Advertisement

Damien Hirst

BANK, Stop short-changing us. Popular culture is for idiots. We believe in ART., 1998, silkscreen on photocopy, 120 × 86 cm. Courtesy: BANK and MOT International, London and Brussels

British art and the 1990s

By Dan Fox
Clark Beaumont, Coexisting, 2013. Photograph: Jamie North/Kaldor Public Art Projects

Presented by Kaldor Public Art Projects, Sydney and curated by Klaus Biesenbach and Hans Ulrich Obrist, ‘13 Rooms’ focused on the body and ideas of performance as ‘living sculpture’

By Emily Cormack

Alison Bracker on the dilemmas of contemporary art conservation

A Thousand Years, 1990

In a survey show of the artist at Tate Modern, Hirst’s trademark repetitions soon become apparent

By Jennifer Higgie
Sir Edward Elgar, c.1900

The Cure, Damien Hirst and beyond: the evolution of the British cultural landscape

Ram Rahman, M.F. Husain Painting a Horse, Delhi, 1994. Courtesy: the artist.

The first India Art Summit prompted timely debates about artistic freedom on the subcontinent

By Robert Storr

Various Venues

By Jonathan Jones

South London Gallery, London, UK

By James Roberts

Stuart Morgan interviews Damien Hirst

By Stuart Morgan
  •