![Damien Hirst, Zirconyl Chloride, 2003
I was always a colorist, I’ve always had a phenomenal love of color… I mean, I just move color around on its own. So that’s where the spot paintings came from—to create that structure to do those colors, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of color. —Damien Hirst
Gagosian Gallery is pleased to present “The Complete Spot Paintings 1986–2011” by Damien Hirst.
The exhibition will take place at once across all of Gagosian Gallery’s eleven locations in New York, London, Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong, opening worldwide on January 12, 2012. Most of the paintings are being lent by private individuals and public institutions, more than 150 different lenders from twenty countries. Conceived as a single exhibition in multiple locations, “The Complete Spot Paintings 1986–2011” makes use of this demographic fact to determine the content of each exhibition according to locality.
Included in the exhibition are more than 300 paintings, from the first spot on board that Hirst created in 1986; to the smallest spot painting comprising half a spot and measuring 1 x 1/2 inch (1996); to a monumental work comprising only four spots, each 60 inches in diameter; and up to the most recent spot painting completed in 2011 containing 25,781 spots that are each 1 millimeter in diameter, with no single color ever repeated.
In conjunction with the exhibition will be the publication of The Complete Spot Paintings 1986–2011, a fully illustrated, comprehensive and definitive catalogue of all spot paintings made by Hirst from 1986 to the present. Published by Gagosian Gallery and Other Criteria, The Complete Spot Paintings 1986–2011 includes essays by Museum of Modern Art curator Ann Temkin, cultural critic Michael Bracewell, and art historian Robert Pincus-Witten as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari.
The third issue of the Gagosian App for iPad will also launch January, providing an interactive, in-depth look at the series that features more than ninety spot paintings.
“Damien Hirst: The Complete Spot Paintings 1986–2011” precedes the first major museum retrospective of Hirst’s work opening at Tate Modern in London in April, 2012. [GAGOSIAN]](http://25.media.tumblr.com/tumblr_ly17hmLisz1qa7jklo1_1280.jpg)
Damien Hirst, Zirconyl Chloride, 2003
I was always a colorist, I’ve always had a phenomenal love of color… I mean, I just move color around on its own. So that’s where the spot paintings came from—to create that structure to do those colors, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of color. —Damien Hirst
Gagosian Gallery is pleased to present “The Complete Spot Paintings 1986–2011” by Damien Hirst.
The exhibition will take place at once across all of Gagosian Gallery’s eleven locations in New York, London, Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong, opening worldwide on January 12, 2012. Most of the paintings are being lent by private individuals and public institutions, more than 150 different lenders from twenty countries. Conceived as a single exhibition in multiple locations, “The Complete Spot Paintings 1986–2011” makes use of this demographic fact to determine the content of each exhibition according to locality.
Included in the exhibition are more than 300 paintings, from the first spot on board that Hirst created in 1986; to the smallest spot painting comprising half a spot and measuring 1 x 1/2 inch (1996); to a monumental work comprising only four spots, each 60 inches in diameter; and up to the most recent spot painting completed in 2011 containing 25,781 spots that are each 1 millimeter in diameter, with no single color ever repeated.
In conjunction with the exhibition will be the publication of The Complete Spot Paintings 1986–2011, a fully illustrated, comprehensive and definitive catalogue of all spot paintings made by Hirst from 1986 to the present. Published by Gagosian Gallery and Other Criteria, The Complete Spot Paintings 1986–2011 includes essays by Museum of Modern Art curator Ann Temkin, cultural critic Michael Bracewell, and art historian Robert Pincus-Witten as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari.
The third issue of the Gagosian App for iPad will also launch January, providing an interactive, in-depth look at the series that features more than ninety spot paintings.
“Damien Hirst: The Complete Spot Paintings 1986–2011” precedes the first major museum retrospective of Hirst’s work opening at Tate Modern in London in April, 2012. [GAGOSIAN]
![Krystopher Sapp, When a Good Man Goes to War
Krystopher Sapp has had a lifetime fascination with the machines of war. In his latest series of assemblage and sculpture, Sapp has gone to great lengths to acquire rare and powerful antique weapons, changing them from tools of death into elegant works of art and enhancing the natural beauty of objects created with heinous intent. While his chosen medium and aesthetic are reminiscent of his contemporary, Kris Kuksi, Sapp’s work has far more in common with that of Al Farrow, who also uses actual ammunition to build statements on the dichotemy of design versus purpose. And unlike either of them, Krys Sapp is entirely self-taught.
