DAMIEN HIRST: BLOOD ON PAPER 15 April - 29 June 2008
'The Art of the Book', Victoria & Albert Museum
Two leather cabinets from 'New Religion', one in black leather, 'Jesus Christ', the other in white leather, 'Saint Philip', each containing sculptures by Damien Hirst will be exhibited in the V&A's forthcoming exhibition 'Blood on Paper: The Art of the Book'. This exhibition explores 'the ways in which the book has been treated by leading artists of today and the recent past.' Other artists in the exhibition include; Pablo Picasso, Henri Matisse, Georg Baselitz, Louise Bourgeois, Sol Lewitt, and Robert Rauschenberg. Curated by Rowan Watson of the V&A, and Elena Foster, founder of Ivory Press.
New Religion was published in 2005 by Paul Stolper and Other Criteria.
For more information see the V&A website www.vam.ac.uk

ART BRUSSELS 18 April - 20 April 2008
Stand number 1A - 07, Brussels Expo, Brussels, BE-1020
LONDON ORIGINAL PRINT FAIR 23 April - 27 April 2008
Royal Academy of Arts, Burlington Gardens, London, W1
PRINT BASEL 3 June - 8 June2008
Claraplatz, CH-Basel, Switzerland

SUSIE HAMILTON: TRIUMPH GALLERY, MOSCOW 3 July - 17 July 2008
Novokuznetskaya 40, 115054, Moscow, Russia
Susie Hamilton will have a major solo exhibition at the Triumph Gallery, Moscow this summer. This will be Susie's first exhibition in Russia and there will be an accompanying catalogue in both Russian and English. Recent exhibitions at Triumph have included Jake and Dinos Chapman and Damien Hirst.
GAVIN TURK, PETER BLAKE, PETER LIVERSIDGE 16 Feb 08 - 9 Aug 08
Works included in: Pop Art: Now and Then, Wolverhampton Art Gallery
Explores the relationships and connections between the Pop Art of the 1960s and contemporary art today.

PETER BLAKE: AN ALPHABET
The recent launch of Peter Blake's Alphabet has been extremely successful with much of the portfolio sold out. We still have some of the letters available so please email us with any enquiries info@paulstolper.com
The hardback book to accompany the portfolio is still available at £20 + p&p.
PETER BLAKE: LOVE
'Our Sweet Love' was included in the exhibition 'If Everybody Had an Ocean' a tribute to Brian Wilson, at Tate St. Ives and the Contemporary Art Museum, Bordeaux. Other works from the portfolio are currently on show at the The Brook Gallery, and The Wetpaint Gallery.

more info www.paulstolper.com

Theres an interview with Damien Hirst over at Art Info..

Damien, I was surprised that you’ve named this series after Philip Larkin poems. Does this mean you’re entering a more romantic phase in your work?

I did a load of medicine cabinets a long time ago and I named them after Sex Pistols songs. I suppose I must be getting old if I’m naming work after Philip Larkin poems. I don’t know. They’re quite religious-looking, and I think I was just trying to find a way to avoid the religiousness by saying they’re named after poems rather than naming them after churches or anything like that. I’m still coming to terms with my own religion.

Continues after the jump LINK

Art superstar Damien Hirst, famed for his pickled sharks and sheep, is taking his "New Religion" to church. With the skull of a child cast in silver and a heart pierced with syringes and razor blades, one of the most controversial artists is staging his provocative show next month at an Anglican church in London.

Hirst, who found international fame pickling animal carcasses, wants to highlight the conflict between religion and science with his "New Religion" show at All Hallows church.

"People tend to think of them as two very separate things — one cold and clinical, the other emotional and warm and loving. I wanted to leap over those boundaries," he said in a statement on Wednesday announcing the forthcoming exhibition. via Reuters live!

An exhibition of Damien Hirst's private collection shows just how infuriating and inspirational he is, says Richard Dorment

When someone once asked Andy Warhol why he had papered a large gallery at the Whitney Museum with garishly coloured wallpaper patterned with the head of a cow, he replied that he wanted New Yorkers to be able to stand at the entrance to the show, look into the gallery, and be able to say truthfully that they'd seen the Warhol exhibition. The same could (almost) be said about the Serpentine's show of Damien Hirst's private collection

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