This world class exhibition, curated by former Turner Prize judge Greville Worthington, will explore this foremost contemporary artist through his renowned print works. The striking show of more than 50 works, many unseen by the public, has been loaned by several northern collectors and is one not to miss. With the support of these private collectors, the Museum has drawn together Hirst's best quality prints to form the first exhibition to re-establish a contemporary programme at The Bowes Museum.

Sophie Howarth, Ian White and Claire Bishop, Discussion 2  The speakers consider how changing Utopian ideologies have motivated artists, architects, designers and filmmakers in Europe and America over the last hundred years. The topics covered include the pioneering first wave of abstract art in the early twentieth century, visions of Utopia in avant-garde film, and post-modern explorations of the concept of Utopia by contemporary artists

Sophie Howarth, Introduction 2  This study day explores Utopian beliefs in the power of culture to transform both the individual and society at large.

Tim Benton, Sophie Howarth, Paul Wood, Gill Perry and Achim Borchardt-Hume, Discussion 1  This study day explores Utopian beliefs in the power of culture to transform both the individual and society at large

Achim Borchardt-Hume, Albers and Moholy-Nagy  Achim's talk explores Josef Albers and László Moholy-Nagy's shared belief in art being not just an aesthetic but an ethical experience. Both detested romantic notions of art as self-expression and instead were concerned with the contribution art and artists could make to the positive development of modern society. Imbued with democratic aspirations, they challenged traditional notions of art as the preserve of a bourgeois elite, and sought a unity of art and life. Further Reading Albers and Moholy-Nagy: From the Bauhaus to the New World, ed. Achim Borchardt-Hume, Tate 2005

Paul Wood, On Dreams and Plans  Paul's talk is an introduction to the notion of 'Utopia' and its meaning in 19th century socialism, with reference to how it played in the early 20th century avant-garde. He contrasts idealism and materialism in the avant-garde, with a focus on debates in Russia after the revolution of 1917. Further ReadingThe Challenge of the Avant-Garde, edited by Paul Wood, Yale U.P. 1999 Art of the Avant-Gardes, edited by Steve Edwards and Paul Wood, Yale U.P. 2004 Imagine No Possessions, Christina Kaier, MIT Press 2005 The Artist as Producer, Maria Gough, Univ of California Press 2005

Sophie Howarth, Introduction  This study day explores Utopian beliefs in the power of culture to transform both the individual and society at large.

Margarita Tupitsyn, A Russian Journey of the Grid  Constructivism had developed its own genealogy of the key modernist emblems such as the grid, and the monochrome as well as theorized on the status of the everyday object in the field of aesthetics. This talk presents a case of the resuscitation and redefinition of the grid's visual and theoretical formats through the work of artists associated with the Moscow conceptual circle in its past and current "membership."

Brandon Taylor, Looking from the Left From Line to Construction: Rodchenko's Laboratory of Form  From the earliest straight-line paintings of 1917 and 1918 through to Rodchenko's article 'The Line' of 1921, lines alone summarised the ambitions of Constructivism for efficiency, simplicity and functionality - and for energy, direction and speed, all metaphors of a new art and a new attitude to three-dimensional form in the real environment.We shall look carefully at the 'laboratory' attitudes of Rodchenko and Popova in their efforts to transcend painting, but with the resourc

Round Table and Q&A chaired by Ben Borthwick  Ben Borthwick, Assistant Curator at Tate Modern, has worked alongside Dr. Margarita Tupitsyn on Rodchenko and Popova: Defining Constructivism.