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Last day at #KIAF2017. More images of our booth here:
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At #KIAF2017 until Sunday!
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At @artriofair presenting limited edition works by #DamienHirst. Booth D10
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Join us booth 843 at @expochicago this weekend! #DamienHirst
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Other Criteria is at @expochicago booth 848 until Sunday 17th September #Damien Hirst #EduardoSarabia
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Other Criteria Trunshow with Hoorsenbuhs

May 29, 2014 by Samia

Other Criteria's first US shop is a bi-level space located in Manhattan's SoHo area. To celebrate the opening we hosted a series of events with our artists and collaborators.

On May 7th we hosted our first trunkshow with Robert Keith and Kether Parker of Hoorsenbuhs where guests had the opportunity to order custom jewelry and get up close and personal with The Cathedral Collection available exclusively through Other Criteria.

Our May 8th event was a tea party for artist Harland Miller with signature british Yorkshire tea and Parkin cake. Attendees had the pleasure of meeting the artist and listening to his ideas on creativity.

The finale for the opening festivities took place on May 9th with artists Tim Noble and Sue Webster with custom tequila cocktails by Hudson Events. Some of our guests included Tracey Emin, Josh Cheuse, Antoine Verglas and Polly Borland.

Sign up to our mailing list for invitations to our future events.

Other Criteria
458 Broome Street
New York City
NY 10013

Other Criteria Soho entrance

Photos courtesy of Ben Rosser/

East London Painting Prize

May 27, 2014 by Kay

Damien Hirst unveils gilded mammoth skeleton to be auctioned in aid of amfAR

May 20, 2014 by Amie

Damien Hirst has donated ‘Gone but not Forgotten’ (2014) for amfAR's annual Cinema Against AIDS gala, to be held on Thursday 22nd May. In this major new work, Hirst presents the gilded skeleton of a three-metre tall woolly mammoth, in a colossal steel and glass vitrine.

The sculpture forms part of Hirst’s ‘Natural History’ series, which he began in the early 1990s, with work including the shark in formaldehyde, 'The Physical Impossibility of Death in the Mind of Someone Living' (1991), and the bisected cow and calf, 'Mother and Child (Divided)' (1993).

The unique piece was donated by the artist, to aid amfAR's work in the fight against AIDS. Founded in 1985, amfAR is dedicated to ending the global AIDS epidemic through innovate research. It has invested more than $388 million in its programs and has awarded more than 3,300 grants to research teams worldwide.

Held at the Hotel du Cap-Eden-Roc, Cinema Against Aids is one of the highlights of the Cannes Film Festival, attracting support from global stars such as Sharon Stone, Heidi Klum and Aishwarya Rai. Artwork by Andy Warhol, Robert Rauschenberg and Julien Schnabel have been auctioned at previous galas.

Simon de Pury, who will conduct the auction of 'Gone but not Forgotten', stated: "Damien Hirst's contribution of a work of this magnitude to amfAR is noteworthy in both the art and philanthropic worlds. Hirst is an unparalleled figure in contemporary art, and this piece embodies themes that resonate with amfAR's history and the new sense of possibility in the search for a cure for HIV/AIDS."

Hirst explained of the piece: "The mammoth comes from a time and place that we cannot ever fully understand. Despite its scientific reality, it has attained an almost mythical status and I wanted to play with these ideas of legend, history and science by gilding the skeleton and placing it within a monolithic gold tank. It's such an absolute expression of mortality, but I've decorated it to the point where it's become something else, I've pitched everything I can against death to create something more hopeful, it is Gone but not Forgotten."

For more information, visit

'Gone but not Forgotten' (2014) All images are photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS 2014

View a short film on the fabrication of 'Gone but not Forgotten' (2014) on Damien Hirst's website.

Eduardo Sarabia in Guadalajara

May 19, 2014 by Kay

15th May-10th August 2014

This is the first museum survey devoted to the work of this Los Angeles-born, Guadalajara-based artist Eduardo Sarabia. Organized by the Instituto Cultural Cabañas and guest curated by Cesar Garcia, Director/Chief Curator of The Mistake Room, Los Angeles, Eduardo Sarabia brings together over a decade of the artist's works, many of which will be presented in Guadalajara for the very first time.

