Artist, Curator, and Exhibition Venue Networks on VisualizingArtNetworks.com

Analytics / Art Networks Visualized / Artists / Collector / Curators / Gallery / Museum / Non-Profit Place / Research
artist-info.com Visualizing Art Networks

Five different viewpoints to Visualize Art Networks.

Visualizing the network of artists, curtors and exhibition venues

How are artists and exhibition places and curators connected among each other?

The world of contemporary art might have many random aspects, but on an upper level the bits and pieces summarize to network structures and clusters.
All 5 examples of artist-info.com Visualizing Art Networks can be reached directly with sub-domains.

See below details and sub-domains for the examples.

Visualizing Art Networks uses artist-info database to get an image about how artists, curators, and exhibition places are connected through their activities of showing specific artists.

By zooming in and selecting a node you can visualize sub-clusters and see not only the artist’s connection to the center, but as well their connections among each other.
Some are connected with each other members of the sub-cluster, some not.
The search on the left lets you find a specific network member.
The sidebar on the right provides you in its header with a link to switch to the network mebers artist-info page with all in-depth information, shows availabe Exhibiton Annoucnements, Artwork Offers, or Artist-Portfolio, and lets you switch to the network members community channels.

More information can be found on our other blog post
Visualizing the World of Contemporary Art
and on our website visualizingartnetworks.com

ARTIST-artists
Example for an ARTIST-artists network
ARTIST-artists
ARTIST-exhibition places
Example for an ARTIST-venues network
ARTIST-exhibition places
CURATOR-artists
Example for a CURATOR-artists network
CURATOR-artists
EXHIBITION PLACE-artists
Example for a VENUE-artists network
EXHIBITION PLACE-artists
EXHIBITION PLACE-exhibition places
Example for a VENUE-venues network
EXHIBITION PLACE-exhibition places
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Who wants to miss Community Channels

Community / News and Notes / Newsletter Service
Cummunity Channel Links on artist-info.com

Who wants to miss Community Channels

artist-info provides for each artist, curator, and exhibition place, like gallery, museum, non-profit or collector’s venue, the possibility to add Links of Community Channels they are using to reach their audience.
These are
Facebook Facebook    Google+ Google+    Instagram Instagram    LinkedIn LinkedIn    vimeo vimeo    YouTube YouTube.

The Stedelijk Museum Amsterdam artist-info-page shows, how it works.

To add these links contact us at support@artist-info.com

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Artist Exhibition Statistics

Analytics / Artists / Collector / Curators / Exhibition Statistics / Gallery / Museum / News and Notes / Non-Profit Place / Research
Artist Exhibition Statistics


The daily updated statistics can be found on artist-info Artist Exhibitions Statistics page.

Top 100 Artists Exhibition Statistics

Auction price statistics only offer a very limited insight into the world of contemporary arts.
Since many decades exhibitions are playing a key role in each artist‘s biography as well as for exhibition places, worldwide.
So far, statistics on the artist’s exhibitions worldwide haven’t been available.
Based on more than 410.600 solo- and group exhibitions between 1930 and today by more than 135.800 artists shown in more than 11.150 Galleries, Museums, Non-Profit Place and Collector Venues in more than 1.310 cities in 155 countries in artist-info.com database, our new Artist Exhibition Statistics page shows who was shown most.
It provides like this new insight into the world of contemporary art worldwide.

Statistics Page Details

The artist-info.com Artist Exhibition Statistics page shows
the 100 artists with the highest number of exhibitions in artist-info.com database.
Exhibition Statistics Details
– Statistics of Solo- and Group-Exhibitions,
The artist list is sorted downwards by the total number of exhibitions, which includes group- and solo-exhibitions.
The icons on the left side of the artist’s name indicate available artwork offers, exhibition announcements or an artist portfolio.
– Statistics by Exhibition Place Type
The numbers on the table’s right side display the individual number per exhibition place category,
which are gallery, museum, non-profit, collector, followed by the total number of exhibition places where the exhibitions took place.

