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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 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.

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.

Simulation/Skin is published to accompany the 2017 Newport Street Gallery exhibition Selected Works from the Murderme Collection. It features illustrations of 31 works by 28 artists from Damien Hirst's personal collection, selected by Hirst himself.

Simplified renderings of the iconic British artist's works: a coloring book for all agesDamien Hirst: Colouring Book features the British artist's most iconic works rendered as simple line drawings. Coloring fans of all ages can immerse themselves in themes and motifs found within some of the artist's most enduring series, including anatomical models, butterflies, medicine cabinets, spin paintings, color charts and kaleidoscope paintings. Featuring Hirst's most popular images, including "The Incomplete Truth," "Myth," "Loving in a World of Desire," "Hymn," "For the Love of God," "Benevolence" and more, the volume brings some of the most controversial and groundbreaking work of contemporary art to a witty coloring-book format.

Based on the minimal aesthetic of the medicinal pill, the Schizophrenogenesis series by Damien Hirst (born 1965) examines our almost spiritual faith in the rigors of science and the pharmaceutical industry. This volume includes all of the works from the series, including The Cure: 30 silkscreen prints, each depicting a two-color pill set against a vibrantly hued background. Also included in this volume are the corresponding sculptural works, reproductions of medicine bottles, pharmaceutical boxes, ampoules and syringes at various monstrous scales. These works continue Hirst's exploration of contemporary belief systems, which now rank medicine alongside religion, love and art. Hirst explains: "Pills are a brilliant little form, better than any Minimalist art. They're all designed to make you buy them ... they come out of flowers, plants, things from the ground, and they make you feel good, you know, to just have a pill, to feel beauty."

British artist Gavin Turk (born 1967) has been at the forefront of contemporary sculpture since the late '80s, with his painted bronzes, waxworks, recyclings of art-historical icons and imaginative use of trash. Throughout his career, Turk's sculptures have dealt with issues of authorship, authenticity and identity, working to demystify or parody the myth of the artist. This fully illustrated catalog is published for Turk's show at Damien Hirst's new London exhibition space, Newport Street Gallery. The volume spans the duration of the artist's career to date, featuring his most important pieces from his seminal blue-plaque work, "Cave," through his many signature-based artworks, egg sculptures and waxworks, to his more recent bronze casts of sleeping bags and trash bags. Featuring three gatefolds, it also includes essays by psychoanalyst and author Darian Leader and Nigerian poet and novelist Ben Okri, plus a conversation with Hirst.

Relics constitutes the new and largestever retrospective of Damien Hirst's work, including both iconic, and previously unseen artworks, spanning 27 years of the artistscareer. If you own one book on the work of this artist, this is the latest and most comprehensive. For the first time Hirst's two diamond skulls, "For the Love of God" (2007) and "For Heaven's Sake" (2008), are pictured together. Explaining, "art's about life and it can't really be about anything else ... there isn't anything else," Hirst's work investigates and challenges contemporary belief systems, anddissects the tensions and uncertainties at the heart of human experience.

The Visual Candy paintings were made between 1992 and 1994.The works showcase the ways in which Damien Hirst used the signifier of candy during the early 1990's, exploring questions of pure aesthetics. Hirst says they were created as a direct riposte to an art critic who had dismissed Hirst's Spot Paintings as "just visual candy.' Addressing the viewer on a deliberately emotionaland instinctive level, these works, abetted by their exuberant titles, among them Some Fun (1993) and Dippy Dappy Dabby (1993), set out to question the implication that aesthetically pleasing art is inherently insignificant.While ostensibly abstract, the paintings in fact depict medicinal pills, and can be seen as a stylised depiction of the psychological effects of happy, mood-enhancing drugs. Hirst once described how, "in every painting there is a subliminal sense of unease... the colours project so much joy it's hard to feel it, but it's there. The horror underlying everything," In this context, the Visual Candy paintings, despite their surface optimism, posses a disquieting undercurrent of tension and darkness - born from an awareness of the inevitable low that follows any high. Hirst once said that "art is about life - there isn't anything else.'