Rationale
Gavin Turk was one of the recommended artists to research in regards to this project due to his use of the human form and connection to identity. As with Mark Quinn I have chosen to move away from a realistically representational form and develope my own abstracted form.
Gavin Turk was one of the recommended artists to research in regards to this project due to his use of the human form and connection to identity. As with Mark Quinn I have chosen to move away from a realistically representational form and develope my own abstracted form.
With its themes of identity, appropriation and the ambiguity of authorship in contemporary art, Gavin & Turk is a suitably schizophrenic title for a recent exhibition at London's Ben Brown Fine Arts gallery. The show is the latest offering from Gavin Turk, the British artist who gained notoriety for his graduation piece at the Royal College of Art in 1991; an empty studio that contained just a blue English Heritage plaque bearing the words "Gavin Turk worked here 1989-91". This act may have cost Turk his degree, but it secured his place as one of the generation of Young British Artists (YBAs) who rose to prominence in nineties Britain. The YBAs' strategies of self-promotion raised questions about the artist's identity in a media and market-saturated discipline that Turk then made the basis of his practice, as in Pop (1993), a self-portrait that simultaneously referenced Sid Vicious, Elvis Presley and Andy Warhol.
Gavin & Turk is a solo show entirely consisting of new works. Yet as its name suggests, this is still an exhibition about more than one man. It is billed as an homage to Alighiero Boetti, the Italian conceptual artist, who in the 1970s, started signing his workAlighiero e Boetti, a gesture that expressed his fascination in both wordplay and the messy duality of the self. It is timed to coincide with a major Tate Modern retrospective of Boetti, who was originally associated with the Arte Povera movement in the late 1960s.
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