Find the Artist Exhibition Statistics page at
artist-info.com Main Navigation / ARTISTS – Artist Exhibition Statistics

Different Focus Available

Exhibition statistics with a different focus are available on demand.
Possible are for example statistics for each individual artist in artist-info.com database, not only the top 100.
Limiting the geographical focus for example for a continent, like North America or Europe, or a specific country, is possible as well as selecting only exhibitions of the last 10 or last 20 years.

New Insight with New Tools

artist-info.com Artist Exhibition Statistics page
and artist-info.com Network-Visualization
are new services for a new insight into the world of contemporary art worldwide.
Additional artist-info.com services are Exhibition Announcements, Artwork Offers and Requests, Art Fairs Calendar, Artist-Portfolios, and our Newsletter Service.

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Visualizing Art Networks

Analytics / Art Networks Visualized / Artists / Collector / Curators / Gallery / Museum / Non-Profit Place / Research
ARTIST-artists network visualization

Detail of the ARTIST-artists network. To open the complete view in a new browser window click here.

Visalizing Art Networks

How are artists and exhibition places and curators connected among each other?

The world of contemporary fine art might have many random aspects, but on an upper level the bits and pieces summarize to network structures and clusters.
It is the first time ever a network graph is used to analyse and describe the world of contemporary art with artists, curators, and exhibition places.
The exhibition history is for all, the artist with a biography on solo- und group-exhibitions, the exhibition venue with its program, and the curator an important source for their profile and positioning, their mission and quality. And although their individual branding is existential to them they are all building upon each other’s efforts in some way.
However, retracing geographically and chronologically the exhibition information using a network graph wouldn’t reveal much new insight.
Using Big Data and cross-linking and analyzing all exhibition histories from 1930 up to today on the basis of ‘nomen est omen’ artist-info.com is offering new insight on a meta level.
Visualizing Art Neworks by artist-info is identifying, helping to explore and to develop the valuable connections between artists, curators and exhibition places.
The Visualization identifies, helps to explore, and to develop the valuable connections among the participating artists, curators and exhibition places.

Using Network Graphs

The human eye is able to explore and interpret visual sources like a network graph in much greater depth than it would be possible with lists and tables. Transforming scientific

research results, queries and data analysis into visual graphs provides new insight which is not visible otherwise.
Social Network Analysis (SNA) with network graphs is used to show with nodes and etches the relations of network members, based on their attributes.
It is our starting point for visualizing the world of contemporary art.

Finding a Reliable Source

Although there might be a number of different levels on which artists, curators, exhibition places meet, and other institutions and individuals involved in contemporary art exchange their views and develop their contacts, there is one stable and reliable level, which mirrors these networks.
It is the wide scope of exhibitions of an artist and the wide scope of the many different exhibition places showing artists in a known or new context, following a vision and a new point of view to question a specific status.
Cross-linking all exhibition information enables us to understand the world of contemporary art with the artists, curators and exhibition places as many networks besides one another. The reason the members of these networks were connected among each other are their individual vision, and their concept, to show the artist’s work under known or new conditions.

Filling the Gap

Although the printed biography of an artist provides basic information, it almost never tells, who else was shown in a group exhibition, to be able to see the scope of concept and idea which lead to this exhibition. Listing the exhibition places where an artist did show his work always leads to the question, what makes this venue important for the artist? artist-info.com exhibition histories provide this missing information on the basis of reliable research.
For us artist-info.com exhibition history details are an elementary source for insights and to compare different visions, concepts, approaches and attitudes among the many possibilities to look at the position of artists and their work and exhibition places in the world of contemporary art.

  Visualizing Art Networks

Visualizing Art Networks provides for a specific artist, curator, or exhibition place (gallery, museum, non-profit place, or collector) as the CENTRAL node the following points of view for visualizing their network, showing how the members of the network are connected with the CENTRAL node and among each other.

Open these interactive examples in a new browser window
  ARTIST ⇔ artists
  ARTIST ⇔ exhibition places
The two views available for an artist are showing how all artists are connected through exhibitions, and how the venues are connected through artists.

