Published on the occasion of Damien Hirst’s exhibition at L&M Arts, New York, in October 2010, this first--and complete--book on the artist's medicine cabinets is contextualized by the artist’s following of the punk movement. The first twelve sculptures in the book are named after the title tracks on the Sex Pistols’ Never Mind the Bollocks album. The front-page newspaper spreads punctuating the book from the album’s release year (1977) and the year of the cabinets’ completion (1989) provide a context for reading James Frey’s story-poem, Fuck This and Fuck That, which describes the listless protest of a teenage waster. The song titles and cabinet names - No Feelings, Liar, and Seventeen - resound with the frustrations of Thatcherite Britain and the violence borne out in daily uprest and anarchy, as depicted in the news: IRA MEN HELD IN BIG SWOOP; RIOT SHIELDS OUT AGAIN and DOCKS JOBS-FOR-LIFE TO BE AXED BY AUTUMN. Hirst’s medicine cabinets have long been described as temples of medicinal hierarchies providing nothing more than a short-term cure in the face of death. Viewing the pervasive successes and exploitations of the pharmaceutical industry as a belief system in itself is evidence of our society's dependency and a form of escapism. Hirst has commented: "I’ve always seen medicine cabinets as bodies, but also like a cityscape or civilization, with some sort of hierarchy within it. It’s also like a contemporary museum of the Middle Ages. In a hundred years’ time this will look like an old apothecary. A museum of something that’s around today." The publication features a transcription of a radio conversation between Damien Hirst and Steve Jones, guitarist for the Sex Pistols, covering music, girls, money, drugs, drinks, and smokes. The book’s index lists every medicine cabinet ever made and the exhibition itself includes original Sex Pistols memorabilia including album sleeves and t-shirts. This is the signed and lmiited edition of this book.

This title is contextualised by the artist's following of the punk movement. The first 12 sculptures in the book are named after the title tracks on the Sex Pistols' Never Mind the Bollocks album.

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A skillbuilding and confidence-creating introduction to working with cabinets and countertops, TheComplete Guide to Cabinets & Countertops contains comprehensive information on the tools, materials, and techniques you’ll need to create kitchen cabinets and countertops, bathroom cabinets and vanities, and even sturdy utility cabinets for the basement, garage, or home workshop. This book is packed with valuable information on selecting and ordering stock cabinets, including tips for assessing quality and suggestions for combining stock cabinets in innovative ways. It also has full, step-by-step instructions for building your own custom cabinets from sheetgoods and hardwood. Traditional joinery methods are shown, as well as how to use newer, knockdown hardware and modern fasteners. Techniques for making custom doors and drawers are shown in full detail, with helpful plan drawings and clear step-by-step photos. Finishing, customizing, and upgrading material is also included in the book. In the countertops section, you will find complete instructions for making and installing every popular countertop type, including post-form, custom laminate, ceramic tile, granite tile, poured concrete, and butcher block. You’ll even find projects for working with solid-surfacing countertop material. Backsplash options are shown as well, along with instructions for drilling and cutting granite and marble materials and mounting all types of sinks and faucets.

In 2005 Damien Hirst began photographing every dispensing pharmacy in the Greater London area. Shooting both the individual pharmacists behind their counters and the exterior views of the city's 1,832 chemists, the project has taken over a decade to complete. The images are brought together in their entirety in this extraordinary ten-volume artist's book, which presents a portrait of the city through the people and places that prescribe the medicines we take on a habitual and daily basis. Hirst's career-long obsession with the minimalist aesthetics employed by pharmaceutical companies--the cool colors and simple geometric forms--fi rst manifested in his series of Medicine Cabinets, conceived in 1988 while still at Goldsmiths College. For his 1992 installation Pharmacy Hirst recreated an entire chemist within the gallery space, stating: "I've always seen medicine cabinets as bodies, but also like a cityscape or civilization, with some sort of hierarchy within it. [ Pharmacy ] is also like a contemporary museum. In a hundred years it will look like an old apothecary." Pharmacy London similarly embodies the artist's realization of an "idea of a moment in time." The publica- tion also, however, reads as a distilled expression of Hirst's continuing belief in the near-religious role medicine plays in our society.