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Damien Hirst's first substantial survey exhibition will present 70 of his works, including The Physical Impossibility of Death in the Mind of Someone Living (the pickled shark), Mother and Child Divided (the bisected cow and calf) and A Thousand Years (the vitrine containing a cow's head and flies).
Damien Hirst, Sympathy in White Major - Absolution II, 2006
© Damien Hirst and Science Ltd. All rights reserved. DACS 2011. Photographed by Prudence Cuming Associates
Part of the Cultural Olympiad and sponsored by the Qatar Museums Authority, the show will also include cabinets full of pills, instruments and medical packaging, as well as paintings made throughout Hirst's career – from his spot, spin, butterfly and fly series – and two major installations: In and Out of Love and Pharmacy.
Away from the Flock also features and was ArtFunded in 2008 as part of the Artist Rooms collection. The work forms part of the artist's controversial Natural History collection and here Ann Gallagher, Head of Collections (British Art) and curator of the show explains the work in more detail:
Image 3 above: Damien Hirst, Beautiful, childish, expressive, tasteless, not art, over simplistic, throw away, kid's stuff, lacking integrity, rotating, nothing but visual candy, celebrating, sensational, inarguably beautiful painting (for over the sofa), 1996 © Damien Hirst and Science Ltd. All rights reserved. DACS 2011. Photographed by Prudence Cuming Associates
Venue details
Entry details
50% off with National Art Pass – £7 (standard entry is £14)
Sun –Thur, 10am – 6pm
Fri – Sat, 10am –10pm
Call 020 7887 8888 or visit Tate Modern's website
What the critics say
This retrospective feels honest, at least, in its incessant repetitions and candid self-exposure.
In many ways this is a difficult show, but I left it with a sense of Hirst as an artist whose moral stature can no longer be questioned.
A handful of things tell us how Hirst began, another handful the state of his imaginings in 2006-9
Damien Hirst has pulled off a brilliant Tate show that proves he's a master of design
Glibness and slickness are part of his intent, a constituent of the nastiness of his art