  CURATOR ⇔ artists
The view for a specific curator shows this curator, the exhibited artists and their connections among each other through exhibitions.

  EXHIBITION PLACE ⇔ artists
  EXHIBITION PLACE ⇔ exhibition places
The two views for an exhibition place show how artists are connected among each other, and how the specific venue is connected through artists with other exhibition places.

– Individual Browser Window
Network Visualization is available through an individual sub-URL to be displayed in its own browser tab or window.
To be able to explore the network graph with all its details, the user can zoom in with buttons at the bottom of the browser window. Zooming in will show the node’s names.
Each node can be clicked to filter its relations in connection with central node.
– Side Panes
Each individual selection of a cluster can be searched for member’s names with the search window at left. In the right side pane more details of network members are shown.
These are all members of the selected subset, including a link to the individual artist-info.com page, and some more details like available Exhibition Announcements or Artwork Offers, and community page links like Facebook, Google+, LinkedIn, or YouTube. Underneath are listed all members of the displayed network graph.
– Layout Characteristics
The network graph’s layout elements like color, the distance between nodes, or diameter of nodes is used to interpret specific attributes related to a node. These are for example the number of con-nections to other nodes, the number of exhibitions together with the central node to which the whole network graph is related.
– Propagations / Recommendations
Furthermore, the visualized results of our queries include propagations / recommendations for possible new connections.
These nodes are not directly connected with the central node but with a member. They are based on the statistic evaluation of highest number of exhibitions together with the specific member and are shown as ‘outsider’ nodes with a single line near the edge of the displayed visualization.

Explore and Discover with Visualization New Sides of Contemporary Art

artist-info network visualization identifies, helps to explore, and to develop the valuable connections among the participating artists, curators and exhibition places.
  artist-info.com Artist example page
  artist-info.com Curator example page
  artist-info.com Exhibition Place example page

There is a wide range of possibilities for using our network visualization.

As it opens in a separate browser window the link can be used on any other website as part of your artist project, of promoting exhibitions giving exciting interactive insight, adding it to a web or print article on an artist, curator or exhibition place.
Last but not least: Include it on the artist’s, curator’s or exhibition place’s artist-info.com page, like on our example pages.
As an additional service your branding can be included in the left side pane of the visualization page.

Contact us
for visualizing the artist, curator or exhibition place of your choice.

Find out more about our services for contemporary art worldwide

Exhibition History – Exhibition Announcements – Artist-Portfolios – Artwork Offers – Newsletter Service – Network Visualization.
Go to visualizingartnetworks.com for more details and get startet.

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KUNSTHALLE ERFURT – Julian Röder & Robert Capa

Artists / Exhibition Announcements / Museum / Non-Profit Place
KUNSTHALLE ERFURT - Julian Röder & Robert Capa

Julian Röder, Monitoring Zeppelin, Southern France, 2013 – Aus der Serie Mission and Task, 2012/13, Archival pigment print, 78 x 109 cm / 31″ x 43″, © Julian Röder, Courtesy Russi Klenner

KUNSTHALLE ERFURT

CC – Classic Contemporary – Julian Röder & Robert Capa
July 18 – September 28, 2014

As part of its photo exhibition series CC – Classic Contemporary, KUNSTHALLE ERFURT presents a two-person exhibition of works by Julian Röder (*1981) and Robert Capa (1913–1954), curated by Silke Opitz.
Both photographers focus on such themes as “socio-political processes of change” in which “conflict and war” serve as the catalysts or consequences of these processes.

Like Capa, Julian Röder is not only fascinated with the (potential) violence or military engagement, but rather the tensions of human interaction and co-existence which precede these.
Röder is particularly interested in social changes and upheavals that are driven by historic-political events, in other words, in their “real” visible form, which, to some extent, can be attributed to the artist’s background. Yet by focusing on the East-West German conflict, he also documents transformation processes around the world, driven in large part by globalization. In his photos, he presents those empty phrases and catchwords of bygone, post-modern phenomena and their consequences in a very concrete way.
However, Röder’s photos also play on the contrasting aesthetics of paintings of historic battles, advertising images and photo-journalism. He makes reference to our viewing habits and points of view, and consciously creates ambiguity of perspective. This might make his (recent) works appear more artistically motivated than the iconic (war) reporting and propaganda photos by Endre Ernö Friedmann.
As part of its CC – Classic Contemporary series at the Erfurt Kunsthalle, this double exhibition includes almost all of Julian Röder’s past photo series and comparatively presents them alongside selected works by Robert Capa.

