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  • In 1991, for his first solo exhibition, Damien Hirst transformed a disused two-story travel agent on Woodstock Street in central London into his landmark installation In and Out of Love. The installation comprised two works. The first, named “In and Out of Love (White Paintings and Live Butterflies)”, consisted of a live ecosystem simulating a tropical environment, in which eight bare canvases, a table, radiators, and a number of potted plants, were displayed. Butterfly pupae were attached to the canvases and hatched during the course of the exhibition, leaving butterflies to fly freely around the room. Bowls of fruit and sugar water on the central table allowed the butterflies to subsist until they died. The second part of the work, “In and Out of Love (Butterfly Paintings and Ashtrays)”, was presented in the cooler atmosphere of the basement of the building. Eight monochrome paintings, with dead butterflies embedded in their surfaces, were presented alongside a series of cubes, and a table with overflowing ashtrays. The contrast between the two parts of the installation introduced the themes of transience and death that have since become the hallmarks of Hirst’s work. The live ecosystem was dismantled after the exhibition ended, while the second part of the installation was preserved, and entered the Center’s collection in 1997. In spring 2012, on the occasion of Hirst’s retrospective at Tate Modern, London, the ecosystem was reconstructed, and the two parts of the installation were reunited for the first time since 1991.
?:PX_curatorial_comment
  • In 1991, for his first solo exhibition, Damien Hirst transformed a disused two-story travel agent on Woodstock Street in central London into his landmark installation In and Out of Love. The installation comprised two works. The first, named “In and Out of Love (White Paintings and Live Butterflies)”, consisted of a live ecosystem simulating a tropical environment, in which eight bare canvases, a table, radiators, and a number of potted plants, were displayed. Butterfly pupae were attached to the canvases and hatched during the course of the exhibition, leaving butterflies to fly freely around the room. Bowls of fruit and sugar water on the central table allowed the butterflies to subsist until they died. The second part of the work, “In and Out of Love (Butterfly Paintings and Ashtrays)”, was presented in the cooler atmosphere of the basement of the building. Eight monochrome paintings, with dead butterflies embedded in their surfaces, were presented alongside a series of cubes, and a table with overflowing ashtrays. The contrast between the two parts of the installation introduced the themes of transience and death that have since become the hallmarks of Hirst’s work. The live ecosystem was dismantled after the exhibition ended, while the second part of the installation was preserved, and entered the Center’s collection in 1997. In spring 2012, on the occasion of Hirst’s retrospective at Tate Modern, London, the ecosystem was reconstructed, and the two parts of the installation were reunited for the first time since 1991.
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  • Bibliograpic reference :: Adrian Searle, Love in a Cold Climate, Artscribe, vol. 88, September 1, 1991, p. 84, N1 +A883 Oversize (LSF)
  • Bibliograpic reference :: Ann Treneman, The Thomas Dane Affair, Times (London), December 15, 2001, pp. 26-27, available online via The Times Digital Archive
  • Bibliograpic reference :: B. L., Finally it's the big Damien Hirst Show, Art Newspaper, April 2012, p. 89, Online Resource: available via Orbis
