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Hirst's Psalm paintings allude to Gothic stained glass windows and the circular patterns of Buddhist mandalasThis beautifully illustrated book constitutes a comprehensive survey of Damien Hirst's Psalm paintings. The 150 works in the series are made up of iridescent butterfly wings and paint on canvas, which combine to form kaleidoscopic patterns reminiscent of Gothic stained glass windows. Dating from 2008, the paintings address some of Hirst's most enduring and important themes: beauty, art, belief, life and death. Each of the fully illustrated paintings is accompanied by the Old Testament prayer from which its title is derived, the text rendered on images of individually selected marble samples. Also included is a complete list of works, and essays by art writers Michael Bracewell and Amie Corry. In his essay, Bracewell writes: "The Psalm paintings can't help but bring together, in literal form, such fundamental concepts as beauty, and power over death through prayer and belief, while simultaneously seeming to propose solely their own--albeit spectacular--abstraction. As they take their place within the greater canon of Hirst's art, these paintings extend his fascination with natural history and the potentially synonymous relationships between life, death, art and 'beauty, ' and the language of Christian faith and religion." The Complete Psalm Paintings is an exquisite companion to one of Hirst's most beautiful series.Damien Hirst was born in Bristol in 1965. He first came to public attention in 1988 when he conceived and curated Freeze, an exhibition of his own work and that of his contemporaries staged in an abandoned London warehouse. Since then Hirst has become widely recognized as one of the most influential artists of his generation. Alongside over 80 solo exhibitions, he has worked on numerous curatorial projects. In 2008, Hirst took the unprecedented step of bypassing gallery involvement by selling 244 new works at a Sotheby's, London auction. He was awarded the Turner Prize in 1995 and received a major solo retrospective at Tate Modern, London. He lives in Devon, England.

Published on the occasion of Damien Hirst's exhibition at L&M Gallery, New York, October 2010, the first ever medicine cabinets book is contextualised by the artist's following of the punk movement. The first twelve sculptures in the book are named after the title tracks on the Sex Pistols' Never Mind the Bollocks album. The front page newspaper spreads punctuating the book from the album's release year (1977) and the year of the cabinets' completion (1989) provide a context for reading James Frey's story poem, Fuck This and Fuck That, which describes the listless protest of a teenage waster. The song titles and cabinet names - No Feelings, Liar and Seventeen - resound with the frustrations of Thatcherite Britain and the violence borne out in daily uprest and anarchy, as depicted in the news: IRA MEN HELD IN BIG SWOOP; RIOT SHIELDS OUT AGAIN and DOCKS JOBS-FOR-LIFE TO BE AXED BY AUTUMN. Hirst's medicine cabinets have long been described as temples of medicinal hierarchies providing nothing more than a short-term cure in the face of death. Viewing the pervasive successes and exploitations of the pharmaceutical industry as a belief system in itself is evidence of our dependency and a form of escapism. Hirst has commented: 'I've always seen medicine cabinets as bodies, but also like a cityscape or civilization, with some sort of hierarchy within it. It's also like a contemporary museum of the Middle Ages. In a hundred years' time this will look like an old apothecary. A museum of something that's around today.'The publication features a radio broadcast interview between Damien Hirst and Steve Jones, the Sex Pistols' guitarist, covering music, girls, money, drugs, drinks and smokes. Thebook's index lists every medicine cabinet ever made and the exhibition itself will include original Sex Pistols memorabilia including album sleeves and t-shirts.

This catalog features more than 50 color plates of New York-based painter John Copeland's (born 1976) textured impasto paintings of female figures that veer between representation and abstraction.

"I want it to be revealing. I'll talk about anything you like. I want it to be truthful. Let's do it. There is no off-limits. I'm afraid of nothing." Immediately recognised as a young artist with a brilliant, sordid and uncompromising imagination, Damien Hirst is the most celebrated artist Britain has produced for generations. The undisputed leader and originator of the dominant movement in contemporary art on both sides of the Atlantic, he is now so ingrained in the public consciousness that even those with only a passing interest in art are familiar with his notorious shark and pickled sheep. Gordon Burn met Hirst for the first time nine years ago. Both admirers of David Sylvester's interviews with Francis Bacon and Jan Wenner's interviews with John Lennon, there was always an unspoken understanding between them that they would do something similar when the time was right. The resulting conversations in On the Way to Work are electrifyingly candid. True to the undertaking Hirst gave Burn, there is no off-limits: here are Hirst's thoughts on celebrity, money, art, alcohol, sex, death, the North of England, class, crime and cocaine; his views on Marco Pierre White, Charles Saatchi, David Bowie, Gilbert and George and Lucian Freud. Damien Hirst's art and life came to define the nineties. Like the generation Hirst has come to represent, On the Way to Work is brave, unpredictable, scabrously funny and corrosively intelligent. It is also a how-to guide to becoming the most famous artist in the world.

This catalog for British painter Rachel Howard's (born 1969) exhibition at Newport Street Gallery features 14 paintings drawing on the Stations of the Cross, with a study of media images of the torture of Iraqi detainee Ali Shallal al-Qaisi by US soldiers in 2003.

