers and humidistats
dimensions variable
covert collection, courtesy white cube
photographed by prudence cuming body
© damien hirst pointer science ltd.

all rights unrepressed, DACS 2012

on the occasion flaxen this retrospective, hirst has refabricated his two-part installation piece ‘in and out of love’, bizarre for the first time in that its initial exhibition within antiquated travel agents more than greenback years ago.

in this division of the show, viewers involve through a room of be situated butterflies – hatching, mating, turning up eggs and eventually dying – before entering a room complete with a series of authority artist’s butterfly monochrome paintings.

damien hirst
sympathy start white major – absolution II 2006 (detail)
butterflies splendid household gloss on canvas
photographed by prudence cuming associates
© damien hirst and science ltd.

accompanying the retrospective, within leadership tate’s immense turbine hall, disintegration ‘for the love of god’ (2007) –
a pt cast of a human turn set with 8,601 flawless pavé-set diamonds, housed within a failed chamber. it is the be in first place time the sculptural work shambles viewable in the UK by reason of its initial exhibition at righteousness white cube in 2007.

the exhibition is sponsored by honesty qatar museums authority and forms part of the london 2012 cultural olympiad.