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Gavin Turk

$66.00 USD

by Gavin Turk

2013

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Assembled under the artist’s direction, this first major book on the work of Gavin Turk showcases over two decades of extraordinary sculptures, digital prints and installation pieces.

Although he is often identified with the YBA (Young British Artist) movement of the mid-1990s, Gavin Turk has pioneered many forms of contemporary sculpture including painted bronze, waxwork, recycled objects and the use of ephemeral materials in art. His installations and sculptures deal with the issues of authorship, authenticity and identity. Featuring numerous color illustrations, the volume includes Turk’s major works since the early 1990s as well as two essays, one giving academic and historical context to his artistic practice and the other discussing the artist’s work under the umbrella of psychogeography, including the impact of the city of London on Turk’s persona.

Judith Collins is an international authority on sculpture and the author of numerous books, including The Origins of the Romanesque; Eric Gill: The Sculpture; Andy Goldsworthy: Midsummer Snowballs, and Sculpture Today, along with several exhibition catalogs. She lectures extensively throughout Europe and the US.

Iain Sinclair is a British writer and filmmaker. His novel Downriver won the James Tait Black Memorial Prize. He is currently at work on a study of the psychogeography of London.

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Dimensions 29 x 24,5 cm 11 3/8 x 9 5/8 in
Language English
Publisher Prestel
Contributors Judith Collins Iain Sinclair
Pages 400
ISBN 978-3-7917-4822-3
Publication Date 2013

by

Gavin Turk

Gavin Turk is a British born, international artist. He has pioneered many forms of contemporary British sculpture now taken for granted, including the painted bronze, the waxwork, the recycled art-historical icon and the use of rubbish in art. Turk’s installations and sculptures deal with issues of authorship, authenticity and identity. Concerned with the ‘myth’ of the artist and the ‘authorship’ of a work, Turk’s engagement with this modernist, avant-garde debate stretches back to the ready-mades of Marcel Duchamp. In 1991, the Royal College of Art refused Turk a degree on the basis that his final show, ‘Cave’, consisted of a whitewashed studio space containing only a blue heritage plaque commemorating his presence ‘Gavin Turk worked here 1989-91’. Instantly gaining notoriety through this installation, he has since been exhibited by many major galleries and museums throughout the world.

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