Yale Center for British Art

Creator:
Damien Hirst, born 1965, British
Title:
In and Out of Love (Butterfly Paintings and Ashtrays)
Date:
1991
Materials & Techniques:
Eight paintings, household paint on canvas with butterflies; four boxes; one table, formica top on steel base; four glass ashtrays filled with cigarette butts
Dimensions:
60 × 60 inches (152.4 × 152.4 cm)
Credit Line:
Yale Center for British Art, Paul Mellon Fund
Copyright Status:
© The Artist
Accession Number:
B1997.2
Classification:
Sculptures
Collection:
Paintings and Sculpture
Subject Terms:
abstract art | boxes | butterflies | love | installation | ashtray | table | cigarettes
Currently On View:
Not on view
Exhibition History:
Love, Life, Death, and Desire: An Installation of the Center's Collections (Yale Center for British Art, 2020-10-01 - 2021-02-28)

Damien Hirst (Tate Modern, 2012-04-05 - 2012-09-09)

Revisiting Traditions [BAC 20th century painting & sculpture] (Yale Center for British Art, 2002-04-30 - 2005-05-18)

Public Offerings (The Museum of Contemporary Art and The Geffen Contemporary, 2001-04-01 - 2001-07-29)

20th Century Paintings and Sculpture (Yale Center for British Art, 2000-01-27 - 2000-04-30)
Publications:
Giovanni Aloi, The Death of the Animal, Journal of Visual Art Practice, vol. 9, 2010, p. 64, available online via Art & Architecture Source

Jack Bankowsky, Damien Hirst, Artforum International, vol. 50, Summer 2012, pp. 304-305, N1 +A814 Oversize (YCBA)

David Bowie, (s)Now, Modern Painters, vol. 9, Summer 1996, p. 38, ND468 +MS7 (YCBA)

David Bowie, (s)Now, Modern Painters, vol. 9, Summer 1996, p. 38, available online via Art & Architecture Source

Craig Brown, A-Z of How to Be a Significant Artist, Modern Painters, vol. 8, Spring 1995, p. 48, ND468 +MS7 Oversize (YCBA)

Craig Brown, A-Z of How to Be a Significant Artist, Modern Painters, vol. 8, Spring 1995, p. 48, available online via Art & Architecture Source

Gordon Burn, Damien Hirst, Parkett, June 1994, pp.59, 61,65, N1 A1 P37 (HAAS)

Johanna Burton, British Installation of the '90s (Self-Deprecating Strategies), Art Criticism, vol. 15, 1999, pp. 14-20, Available online: EBSCOhost, Art Full Text database

Johanna Burton, British Installation of the '90s (Self-Deprecating Strategies), Art Criticism, vol. 15, 1999, pp. 14-20, N7475 A79 (HAAS)

Robert Cahalmers, Damien, The Observer (1901-2003), London, May 28, 1995, p. 114, available online via ProQuest

Christie's Sale Catalogue : Christie's Contemporary : 18 December 1999, Christie's, London, December 18, 1999, p. 115, Lot 11, Auction Catalogues (YCBA)

Lynne Cooke, Public Offerings. Los Angeles, Burlington Magazine, vol. 143, July 2001, pp. 458-459, N1 +B87 Oversize (YCBA)

Lynne Cooke, Public Offerings. Los Angeles, Burlington Magazine, vol. 143, July 2001, pp. 458-459, available online via JSTOR

Michael Corris, Damien Hirst : White Cube, London, Art Monthly, October 2003, p. 270, N1 +A57 Oversize (HAAS)

Michael Corris, Damien Hirst : White Cube, London, Art Monthly, October 2003, p. 270, available online via Art & Architecture Source

Michael Corris, Openings : Damien Hirst, Artforum International, vol. 30, January 1992, p. 96, N1+ A814 Oversize (HAAS)

Michael Corris, Pop Star Divided, Damien Hirst and the Ends of British Art , Art Text, August/October 1997, pp. 64-71, Available online: EBSCOhost, Art Full Text database

Michael Corris, Pop Star Divided, Damien Hirst and the Ends of British Art , Art Text, August/October 1997, pp. 64-71, NX1 A784 (HAAS)

Sacha Craddock, Dead or Alive, The Guardian (1959-2003), July 16, 1991, p. 30, available online via ProQuest

William Feaver, Late could be good, but never was often better : William Feaver finds real pepole among Corot's nymphs, The Observer (1901-2003), July 14, 1991, p. 57, available online via ProQuest