  • Bibliograpic reference :: Barbara Pollack, Boom What Boom?, Art Monthly, February 2001, pp. 50-51, Available online: EBSCOhost, Art Full Text database
  • Bibliograpic reference :: Barbara Pollack, Boom What Boom?, Art Monthly, February 2001, pp. 50-51, N1 A57 OVERSIZE (HAAS)
  • Bibliograpic reference :: Benedicte Ramade, Art contemporain Damien Hirst : le roi est mort, vive le roi!, , Oeil, June 2012, p. 47, N2 O28 OVERSIZE (HAAS)
  • Bibliograpic reference :: Christie's Sale Catalogue : Christie's Contemporary : 18 December 1999, Christie's, London, December 18, 1999, p. 115, Lot 11, Auction Catalogues (YCBA)
  • Bibliograpic reference :: Colin Gleadell, In and Out of Love, Art Monthly, February 2000, p. 45, Available online: EBSCOhost, Art Full Text database
  • Bibliograpic reference :: Colin Gleadell, In and Out of Love, Art Monthly, February 2000, p. 45, N1 +A57 Oversize (HAAS)
  • Bibliograpic reference :: Colin Gleadell, In and Out of Love, Art Monthly, February 2000, p. 45, N1 A57 OVERSIZE (HAAS)
  • Bibliograpic reference :: Colin Gleadell, In and Out of Love, Art Monthly, February 2000, p. 45, available online via Art and Architecture Source
  • Bibliograpic reference :: Craig Brown, A-Z of How to Be a Significant Artist, Modern Painters, vol. 8, Spring 1995, p. 48, ND468 +MS7 Oversize (YCBA)
  • Bibliograpic reference :: 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
  • Bibliograpic reference :: Damien Hirst Relics, Skira editore, Milano, Italy, 2013, pp. 20, 31, 278, NJ18 H5991 A12 2013 OVERSIZE (YCBA)
  • Bibliograpic reference :: Damien Hirst, Damien Hirst : Pictures from the Saatchi Gallery, Booth-Clibborn, London, 2001, p. 87, NJ18 H5991 A12 2001 (YCBA)
  • Bibliograpic reference :: 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)
  • Bibliograpic reference :: Damien Hirst, On the Way to Work, Faber & Faber, London, 2001, pp. 20-21, 28-29, NJ18 H5991 A12 2001B (YCBA)
  • Bibliograpic reference :: Damien Hirst, On the Way to Work, Faber & Faber, London, 2001, pp. 28-29, NJ18 H5991 A12 2001B (YCBA)
  • Bibliograpic reference :: Damien Hirst, Tate Publishing, London, 2012, pp. 14, 16, 86-87, 96, 203, 210, 213, 220, NJ18 H5991 D24 2012 (YCBA)
  • Bibliograpic reference :: David Bowie, (s)Now, Modern Painters, vol. 9, Summer 1996, p. 38, ND468 +MS7 (YCBA)
  • Bibliograpic reference :: David Bowie, (s)Now, Modern Painters, vol. 9, Summer 1996, p. 38, available online via Art & Architecture Source
  • Bibliograpic reference :: David Lee, In Profile : Damien Hirst, , Arts Review, vol 47, June 1995, p. 8, N1 A792 OVERSIZE (HAAS)
  • Bibliograpic reference :: David Lee, In Profile : Damien Hirst, , Arts Review, vol. 47, June 1995, p. 8, N1 +A792 Oversize (HAAS)
  • Bibliograpic reference :: David Rimanelli, Damien Hirst, Artforum International, vol. 50, January 2012, p. 117, N1 +A814 Oversize (HAAS)
  • Bibliograpic reference :: David Rimanelli, Damien Hirst, Artforum International, vol. 50, January 2012, p. 117, available online via ProQuest
  • Bibliograpic reference :: Eduardo Cicelyn, Damien Hirst, Napoli, Museo Archeologico Nazionale, Electa Napoli, Napoli, 2004, pp. 74-78, NJ18 H5991 A12 2004
  • Bibliograpic reference :: 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
  • Bibliograpic reference :: Giovanni Aloi, The Death of the Animal, Journal of Visual Art Practice, vol. 9, 2010, p. 64, available online via Art & Architecture Source
  • Bibliograpic reference :: Gordon Burn, Damien Hirst, Parkett, June 1994, pp.59, 61,65, N1 A1 P37 (HAAS)
  • Bibliograpic reference :: Ian Hunt, Cheeky Romantic with a Big Dead Fish, The Guardian (1959-2003), July 30, 1992, p. 25, available online via ProQuest