It wasn’t only the “Americanised” pseudonym which made Robert Capa a legend. In hindsight, it was his life story and physical appearance which gave the photographer and co-founder of Magnum Photos such charisma, evident even in his self-portraits. These portraits reflect Capa’s eventful life, his politically motivated “bravado and daredevil camera work”. His auratic B/W photos are proof of how “close-up” Capa literally was in each scene. What is also fascinating was his ability to capture that immanently “right” moment – the spectacular moment. Yet Capa was also strongly influenced by the aesthetics of the classical avant-garde (and its proximity to propaganda and advertising), as we see in his photos of life in Russia and that of Ukrainian peasants after World War II.

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Ferus Gallery – the artists, curators, and exhibitions – its history

Artists / Collector / Curators / Gallery / History / Research
Ferus Gallery storefront

Exterior view of the Ferus Gallery during the exhibition of Edward Kienholz’s installation Roxy’s, 1962.
Photo by William Claxton (1927–2008). Courtesy Demont Photo Management, LLC. Getty Archive.

Ferus Gallery

The exhibition
‘Objects on the New Landscape Demanding of the Eye’, March 15 – April 11, 1957
was the inaugural group show at the famous Ferus Gallery.
Frank Lobdell, Jay DeFeo, Sonia Gechtoff, Craig Kauffman, Richard Diebenkorn, John Altoon and Clyfford Still were the artists in this show,
directed by curator Walter Hopps, and the artist Edward Kienholz.
In 1958, Edward Kienholz left Ferus Gallery to concentrate on producing art, and his stake in the gallery was replaced by Irving Blum.
Walter Hopps left in 1962 to become curator and, later, director of the Pasadena Art Museum, today Norton Simon Museum.

Exhibition History Timeline

Exhibition Link artist-info.com Ferus Gallery exhibition timeline
Which artists were shown between 1957 – 1966, the years the gallery was active?
How was the gallery and the artists connected with other venues of the time?

Find out more on our exhibition history timeline for Ferus Gallery on artist-info.com.

The details above are showing that Ferus Gallery was important in many aspects. We therefore wanted to add as many exhibitions and their artists as possible to artist-info database.
With the help of Research Library, Getty Research Institute, and through our own research we were able to add 56 exhibitions, solo shows and group shows, displayed on Ferus Gallery artist-info page. Exhibition Link
Going to the artist’s individual artist-info pages shows their later success. Their exhibition history reveals, how galleries, musuems, and other venues like documenta did follow the rumor about these artists and their exciting new art work.

Ferus Gallery started in 1957 at 736-A North La Cienega Boulevard, Los Angeles, California and moved in 1958 to 723 North across the street.
Under the directorship of Irving Blum from 1958, the gallery exhibited both the West Coast and New York art of the period.
It was the first gallery on the West Coast to devote a solo show to Andy Warhol, whom Blum had first met in New York in 1961. Blum also ventured to show other East Coast artists, including Jasper Johns, Roy Lichtenstein, and Frank Stella.

Los Angeles artists who had their first solo shows at the gallery included: Sonia Gechtoff 1957 with the gallerie’s first solo show, Wallace Berman (1957), Billy al Bengston (1958), Ed Moses (1958), Robert Irwin (1959), John Mason (1959), Kenneth Price (1960), Llyn Foulkes (1962), Larry Bell (1962) and Ed Ruscha (1963).

These details and the shown artists, then at the beginning of their career, becoming famous in the following years, let Ferus Gallery emerge as an important hot spot for contemporary art on the West Coast in the late 50s until the mid 60s.
Please go to Ferus Gallery artist-info page to find out more about the artists and the related exhibition places, for example the Norton Simon Museum (once Pasadena Art Museum).