A maker of stories, Sarabia develops works through a travel intensive, research-based process in which the stories, histories and mythologies of various communities are mined in order to unveil how our understanding of the world and the places in which we live is constructed through fact and fiction, through both reality and fantasy. Working across a wide range of media including drawing, painting, sculpture, video and installation, Sarabia deconstructs the cliches and stereotypes that result from tense moments of cultural contact ; depicting instead complexly textured narratives molded and informed by the movement of bodies, capital, and materials--both licit and illicit--across geographies and undefined terrains.

The exhibition traces the stories and narratives that Sarabia forges through the blurring of truth and fiction. Conceived as an immersive narrative and organized as a series of unfolding chapters that outline the development of Sarabia's oeuvre, the exhibition allows viewers to encounter the various communities and peoples that have formed the basis for the artist's artistic investigations. Encompassing installations that explore drug trafficking and its impact on popular culture; that document a quest for Pancho Villa's hidden treasure; that take us to the world of spirits and shamans; and that introduce us to the ancient Mayan myths about the end of our current era through customs of peoples living in Mexico's Yucatan peninsula, Eduardo Sarabia provides an in-depth look at the cultural ties that bind peoples, places and histories in Mexico and the United States.

Through Sarabia's work, we come to understand how our own perspective of the world is tied to much broader social processes and how our individual dreams, desires and fears are assembled not only by our own realities and fictions but also by forces in real and imagined distant lands. 

Damien Hirst, Mickey print release – Other Criteria NYC

May 16, 2014 by Mary

Polly Morgan — The Box

May 15, 2014 by Kay

02 May 2014 – 31 May 2014

Pippy Houldsworth Gallery presents a new commission in The Box by British artist Polly Morgan. Upturning prevailing attitudes towards taxidermy, the artist uses animals as raw materials within her work. Essentially, the artist uses their remains to play out dark, macabre narratives which tap into the uncanny. Directly confronting death, Morgan’s sculptures manifest an innate curiosity into the internal mechanisms of the body. For the first time, the artist will unveil the underlying artifice of the taxidermy process in The Box.


Resembling a zoological display case, the work features a taxidermied python wound tightly around a gnarled, wooden branch. Unlike previous incarnations of The Box, Morgan has chosen to break out of the confines of the project space; embroiled together, both the snake and the branch emerge through a crack in the glass as if they have bludgeoned their way out.

Unusually, the snake is anatomically incomplete: dangling on a sinuous piece of skin, part of the body remains lifeless and flat whilst the rest is flawlessly lifelike. Here, Morgan has stopped stitching in order to reveal the wood, wire and thread interior. Similarly, the branch gradually transitions from looking like wood to fibreglass, with artificial fibres sticking haphazardly out of the end. Here, we see the experimental nature of Morgan’s deployment of taxidermy in full force.

Discussing the work, Morgan explains that: ‘the branch and snake combination subtly alludes to a phallus, whilst The Box (conveniently also a slang term for) to a vagina. To me it's a reflection on the dismantling of a relationship; tightly bound and seemingly authentic to start with, unraveled and raw at the end.’

Perched at the tip of the wire, a taxidermied starling stares inquisitively at the viewer whilst clutching a small piece of stuffing in its beak. Whilst the snake and branch may come to an end, both physically and symbolically, the bird suggests a renewal of life by using materials from the taxidermy process to line its nest.

Eleven at Cock ‘n’ Bull Gallery

May 12, 2014

16th May-12th June 2014
Private view: Thursday 15th May, 6.30 to 9.30pm

Adam Dix-Founding Fathers-2012-Oil-on-board

Adam Dix, Founding Fathers, 2012, Oil on board

Eleven presents a group exhibition at Mark Hix’s Cock ‘n’ Bull Gallery at Tramshed featuring work by Kent Christensen, Cedric Christie, Adam Dix, Gerry Fox, Roland Hicks, Natasha Kissell, Natasha Law, Peter Newman, Jennie Ottinger and Jonathan Yeo.

Many of the new works exhibited have been created in response to Tramshed and its surroundings. Working across a variety of media including paintings, sculpture, video, photographs and limited edition prints these artists illustrate their own progressive and unique artistic perspectives.

Cock ‘n’ Bull Gallery is located in the basement of Tramshed restaurant at:
32 Rivington Street, Shoreditch, London EC2A 3LX
Open daily 11am to 6.30pm

Adam Dix, Founding Fathers, 2012, Oil on board

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