When A Good Man Goes to War contain pieces constructed from the parts of a real Springfield rifle, a Russian PPS submachinegun, a .44 calibre handgun, a grenade launcher, helmets and an actual pipe organ –for in the theater of war, it’s only fiting that there be musical instruments to provide a theme for battle. [LA LUZ DE JESUS]
January 6-29, 2001La Luz de Jesus4633 Hollywood Blvd.Los Angeles, CA 90027](http://24.media.tumblr.com/tumblr_lxlk7rzFKp1qa7jklo1_1280.jpg)
Krystopher Sapp, When a Good Man Goes to War
Krystopher Sapp has had a lifetime fascination with the machines of war. In his latest series of assemblage and sculpture, Sapp has gone to great lengths to acquire rare and powerful antique weapons, changing them from tools of death into elegant works of art and enhancing the natural beauty of objects created with heinous intent. While his chosen medium and aesthetic are reminiscent of his contemporary, Kris Kuksi, Sapp’s work has far more in common with that of Al Farrow, who also uses actual ammunition to build statements on the dichotemy of design versus purpose. And unlike either of them, Krys Sapp is entirely self-taught.
When A Good Man Goes to War contain pieces constructed from the parts of a real Springfield rifle, a Russian PPS submachinegun, a .44 calibre handgun, a grenade launcher, helmets and an actual pipe organ –for in the theater of war, it’s only fiting that there be musical instruments to provide a theme for battle. [LA LUZ DE JESUS]
January 6-29, 2001
La Luz de Jesus
4633 Hollywood Blvd.
Los Angeles, CA 90027
Andrea Mary Marshall: Toxic Women
Susi Kenna and Allegra LaViola Gallery are pleased to present the inaugural solo exhibition of Andrea Mary Marshall entitled, Toxic Women. Through a series of provocative self-portraits rendered as paintings, photographs, and film, Marshall examines the intersection of identity, female sexuality, and consumer culture in the context of the “ideal woman.”
“A Woman is a beast. She is as lovely as she is repulsive. She is one part demon and one part goddess…one part slave, one part muse…one part child and one part mother…these contradictions are what make a woman so intoxicating.” – Andrea Mary Marshall
Toxic Women is a narrative collection of work that looks at the implications of trying to live up to the cultural figment of the “ideal woman”. Through identity play that borders on performance, Marshall reinvents herself as highly developed characters meticulously crafted through the art of fashion, makeup, wigs, and props. For her series of “Vague Covers”, Marshall depicts the “toxic woman” as a dichotomy, born out of a pursuit of the ideal, simultaneously adored and rejected by society. There is the addict, the temptress, the woman with no boundaries, the self-saboteur, the perfectionist and the fame whore—archetypical toxic women Marshall has both encountered and embodied. Beginning with the “Vague Covers”, and carried out through the entire collection, the work explores the space where feelings for this toxic woman turn from infatuation to disgust, from attraction to repulsion.
“We all have our demons. We can’t move into the light unless we’re willing to look at our darkness.” – Andrea Mary Marshall
For her series of “Demon Paintings”, Marshall paints herself into contradictions and conflicts of identity that demonize the muse, melding religious iconography, sexuality, fashion and fetishism with a lexicon of repetitive motifs used throughout the artist’s practice. Against black-painted canvas, she renders herself as that historical fiction of female identity: one part Madonna, one part whore. She is a luminous Cicciolina-as-Christ-the-Shepherdess, or a masturbatory St. Theresa clad in Viktor and Rolf. These metaphorical self-portraits act as a two-way mirror, reflecting on Marshall’s own dual nature while judging herself from within a culture based on a constant comparison to the “ideal woman.”
While the work is mostly self-portraiture, it does not concern itself with communicating within a vacuum of the artist’s own experience, nor does it only have to do with women. Rather, it speaks to the larger grand narrative and opens up the space to ask the viewer, “What are your demons?”
Allegra LaViola Gallery
79 East Broadway
New York, NY 10002