Ferus Gallery - artist-info.com Summary
Ferus Gallery – artist-info.com Summary
Find the exhibition timeline from 1957 to 1967 on the artist-info Ferus Gallery page
All artists in the listed solo- and group-exhibitions 1957-1967 of Ferus Gallery.
Josef Albers (1888 - 1976)John Mason (*1927)
John Altoon (1925 - 1969)Lee [Elizabeth] Miller [Lady Penrose] (1907 - 1977)
Larry Bell (*1939)Joan Mitchell (1925 - 1992)
Billy Al Bengston (*1934)Giorgio Morandi (1890 - 1964)
Wallace Berman (1926 - 1976)Ed [Edward Branco] Moses (1926 - 2018)
Streeter Blair (1888 - 1966)Robert Motherwell (1915 - 1991)
James D. Brooks (1906 - 1992)Louise Nevelson (1899 - 1988)
Bruce Conner (1933 - 2008)Barnett Newman (1905 - 1970)
Joseph Cornell (1903 - 1972)David Park (1911 - 1960)
Jay DeFeo (1929 - 1989)Richard Pettibone (*1938)
Richard Diebenkorn (1922 - 1993)Jackson Pollock (1912 - 1956)
Llyn Foulkes (*1934)Larry Poons (*1937)
Sonia Gechtoff (*1926)Kenneth Price (1935 - 2012)
Arshile [Vosdanig Manoog] Gorky (1904 - 1948)Robert Rauschenberg (1925 - 2008)
Philip Guston (1913 - 1980)Milton Resnick (1917 - 2004)
Hans Hofmann (1880 - 1966)Philip Rich (1935 - 2017)
Robert Irwin (*1928)Arthur Richer (*1928)
Jasper Johns (*1930)Mark Rothko (1903 - 1970)
Craig Kauffman (1932 - 2010)Richards Ruben (1925 - 1998)
Ellsworth Kelly (1923 - 2015)Edward Ruscha (*1937)
Edward Kienholz (1927 - 1994)Kurt Schwitters (1887 - 1948)
Franz Kline (1910 - 1962)Frank Stella (*1936)
Willem de Kooning (1904 - 1997)Clyfford Still (1904 - 1980)
Roy Lichtenstein (1923 - 1997)Jack Tworkov (1900 - 1982)
Frank Lobdell (1921 - 2013)Andy Warhol (1928 - 1987)
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Llyn Foulkes – how it all began

Artists / Collector / History / Research
Llyn Folkes - Whos on Third

‘Who’s on Third’, 1971-1973, Oil on canvas. 48 x 39 in. / 121.9 x 99.1 cm. John Jones Collection. Exhibition at Museum Kurhaus Kleve

Llyn Foulkes exhibitions in 2013 and 2014

The Hammer Museum, Los Angeles, organized an extensive career retrospective devoted to the work of the groundbreaking painter, performance artist and musician Llyn Foulkes (*1934 in Yakima, Washington), curated by Ali Subotnick.*
After Los Angeles, February 3 — May 19, 2013 the exhibition was shown in New York, New Museum, June 12 – September 1, 2013, and Kleve (Germany), Museum Kurhaus Kleve, December 6, 2013 – March 2, 2014.

The American artist Llyn Foulkes is one of the most noteworthy discoveries of 2012 documenta XIII (Curaotr Carolyn Christov-Bakargiev). As the first museum in Europe, the Museum Kurhaus Kleve is showing a comprehensive retrospective of his work with about 100 works from the early 1960s to the present.

How it all began

Through our research for the renowned Ferus Gallery (1957 – 1966) we could understand through an interview given by Llyn Foulkes how it all began and how Llyn Foulkes was received in the late 50s and early 60s.
The interview by Paul Karlstrom for the Archives of American Art was conducted 1997 June 25 – 1998 December 2.
Here are some sequences which caught our attention.
… that is to say: It wasn’t a walk in the park.