  • Bibliograpic reference :: Jack Bankowsky, Damien Hirst, Artforum International, vol. 50, Summer 2012, pp. 304-305, N1 +A814 Oversize (YCBA)
  • Bibliograpic reference :: Jerry Saltz, More Life : The Work of Damien Hirst, Art in America, vol. 83, June 1995, p. 84, N1 +A43 (HAAS)
  • Bibliograpic reference :: 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
  • Bibliograpic reference :: Johanna Burton, British Installation of the '90s (Self-Deprecating Strategies), Art Criticism, vol. 15, 1999, pp. 14-20, N7475 A79 (HAAS)
  • Bibliograpic reference :: Julian Stallabrass, In and Out of Love with Damien Hirst, New Left Review, no 216, 1 March 1996, pp. 153-160, HX3 N48 (LSF)
  • Bibliograpic reference :: Julian Stallabrass, In and Out of Love with Damien Hirst, New Left Review, no 216, 1 March 1996, pp. 153-160, Online Resource: available via Orbis
  • Bibliograpic reference :: 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
  • Bibliograpic reference :: Laboratory of Ideas, Aesthetica, April/May 2012, p. 18, Available online: EBSCOhost, Art Source database
  • Bibliograpic reference :: Laura Tansini, Damien Hirst, Sculpture Journal, vol. 32, July/August 2013, p. 79, NB1 S37 (HAAS)
  • Bibliograpic reference :: Laura Tansini, Damien Hirst, Sculpture Journal, vol. 32, July/August 2013, p. 79, NB1 S37 (HAAS) , Also available online : EBSCOhost, Art Full Text database
  • Bibliograpic reference :: Laura Tansini, Damien Hirst, Sculpture Journal, vol. 32, July/August 2013, p. 79, available online via Art and Architecture Source
  • Bibliograpic reference :: 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
  • Bibliograpic reference :: Laura Wixley, Damien Hirst and the Sensibility of Shock, Art and Design, vol 10, January/February 1995, p. 67, N1 A745 (LSF)
  • Bibliograpic reference :: Lynne Cooke, Public Offerings. Los Angeles, Burlington Magazine, vol. 143, July 2001, pp. 458-459, N1 +B87 Oversize (YCBA)
  • Bibliograpic reference :: Lynne Cooke, Public Offerings. Los Angeles, Burlington Magazine, vol. 143, July 2001, pp. 458-459, available online via JSTOR
  • Bibliograpic reference :: Michael Corris, Damien Hirst : White Cube, London, Art Monthly, October 2003, p. 270, N1 +A57 Oversize (HAAS)
  • Bibliograpic reference :: Michael Corris, Damien Hirst : White Cube, London, Art Monthly, October 2003, p. 270, available online via Art & Architecture Source
  • Bibliograpic reference :: Michael Corris, Damien Hirst, Artforum International, vol 30, January 1992, p. 96, N1 A814 OVERSIZE (HAAS)
  • Bibliograpic reference :: Michael Corris, Openings : Damien Hirst, Artforum International, vol. 30, January 1992, p. 96, N1+ A814 Oversize (HAAS)
  • Bibliograpic reference :: 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
  • Bibliograpic reference :: Michael Corris, Pop Star Divided, Damien Hirst and the Ends of British Art, Art Text, August/October 1997, pp. 64-71, NX1 A784 (HAAS)
  • Bibliograpic reference :: Patrick McCaughey, Damien Hirst : In and Out of Love, , Yale Center for British Art, New Haven, 1997, unnumbered, V 1425 (YCBA)
  • Bibliograpic reference :: Patrick McCaughey, Damien Hirst, In and Out of Love, Yale Center for British Art, New Haven, 1997, unnumbered, V 1425 (YCBA)
  • Bibliograpic reference :: Peter Hill, In and Out of Love, Art and Text, September 1992, pp. 23-24, Available online: EBSCOhost, Art Source database
  • Bibliograpic reference :: 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
  • Bibliograpic reference :: Public Offerings, Museum of Contemporary Art, Los Angeles, 2001, pp. 50-57, N6487 L67 +M887X 2001 Oversize (LSF)