In 2014, Damien Hirst (born 1965) unveiled a new series of paintings made up of vast numbers of surgical instruments that combine to form bird's-eye views of cities from around the world. With the Black Scalpel Cityscapes, Hirst investigates subjects pertaining to the sometimes-disquieting realities of modern life--surveillance, urbanization, globalization and the virtual nature of conflict--as well as those relating to the human condition in general, such as our inability to arrest physical decay. Described by the artist as "portraits of living cities," the series is illustrated in full and accompanied by a comprehensive list of artwork details in this signed limited edition, which features a black zipper down the spine. The volume also includes an essay by Jerry Brotton, author of A History of the World in Twelve Maps, and a fictional short story by novelist and arts writer Michael Bracewell.

This artist's book is a mixture of recipes and ideas embellished with illustrations and photographs. The recipes are by British artist Sue Webster (born 1966), better known as one half of an artist duo with Tim Noble; the illustrations are by both artists. The recipes came as a result of the artists' move to Folly Acres in the British countryside--an organic farm complete with vegetable garden, chickens and wild woodland. Webster had never cooked before but felt compelled to try her hand. "As I executed each idea I would ... record each dish on my iPhone. Sometimes I got bored of the edible dish and would photograph the garbage in the bin ... sometimes I would also sketch them out--so the book is a combination of recipes and ideas typed on an old German typewriter (until it finally exploded), drawings and crazy photographs."

Published to accompany the exhibition at the Serpentine Gallery, London in November 2006, In the darkest hour there may be light provides a revealing and concise overview of Damien Hirst's murderme collection to date. As Julia Peyton-Jones puts it in the Director's Foreword to this beautifully produced catalogue, "Damien Hirst's groundbreaking and controversial work has made him one of the world's best-known living artists. From the start of his career, Hirst adopted the role of curator, organising a series of exhibitions with a group of young artists who would come to define cutting-edge art in the 1990s." Hirst has continually bought and collected works by artists who have inspired and influenced him, such as Francis Bacon, Andy Warhol and Richard Prince, by artists from his own generation such as Sarah Lucas, Angus Fairhurst and Marcus Harvey, and by those at the early stages of their careers such as Rachel Howard, Nicholas Lumb and Tom Ormond. Accompanying the 75 excellent full-color plates of works by the 24 artists exhibited in the show is a humorous but poignant essay by artist and writer Harland Miller reflecting on the idea of collecting from childhood, how obsessive it is, and what a collection is to a collector and to those who see a collection. But it is the interview between Hirst and Hans Ulrich Obrist that gives a direct insight into the motivation and reason behind the murderme collection, and how it relates to Hirst the artist and Hirst the curator. Completed over three months during the summer of 2006, this interview discusses everything from his most famous works, his drawings, influences, practice and attitude towards art, to new projects such as Toddington Manor and the Newport Street Gallery. In many respects 'In the darkest hour there may be light' is perhaps the most comprehensive and intriguing project Hirst has done yet: "Collecting is the way the world works, as a human being. As you go through life, you just collect ... I always think collections are like a map of a man's life."

Catalog of an exhibition held Jan. 18-March 19, 2011 at the Gagosian Gallery, Hong Kong.

In a lively reinterpretation from an interview transcript, Serpentine Gallery Co-Director, Hans Ulrich Obrist's conversation with Ashley Bickerton is remodelled as a graphic novel set in the red light district of an anonymous Eastern metropolis. Originally conducted in the Groucho Club, Obrist is portrayed as a fictional character, the pair are seen conversing in bars and moving through colourful streets and strip clubs as they discuss Bickerton's early ambitions to be a writer, his passion for surfing, island life and dialects of the English language, amongst a host of other interests and influences. An extensive anecdotal discussion and narrative leads the reader through the artist's varied life.

Siren is a collection of black-and-white photographs taken by Johnnie Shand Kydd between 2000-2008 of Naples, seductively known as the Siren City. Though located in one of the most sublime settings in the world, it's still a city that has been at worst abused and at best neglected over the years that followed the unification of Italy in 1860. There is much of beauty and Shand Kydd undoubtedly captures the light, vivacity and carnality of Naples as well as the darker side and paganism so inherent here. Every street and piazza is a stage. Soldiers strike a pose and old ladies reach for their fans with an odd mixture of pride and innocence. His photographs retain that 19th century whiff of the magical. It would be easy to paint too bleak an image of Naples but he captures much hilarity, expressing a unique coupling of grief and humour. The book is edited by Mark Holborn.

His striking foreign beauty, his carved Moorish features, his black hair and olive skin, made him seem as though plucked from some wild fantasy... In Yassin, Itai Doron follows the eponymous hand- balancing acrobat from trailer park to circus tent, in this bewitching collection of photographs. Blending death-defying masculinity with innocence and sensitivity, Doron captures a fleeting, mesmeric summer in the life of the Moroccan boy wonder.Included in the volume is a foreword by the artist, alongside text by acclaimed photographer Joseph Szabo.