The interview begins with a discussion of Foulkes’ move to downtown Los Angeles and “The Brewery” [“The Brewery” was formerly a working brewery that has been transformed into living/studio space for artists] from Topanga. There follows, beside many other aspects of his life, a lengthy discussion of the Ferus Gallery, Walter Hopps, Maurice Tuchman, Henry Hopkins, Rolf Nelson, John Coplans, and Christopher Knight. He also discusses Los Angeles as the center of popular art and culture. He reflects on his kinship with Wallace Berman and the spirituality they shared; his isolation as an outsider; his regrets about not responding to others (including Berman and George Herms), seeing it as a lost opportunity to participate more fully in the local art world and cultivating supportive relationships.

Llyn Foulkes had a solo show in August 1961 at Ferus Gallery. The interview reveals how difficult it was for the artists to exhibit their work in a show, and to be seen by the public. After Walter Hopps has left Ferus Gallery to become curator at the Pasadena Art Museum, Hopps inherits the already in 1961 by Thomas Leavitt planned solo show for Llyn Foulkes to open in September 1962. His show was competing with another important show, organized by Walter Hopps, entitled ‘New Realism’ [‘New Painting of Common Objects’, generally regarded as the first Pop exhibition in a museum], featuring Jim Dine, Robert Dowd, Joe Goode, Phillip Hefferton, Roy Lichtenstein, Ed Ruscha, Wayne Thiebaud, and Andy Warhol. Hopps was promoting this show extensively, but not so the much bigger show by Llyn Foulkes as he describes in his interview: “Hopps did market the concurrent group show with ‘Pop Art on the West Coast’. So he has his first show [at Pasadena Art Museum] and he’s making this big poster. I remember at the time he’s doing this big poster. It’s gigantic, all in color and they didn’t do a lot of color stuff at that time. It was big and in color. It was going to be expensive, and I wanted to see what they’re doing with my poster for the Pasadena Art Museum. Well, he said they couldn’t afford to do mine, even though my show was much bigger. He couldn’t afford to do mine because he was pushing himself. He was going to do this big, gigantic color poster on Pop Art. … because he wanted to be established with something new that was happening. Mine was too separate ”
He made his next difficult experience one year later in October 1963 on occasion of the groundbreaking Marcel Duchamp show at the Pasadena Art Museum. Llyn Foulkes’ comment: “I walked around the Duchamp show and I thought to myself, ‘My stuff’s better than that.’ There wasn’t anything in the Duchamp show that really grabbed me. The next thing I know, Walter Hopps is playing chess with Duchamp and the cameras are around and this is all part of this marketing thing, connecting himself to Duchamp.

Llyn Foulkes: “I wasn’t promoting myself. I wasn’t marketing myself, and neither were they. I just happened to fall into the thing in an odd sort of way. When I had my first show at Ferus Gallery, I didn’t even get a review, even though they had the blackboard and chair in it, I didn’t even get a review, and it was at the worst time of the year, in August. Now we’re hopping into this, and I had already submitted my stuff to the Pasadena Art Museum [for the solo show in September 1962] and the Pasadena Art Museum, at that time, was Leavitt, I believe.”

Later in the interview, Llyn Foulkes speaks about another experience with the art market, he had: “Then he [Larry Gagosian] thought he could make more money with more expensive posters, and then it got into a gallery. I think it was called The Broxton Gallery or something. Is that what it was called? In fact, I even lent him a painting for his gallery. He was trying to get me in at the time. I never got it back, ever got it back, and all of a sudden, this guy is defining what contemporary art is, and museums are listening to the guy. Museum people who graduated in art history and whose whole thing has been about art history are listening to this guy who sold poster art. I said, “What does that say?”
Paul Karlstrom: Well, it’s a business. It’s merchandising and promotion.
Llyn Foulkes: I thought art was supposed to be above that sort of thing.
In the light of Larry Gogosian’s success today he couldn’t have been this wrong.

* The Llyn Foulkes exhibition in 2013 and 2014 was made possible by major gifts from Susan Steinhauser and Daniel Greenberg / The Greenberg Foundation in honor of Mickey Gribin; Kayne Foundation – Maggie Kayne; and The Andy Warhol Foundation for the Visual Arts.

