Damien Hirst has always experimented at a large scale with past projects including, The Physical Impossibility of Death in the Mind of Someone Living which was a tiger shark preserved in formaldehyde. 

It makes logical sense that someone like Hirst would immerse himself in this new technology. He took a very different approach to NFTs than many other artists have thus far and I would say the result was fascinating. Almost a fair split between physicals and tokens. In conclusion with this great collection, Hirst is putting up an exhibition with Newport Street Gallery which will provide collectors an opportunity to own some work by the British artist and view The Currency collection. Also, those who decided to keep their NFT can watch the burn of their physical at the exhibition.

Simultaneously with the exhibition, HENI is providing a raffle opportunity to own a unique print by Damien Hirst. The application to enter will end in approximately 19 days. At first look, I actually like the prints better than the original works due to their price and size. The quality looks second to none. A few prints are being displayed at the exhibition. For those that own original Currency works, you will have increased odds of purchasing a unique print. For collectors, in my opinion, the prints are a value play by a famous artist, I think this is well worth it and would look great over a couch or dining room table.

Here are additional details regarding the prints:

 Archival Quality Giclée Reproduction on Heavy Weight Enhanced Matte Professional Stock


 The prints are unframed and are rolled up inside protective cardboard packaging.


 Hand-signed and hand-numbered on the front.


"Damien Hirst and HENI collaborate to present an exhibition of paintings from his first NFT collection, The Currency, at Newport Street Gallery, 23 September – 30 October 2022.

The Currency, launched in July 2021, is a collection of 10,000 NFTs which correspond with 10,000 original artworks by Damien Hirst. Collectors were given the choice to either keep the NFT or exchange it for the physical artwork. The exchange period closed on 27 July 2022 resulting in just over half the collectors, 5,149, deciding to keep the physical artwork, and 4,851 the NFT. If they did not exchange their NFT during that period, the physical artwork will be destroyed. Similarly, if they chose to exchange it in that period, the NFT was destroyed.

During Frieze Week, Damien Hirst will commence the burn by burning his own artworks. Following this event, the exhibition will remain open and artworks will continue to be burned until the show closes on 30 October 2022. Timings will be publicised in advance.

The Currency Chronicles, a publication outlining the community experiences of the first phase of the project, will be launched during the exhibition.

The physical artworks were created by hand in 2016 using enamel paint on handmade paper. Each artwork is numbered, titled, stamped, and signed by the artist on the back. Additional authenticity features on the artwork paper include a watermark, a microdot and a hologram containing a portrait of the artist. On each artwork, no colour is repeated twice. The titles were generated through the application of machine learning to some of the artist’s favourite song lyrics.

Damien Hirst views The Currency as a work of art in which people participate by buying, holding, selling, and exchanging the artworks."

Credit: HENI, Newport Street Gallery, Damien Hirst, Vivienne Chow.

Damien Hirst is Concluding His Currency Experiment With Burning Paintings on Paper

Damien Hirst: The Currency

. The work is composed of numerous smaller sculptures, all in the style of classical Greco-Roman statues, which have been arranged into a larger block. The effect is that of a single, giant statue that has been squashed and compressed. Despite its size, 

 is a delicate and intricate work of art. Each of the smaller sculptures is unique, and they all contribute to the overall effect of the piece. The sculpture is both playful and serious, and it challenges our notions of what a statue can be. It is an excellent example of Adam's ability to take familiar objects and make them into something new and exciting. Crush is just one of many impressive sculptures by 

. If you're a fan of his work, be sure to check out his other pieces such as "David" and "Cupid Triumphant."

Remember: Do your own research when treading into any market or culture.

Crush by Adam Parker Smith

Deborah Roberts Second Solo Exhibition with Stephen Friedman Gallery

, one of the most celebrated collage artists working today, has debuted her largest artwork to date, with her gallery 

" is a powerful and vulnerable portrait of a young black girl. The work references recent incidents of racism in the UK, including the case of Child Q, and highlights how systemic racism, gender politics, and western beauty standards shape the way black children grow up. Roberts' work is both powerful and poignant, offering a window into the lives of black children growing up in today's world. 

This latest work is sure to cement her reputation as one of the most important artists working today. Roberts organizes her work with many different materials. She deconstructs these materials and places them strategically to form portraits. Combining these different methods of collage, Roberts will hand-paint features of the painting that embrace the Black identity.

Deborah Roberts Debuts Largest Works To Date

Deborah Roberts: I have something to tell you

 recently held the first solo exhibition for New York based artist 

", the figurative artist explores the wild world of super heroes using his signature figures. 

Exhibitions: Pursuit of Happiness by Socko at Kantor Gallery

Pursuit of Happiness by Socko

, the show, comprised mainly of the works on paper executed in paintstick, etching ink, silica and range in size. Serra began making similar images while still a student at UC Berkeley and Yale University, and they continued to play an important role in his artistic process throughout his life. Whether small or large in scale, all of the drawings share an immediacy of gesture and an economy of means that reflect the artist’s ongoing interest in exploring the potential of drawing as a medium.

The works on view also reveal Serra’s lifelong engagement with the history of art, from his early appropriations of the imagery of Abstract Expressionism to his more recent interest in the work of Late Renaissance and Baroque artists. In the late 1960s and early 1970s, for example, Serra made a series of “verb” drawings that directly reference the gesture and mark-making of Abstract Expressionist painters such as Jackson Pollock, Willem de Kooning, and Mark Rothko. In other words, he pays tribute to specific artists and artworks, including a group of small images inspired by Francisco Goya’s The Disasters of War (1810–20) and a large drawing based on a detail from Peter Paul Rubens’s Portrait of Eleonora Gonzaga (1606).

Exhibitions

Damien Hirst: The Currency

CONCLUDED

Crush by Adam Parker Smith

CONCLUDED

Deborah Roberts: I have something to tell you

CONCLUDED

Pursuit of Happiness by Socko

CONCLUDED

Richard Serra: Drawings