Ann Gallagher, Damien Hirst, Tate Publishing, London, 2012, pp. 14, 16, 86-87, 96, 203, 210, 213, 220, NJ18 H5991 D24 2012 (YCBA)

Colin Gleadell, In and Out of Love, Art Monthly, February 2000, p. 45, available online via Art and Architecture Source

Colin Gleadell, In and Out of Love, Art Monthly, February 2000, p. 45, N1 +A57 Oversize (HAAS)

Tony Godfrey, Review of Exhibitions : Damien Hirst, Art in America, vol. 79, December 1991, p. 127, N1 +A43 Oversize (HAAS)

Tania Guha, Hirst among equals? : As Damien Hirst gets the Omnibus treatment, Tania Guha asks if the artist is the anarchist some would have us believe, The Guardian (1959-2003), February 19, 1994, p. B20, available online via ProQuest

Peter Hill, In and Out of Love, Art and Text, September 1992, pp. 23-24, Available online: EBSCOhost, Art Source database

Damien Hirst, Damien Hirst : Napoli, Museo Archeologico Nazionale, , Electa Napoli, Napoli, 2004, pp. 25, 27, 74-83, NJ18 H5991 A12 2004 (YCBA)

Damien Hirst, Damien Hirst : Pictures from the Saatchi Gallery, Booth-Clibborn, London, 2001, p. 87, NJ18 H5991 A12 2001 (YCBA)

Damien Hirst, Damien Hirst : Relics, Skira editore, Milano, Italy, 2013, pp. 20-21, 31, 278, NJ18 H5991 +A12 2013 Oversize (YCBA)

Damien Hirst, I Want to Spend the Rest of My Life Everywhere, With Everyone, One to One, Always, Forever, Now, Monacelli Press, New York, 1997, pp. 12, 116-129, 131, 133, 135, N7433.4.H57 +I97 1997 Oversize (YCBA)

Damien Hirst, On the Way to Work, Faber & Faber, London, 2001, pp. 20-21, 28-29, NJ18 H5991 A12 2001B (YCBA)

Damien Hirst, The Complete Psalm Paintings, Other Criteria, London, 2014, NJ18 H5991 A12 2014 (YCBA)

Ian Hunt, Cheeky Romantic with a Big Dead Fish, The Guardian (1959-2003), July 30, 1992, p. 25, available online via ProQuest

Stuart Jeffries, When is a room not a room? : Answer: when it's an installation. Stuart Jeffries continues our series on 'difficult' art forms, The Guardian (1959-2003), November 24, 2001, p. B5, available online via ProQuest

Richard Johnson, Rot : A Load of Old, The Observer (1901-2003), London, June 2, 1994, p. E30, available online via ProQuest

Sarah Kent, Damien Hirst : Master of His Own Destiny, Tretyakov Gallery Magazine, vol. 51, 2016, pp. 211-212, available online via Art & Architecture Source

B. L., Finally it's the big Damien Hirst Show, Art Newspaper, April 2012, p. 89, Online Resource: available via Orbis

Laboratory of Ideas, Aesthetica, April/May 2012, p. 18, Available online: EBSCOhost, Art Source database

David Lee, In Profile : Damien Hirst, , Arts Review, vol. 47, June 1995, p. 8, N1 +A792 Oversize (HAAS)

Patrick McCaughey, Damien Hirst : In and Out of Love, , Yale Center for British Art, New Haven, 1997, unnumbered, V 1425 (YCBA)

Stuart Morgan, Damien Hirst, No Sense of Absolute Corruption , Gagosian Gallery, New York, 1996, p. 121, NJ18 H5991 A12 1996 (YCBA)

Stuart Morgan, What the Butler Saw, Durian, London, 1996, N6490 M6773 1996 (LC) (HAAS)

Suzanne Muchnic, Ascent of the Early Risers, Los Angeles Times, April 1, 2001, available online via ProQuest

Phillips Sales Catalogue : 20th century British and Irish art : 21 November 2000, Phillips, Phillips Son & Neale, London, 2000, p. 94, lot. no. 122, Auction Cat 2000 November

Barbara Pollack, Boom What Boom?, Art Monthly, February 2001, pp. 50-51, N1 A57 OVERSIZE (HAAS)

Barbara Pollack, Boom What Boom?, Art Monthly, February 2001, pp. 50-51, Available online: EBSCOhost, Art Full Text database

Public Offerings, Museum of Contemporary Art, Los Angeles, 2001, pp. 50-57, N6487 L67 +M887X 2001 Oversize (LSF)

Benedicte Ramade, Art contemporain Damien Hirst : le roi est mort, vive le roi!, , Oeil, June 2012, p. 47, N2 O28 OVERSIZE (HAAS)