  • Bibliograpic reference :: Richard Johnson, Rot : A Load of Old, The Observer (1901-2003), London, June 2, 1994, p. E30, available online via ProQuest
  • Bibliograpic reference :: Richard Shone, [ Exhibition Review : ] Damien Hirst, London, ICA Gallery, Burlington Magazine, vol. 134, March 1992, pp. 197-198, N1 +B87 Oversize (YCBA)
  • Bibliograpic reference :: Richard Shone, [ Exhibition Review : ] Damien Hirst, London, ICA Gallery, Burlington Magazine, vol. 134, March 1992, pp. 197-198, available online via JSTOR
  • Bibliograpic reference :: Robert Cahalmers, Damien, The Observer (1901-2003), London, May 28, 1995, p. 114, available online via ProQuest
  • Bibliograpic reference :: Sacha Craddock, Dead or Alive, The Guardian (1959-2003), July 16, 1991, p. 30, available online via ProQuest
  • Bibliograpic reference :: Sarah Kent, Damien Hirst : Master of His Own Destiny, Tretyakov Gallery Magazine, vol. 51, 2016, pp. 211-212, available online via Art & Architecture Source
  • Bibliograpic reference :: Sarah Thornton, In and Out of Love, Art Newspaper, vol 17, January 2007, pp. 39-41, Online Resource: available via Orbis
  • Bibliograpic reference :: Sarah Thornton, In and Out of Love, Art Newspaper, vol 17, January 2007, pp. 39-41, available online at theartnewspaper.com
  • Bibliograpic reference :: Sculpture and the Vitrine, Ashgate Publishing, 2013, p. 231, NB1135 S48 2013 (YCBA)
  • Bibliograpic reference :: 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
  • Bibliograpic reference :: Stuart Morgan, Damien Hirst, No Sense of Absolute Corruption, Gagosian Gallery, New York, 1996, p. 121, NJ18 H5991 A12 1996 (YCBA)
  • Bibliograpic reference :: Stuart Morgan, What the Butler Saw, Durian, London, 1996, N6490 M6773 1996 (LC) (HAAS)
  • Bibliograpic reference :: Stuart Morgan, What the butler saw, selected writings, Durian, London, 1996, N6490 M6773 1996 (LC) (HAAS)
  • Bibliograpic reference :: Surrenders to Damien Hirst, Lapiz, vol 31, April-May 2012, p. 16, Available online: Proquest, ARTbibliographies Modern database
  • Bibliograpic reference :: Suzanne Muchnic, Ascent of the Early Risers, Los Angeles Times, April 1, 2001, available online via ProQuest
  • Bibliograpic reference :: 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
  • Bibliograpic reference :: The Naked Hirst, The Guardian (1959-2003), October 6, 2001, p. C18, available online via ProQuest
  • Bibliograpic reference :: Tony Godfrey, Review of Exhibitions : Damien Hirst, Art in America, vol. 79, December 1991, p. 127, N1 +A43 Oversize (HAAS)
  • Bibliograpic reference :: 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
  • Dimension depth :: 91.4cm
  • Dimension height :: 106.7cm
  • Dimension height :: 152.4cm
  • Dimension height :: 91.4cm
  • Dimension width :: 152.4cm
  • Dimension width :: 91.4cm
  • Exhibition :: 20th Century Paintings and Sculpture
  • Exhibition :: Damien Hirst
  • Exhibition :: Public Offerings
  • Exhibition :: Revisiting Traditions [BAC 20th century painting & sculpture]
  • Located in :: F. A. S. T., FAST
  • Located in :: New Haven
  • Located in :: Not on view
  • Located in :: Yale Center for British Art
  • Object type :: sculpture
  • Subject Concept :: abstract art
  • Subject Concept :: ashtray
  • Subject Concept :: boxes
  • Subject Concept :: butterflies
  • Subject Concept :: cigarettes
  • Subject Concept :: installation
  • Subject Concept :: love
  • Subject Concept :: table
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  • ...
?:PX_has_credit_line
  • Yale Center for British Art, Paul Mellon Fund
?:label
  • In and Out of Love (Butterfly Paintings and Ashtrays)
?:type