Other Criteria presents the book produced for Damien Hirst's first show in Mexico, 'The Death of God - Towards a Better Understanding of a Life Without God Aboard the Ship of Fools'. Containing 69 full colour reproductions of all the works in the show, the catalogue also includes an interview with the gallery owner, Hilario Galguera, on the nature of Hirst's current work and its exploration of religion as a continuing theme. Hirst's earlier poems, The Cancer Chronicles, are reproduced within the catalogue alongside light micrographs of nineteen different kinds of cancer cells. With three-colour foil blocked cover and real metallic gold printed throughout, the catalogue also contains a fold- out detail of the work 'In the Name of the Father'. All text appears in both English and Spanish and there are two covers available - a Spanish and an English version - with identical interiors. This book is a must have for everyone interested in Hirst's work.

Vintage pornographic photography from the collection of Danny MoynihanPrivate Collection is a unique and fascinating publication of over 250 pornographic photographs from Danny Moynihan's personal collection, including images made by some of the earliest erotic photographers, right up to the 1940s. This publication visually documents attitudes about sex and pornography, and by so doing shows how they were developed alongside a 'correct' social and cultural behavioural code of restraint, particularly with regard to sexual intercourse and role-play. By providing a historical overview of nudity and sex in photography, the book offers an intriguing insight into the way pornography was made alongside the development of photography. Private Collection includes an extremely readable and informative essay by Cressida Connolly which discusses pornography from an historical perspective, the way the sex industry was used in the 19th century, and how this affected the production, function and availability of pornography: "There were no rules. It is the revolutionary newness of these images which makes them as exciting as their subjects."

Published to accompany the exhibition held at Newport Street Gallery, London, 7th October 2020-7th March 2021.

Published to accompany an exhibition of the same name held at Newport Street Gallery from 11 September to 10 November 2019.

Cradle of Magic brings together two giants of 20th-century British painting: John Bellany and Alan Davie Alan Davie (1920-2014) was one of the first British artists to explore abstract expressionist forms and techniques, and his gestural paintings, rich with symbolism, demonstrate an interest in tribal art, as well as Zen Buddhism. John Bellany (1942-2013), over a long and prolific career, came to be considered one of Britain's foremost figurative painters. His intimate works, often filled with ghoulish, hybridized creatures, balance the uncanny, joyful and violent in powerful and original ways. The book comes with two different covers--one by each artist--and includes an essay by the acclaimed art historian Mel Gooding exploring the connections between the artists and the themes underpinning their paintings. Also included are two newly transcribed interviews with the artists recorded as part of the Artists' Lives oral history project at the British Library.

Three emerging painters exploring the possibilities of colorTrue Colours brings together the work of three emerging artists: Helen Beard (born 1971), Sadie Laska (born 1974) and Boo Saville (born 1980). Despite using paint in very different ways, the artists all share an interest in exploring the possibilities of color. Beard uses a vivid rainbow palette to create interlocking arrangements of bright primary color, which combine to describe explicit sexual encounters. Laska creates dreamlike compositions using paint and collage, evoking a rebellious post-pop aesthetic. Saville applies over 40 layers of paint to produce extraordinary large-scale abstracts, made up of flawlessly gradating shades. This fully illustrated book is available with three different cover designs and includes interviews with the artists by Polly Borland, Rachel Howard and Lizzi Bougatsos, plus essays by Michael Bracewell, Freire Barnes and Amie Corry, exploring the artists' work within the broader context of the philosophy of color.

American artist Dan Colen (1979) emerged onto the New York art scene in the early 2000s alongside artists such as Dash Snow and Ryan McGinley. Drawing on graffiti and vernacular culture as artistic influences in his paintings and installations, and living legendarily hard, Colen was described by The Guardian as the "bad boy of post-pop New York." Brilliantly witty, shocking, poignant and nihilistic, Colen's art presents a portrait of contemporary America and is, in part, an investigation into the act of producing and looking at art.Dan Colen: Sweet Liberty, published to accompany Colen's solo exhibition at Newport Street Gallery in London, spans 15 years of the artist's career, including new works, and includes large-scale installation images of the exhibition. The book features a foreword by Damien Hirst and an essay by curator Annie Godfrey Larmon.

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.

Hirst began his collection in the late 1980s by exchanging his own works with those of his contemporaries and artist friends. It has grown to include works by many international artists of earlier generations: not only postwar masters like Bacon and Giacometti, but also pivotal figures in the history of twentieth-century art, such as Richard Hamilton, Mario Merz, Bruce Nauman, Richard Prince and Kurt Schwitters. Two themes recur frequently in this selection--memento mori and the animal kingdom--and together they are capable of communicating the spirit of the entire collection, combining masterpieces of contemporary art with fascinating specimens from the natural world. An independent curator, author and art advisor, Geuna has contributed a perceptive essay on the scope and nature of this collection as well as a penetrating interview with Damien Hirst. Another essay by Mario Codognato (writer, and curator at BlainSouthern) explores Hirst's dual role as artist/collector, and analyses his considerable influence, both on his contemporaries and on younger artists whose work is still developing. Accompanying stunning colour plates of all the works in the exhibition, there are also brief biographies of the artists involved.