Gene Ray, Terror and the Sublime in Art and Critical Theory : From Auschwitz to Hiroshima to September 11, Palgrave Macmillan, New York, January 2007, p. 172, available online via ProQuest Ebook Central

David Rimanelli, Damien Hirst, Artforum International, vol. 50, January 2012, p. 117, N1 +A814 Oversize (HAAS)

David Rimanelli, Damien Hirst, Artforum International, vol. 50, January 2012, p. 117, available online via ProQuest

Jerry Saltz, More Life : The Work of Damien Hirst, Art in America, vol. 83, June 1995, p. 84, N1 +A43 (HAAS)

Adrian Searle, Love in a Cold Climate, Artscribe, vol. 88, September 1, 1991, p. 84, N1 +A883 Oversize (LSF)

Richard Shone, [ Exhibition Review : ] Damien Hirst, London, ICA Gallery, Burlington Magazine, vol. 134, March 1992, pp. 197-198, N1 +B87 Oversize (YCBA)

Richard Shone, [ Exhibition Review : ] Damien Hirst, London, ICA Gallery, Burlington Magazine, vol. 134, March 1992, pp. 197-198, available online via JSTOR

Julian Stallabrass, In and Out of Love with Damien Hirst, New Left Review, no 216, 1 March 1996, pp. 153-160, available online via ProQuest

Julian Stallabrass, In and Out of Love with Damien Hirst, New Left Review, no 216, 1 March 1996, pp. 153-160, HX3 N48 (LSF)

Surrenders to Damien Hirst, Lapiz, vol 31, April-May 2012, p. 16, Available online: Proquest, ARTbibliographies Modern database

Laura Tansini, Damien Hirst, Sculpture Journal, vol. 32, July/August 2013, p. 79, NB1 S37 (HAAS)

Laura Tansini, Damien Hirst, Sculpture Journal, vol. 32, July/August 2013, p. 79, available online via Art and Architecture Source

The Naked Hirst, The Guardian (1959-2003), October 6, 2001, p. C18, available online via ProQuest

Sarah Thornton, In and Out of Love, Art Newspaper, vol 17, January 2007, pp. 39-41, available online at theartnewspaper.com

Ann Treneman, The Thomas Dane Affair, Times (London), December 15, 2001, pp. 26-27, available online via The Times Digital Archive

John C. Welchman, Sculpture and the Vitrine, Ashgate Publishing, 2013, p. 231, NB1135 S48 2013 (YCBA)

Laura Wixley, Damien Hirst and the Sensibility of Shock, Art and Design, vol 10, January/February 1995, p. 67, N1 A745 (LSF)

Laura Wixley, Damien Hirst and the Sensibility of Shock, Art and Design, vol 10, January/February 1995, p. 67, Available online: EBSCOhost, Art Full Text database
Gallery Label:
“It’s about love and realism, dreams, ideals, symbols, life and death. I worked out many possible trajectories for these things, like the way the real butterfly can destroy the ideal (birthday-card) kind of love; the symbol exists apart from the real thing. Or the butterflies still being beautiful even when dead. All these things are completely thrown off balance by a comparison I tried to make between art and life, in the upstairs and downstairs installations, a crazy thing to do when in the end it’s all art.” —Damien Hirst Between June 21 and July 26, 1991, visitors to the Woodstock Street Gallery (a former travel agency) experienced a two-floor installation. In the upstairs room, In and Out of Love (White Paintings and Live Butterflies), butterflies were hatched and lived on sugar water in an artificial humid environment until they died. The walls were lined with five monochrome primed canvases on which were attached pupae. Plants were placed below to attract the butterflies to settle back on each canvas after hatching. Downstairs, In and Out of Love (Butterfly Paintings and Ashtrays) featured eight paintings in bright pastel colors, each with dead butterflies pressed into their surfaces of high gloss paint. Along with the paintings was the table with four ashtrays loaded with cigarette butts and ash, redolent of the aftermath of a crowded private view. Four large cubes, each with a single hole in each side, were placed around the room. These cubes echoed ones recently seen in Hirst’s A Hundred Years (1990) and A Thousand Years (1990), vitrines in which maggots hatched into flies from inside similar cubes. By using an upstairs and a downstairs, Hirst created the entire life cycle of butterflies in the upstairs space and then made those butterflies into art downstairs. Gallery label for Love, Life, Death, and Desire: An Installation of the Center's Collections (Yale Center for British Art, 2020-11-01 – 2021-02-28)
Link:
https://collections.britishart.yale.edu/catalog/tms:4908