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Painting by Numbers (Red), 2001

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Damien Hirst

Painting by Numbers (Red), 2001


110(w) x 215(h) cm
43.31(w) x 84.65(h) inches
Show scale of piece
INFORMATION
Canvas, 90 enamel, 90 brushes and cardboard packaging

Edition of 175
NOT AVAILABLE
 
 
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Damien Hirst Biography

Since he first came into the public eye when he co-curated the controversial ‘Freeze’ exhibition of 1988, Damien Hirst has created and drawn attention to a generation of artists who became known as the Young British Artists, and played an important part in defining the Britart ‘movement’. From the controversy of Separated From The Flock (a lamb preserved in a glass tank, which was vandalized when included in the ‘Some Went Mad, Some Ran Away’ exhibition Hirst curated for the Serpentine Gallery in 1994), to the political storm surrounding the arrival of ‘Sensation’ in Brooklyn, his work has redefined international expectations of British art.

Hirst is also often credited with helping to refocus the London art world from West End Galleries to the industrial spaces of the city, following the success of ‘Freeze’, a Goldsmiths’ show he organised while he was a second year student at the college, which took place in a docklands warehouse.

The unavoidable element of Hirst’s work is its unblinking confrontation with death, mortality and the brevity of life, whether it is in the form of a 14-foot long tiger shark in a tank of formaldehyde, [The Physical Impossibility of Death in the Mind of Someone Living (1991)], or the beauty of a disused shop full of butterfly pupae hatching from white canvases, feeding on sugar syrup, mating, laying eggs and dying [In and Out of Love (1991)]. But there is another strategy where, through the titles he gives his work and the black humor of the artist, Hirst collapses the formal clarity of the work and its apparently melancholy message, and makes the viewer reconsider the ambivalent creativity that is at work. “I want to set up situations that make people try to find meaning. I don’t think my interpretations are important on a large scale”, he says. Though he has pointed out that in With Dead Head (1991), a photograph showing the youthful Hirst in a mortuary, smiling beside the head of a corpse, his expression betrays fear or nervousness rather than delight. Beyond the glass tank pieces of dead and often cut-open animals for which he is best known, Hirst’s work includes photography, a series of cabinet sculptures and painting. The paintings allow room for both random and methodical practice: the spin paintings are produced on a rotating, uncontrollable table, while the spot paintings are created with geometrical precision, in angst-free colours, and titled after pharmaceutical ingredients. But the relationship between sculptural and painterly practice is close for Hirst: ‘They’re an idea about the ultimate variety of paintings, or what you’d imagine a sculpture would look like under a microscope’.

His work has, almost more than any other artist of the 90s, become familiar via the media, particularly following his Turner Prize win in 1995, and it is a situation that, at least in some ways, he relishes and uses. Hirst has addressed the exchange in his own film-making, which confronts the relationship between art and advertising - his work frequently references billboards and TV commercials, even the slightly suicidal, mini-universe of cigarette smoking. He has directed a pop promo for Blur and Hanging Around, a film for the Hayward Gallery’s 1997 ‘Spellbound’ exhibition. Eyestorm now have available a special artist-designed edition of Robert Sabbag’s Snowblind. The book has a slipcase, thick glass mirrors for front and back covers, a fake metal credit card as a bookmark, and a rolled up $100 bill concealed within a well cut hole in the middle pages, around which the text flows. Hirst describes this edition as ‘an art object with a story running through it’. The story is Robert Sabbag’s 1976 cult classic Snowblind, which recounts the tale of Zachary Swan, a middle-aged advertising executive turned drug smuggler. It was the first book to take a look inside the cocaine trade, and was described by Hunter S Thompson as ‘a flat-out ball buster. It moves like a threshing machine with a fuel tank of ether.’ This limited edition is signed by Hirst, Sabbag, and Howard Marks, who wrote the introduction.


Read our article on Damien Hirst and 'Investing in Art' here
 
OTHER WORKS BY THIS ARTIST
Damien Hirst - Lysergic Acid Diethylamide (LSD)
Damien Hirst - Opium
Damien Hirst - Valium
Damien Hirst - Snowblind
 

Lysergic Acid Diethylamide (LSD)

Opium

Valium

Snowblind

Available from a private collection
Available from a private collection
Available from a private collection
 
NEWS ARTICLES
ABOUT THIS ARTIST
October 8th 2016
Our new ‘Art Trends’ page brings together a fantastic selection of sold-out Eyestorm editions now available for purchase from private collections. Our ‘Art Trends’ section, which also includes enlightening information such as where in different locations around the world Eyestorm works have been purchased - complete with an interactive map, how certain editions have increased in value since their release date, and which are the most popular artworks, based on those most purchased and those most regularly viewed and read about.
January 9th 2013
In 1998, Damien Hirst designed a special edition of Snowblind , Robert Sabbag’s 1976 cult fictional novel about the cocaine trade. Complete with printed slipcase, thick glass mirror cover, fake metal credit card bookmark, and real rolled up $100 bill concealed within a well cut hole in the middle pages, Hirst describes his version of the book as ‘an art object with a story running through it’.
December 2nd 2016
The artist is often referred to as a pioneer of the Young British Artists (YBAs); a movement which revolutionized the art scene in the late 80’s and 90’s with pieces that shocked, reeked and offended, at a time when collected fine art was typically polished and pristine.
September 3rd 2014
The first of our limited edition prints with Damien Hirst were released in 2000, and are still our most traded works to date. With a constant high demand for these key pieces, we’re on the lookout again for all four: Valium, Lysergic Acid Diethylamide (LSD), Opium and Beautiful, Galactic, Exploding Screenprint (Spin), so if you own one and are interested in selling it, please get in touch with Carys via email> or on +44 (0)845 643 2001.
RECENT NEWS ARTICLES
December 15th 2017
Exactly twenty years ago the Royal Academy opened a now infamous exhibition of British contemporary art titled ‘Sensation: Young British Artists from the Saatchi Collection’ - and a sensation it certainly was! An exhibition that triggered industry backlash, public criticism, and mass media attention, ‘Sensation’ also launched the exhibiting artists into the spotlight of the international art world.
December 8th 2017
Miami Basel opened its doors in 2002 following a postponed start in 2001. December was the chosen month as - the thinking went - the winter sun in Miami would draw in the shivering art collectors from the drizzly northern climes.
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DO YOU HAVE A DAMIEN HIRST TO SELL?
Valium
With two major exhibitions during the Venice Biennale, 2017 has been a year which has increased the awareness of Damien Hirst. With Hirst still actively releasing new print editions, many collectors focus on his earlier work from 2000 and before, such as Valium, Lysergic Acid Diethylamide (LSD), Opium, Beautiful, Galactic, Exploding Screenprint (Spin) and Painting-by-Numbers.

If you have one of the above prints that you are potentially interested in selling, please do get in touch with us via the Contact page, which you can find here.
 
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