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Damien Hirst – Curator

Artists / Curators / History / Research
Dock Offices, Surrey Docks, London

At Dock Offices, Surrey Docks, London, Damien Hirst installed in July 1988 his first exhbition he curated, entitled ‘Freeze’.
Damien Hirst – curator
Curating an exhibition is one of many ways for an artist to collaborate with other artists. Damien Hirst‘s (* 1965) groundbreaking and controversial work has made him one of the world’s best-known living artists – not to forget his success as curator.

We included the following exhibitions, curated by Damien Hirst, to artist-info as an overview and insight into these exhibitions and the participating artists with their individual artist-info pages.

‘Freeze’ – July 1988
During his time at Goldsmiths College of Art he organized in July 1988 in an empty London Port Authority building at Surrey Docks in London Docklands his first exhibition, entitled ‘Freeze’. Many of the participating artists, later known as YBA – Young British Artists, are well known today but not so in July 1988:
Steven Adamson, Angela Bulloch, Mat Collishaw, Ian Davenport, Angus Fairhurst, Anya Gallaccio, Damien Hirst, Gary Hume, Michael Landy, Abigail Lane, Sarah Lucas, Lala Meredith-Vula, Stephen Park, Richard Patterson, Simon Patterson, and Fiona Rae.
The exhibition was sponsored by the London Docklands Development Corporation and Olympia and York and included the possibility to publish a catalog of high quality, designed by Tony Arefin and with an essay by Goldsmiths tutor Ian Jeffrey. The publicity efforts for the exhibition by Hirst made important collectors, including Norman Rosenthal, Charles Saatchi, Nicholas Serota, and Richard Shone, and curators and journalist come and see the ‘Freeze’ show.
Looking back it might seem that the exhibition was a well thought of plot. It doesn’t take into account what Michael Craig-Martin, one of Damien Hirst’s tutors at Goldsmiths Art College, described as: “It amuses me that so many people think what happened was calculated and cleverly manipulated whereas in fact it was a combination of youthful bravado, innocence, fortunate timing, good luck, and, of course, good work. It caught people’s imagination.”

The core of the later-to-be YBAs graduated from the Goldsmiths BA Fine Art degree course in the classes of 1987 – 1990.
Liam Gillick, Fiona Rae, Steve Park, and Sarah Lucas, were graduates in the class of 1987.
Ian Davenport, Michael Landy, Gary Hume, Anya Gallaccio, Henry Bond, and Angela Bulloch, were graduates in the class of 1988.
Damien Hirst, Angus Fairhurst, Mat Collishaw, Simon Patterson, and Abigail Lane, were graduates from the class of 1989,
whilst Gillian Wearing, and Sam Taylor-Wood, were graduates from the class of 1990.

‘Modern Medicine’ and ‘Gambler’ – March and May 1990
Both highly acclaimed exhibitions were co-organized by Damien Hirst, with Carl Freedman and Billee Sellman in the The Biscuit Factory – Building One.

‘Some Went Mad . . . Some Ran Away’ – May 1994
In 1989, Angus Fairhurst wrote an essay titled ‘Some went mad and some ran away, the great majority stayed faithful until physical death.’ Fairhurst’s text resonated with Damien Hirst, as he adopted part of the title in 1994, for the exhibition he curated at the Serpentine Galleries, London, ‘Some Went Mad . . . Some Ran Away’.
In 1995 Damien Hirst was awarded the Turner Prize, in part for his curatorship of this show at the Serpentine Galleries, in which he also exhibited.

‘In The Darkest Hour There May Be Light, Works from Damien Hirst’s Murderme Collection’ – November 2006
The first public exhibition of Damien Hirst’s Murderme Collection at Serpentine Galleries. The collection spans several generations of international artists, from Francis Bacon, John Bellany and Andy Warhol to Jeff Koons, Angela Bulloch and Jim Lambie. Hirst also supports artists in earlier stages of their careers such as Tom Ormond, Laurence Owen and Nicholas Lumb.

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