Newport Street Gallery is
showing the first major solo exhibition of work by British artist Gavin Turk
since 2002.
‘Who What When Where How
and Why’ spans twenty-six years of the artist’s career and features over
seventy works. The exhibition – which includes new and previously unexhibited
work – is on display throughout Newport Street’s six gallery spaces.
Since emerging onto the
London art scene in the early 90s, Turk has dedicated much of his career to
exploring notions of authorship, identity and value. Engaging in the central
modernist debate initiated by Marcel Duchamp, Turk’s varied work appropriates
both familiar everyday objects and instantly recognisable artworks by towering
figures of twentieth-century art such as Andy Warhol, Jackson Pollock and
Giorgio de Chirico.
This survey – the first
major UK exhibition of the artist’s work to be presented since 2002 – features
the iconic Cave, a commemorative blue plaque installation Turk exhibited in his
1991 Royal College of Art degree show. A series of ‘Signature’ works, in which
Turk uses his own name as a form of ready-made in order to examine ideas
surrounding origin and authenticity, are also included. The signature of the
artist, traditionally the valued hallmark of authority and provenance, recurs
throughout ‘Who What When Where How and Why’, emerging from the canvases of
Turk’s Pollock paintings; the abstract expressionist artist’s paint splatters
exchanged for innumerable ‘Gavin Turk’ signatures.
Turk’s deployment of his
own image is similarly central to his oeuvre. Identity Crisis (1994), first
shown in the Saatchi Gallery’s ‘Young British Artist’ exhibition in 1995,
imagines a Hello!magazine cover featuring the artist with his family. Pop
(1993), meanwhile,sees a life-sized waxwork of Turk inhabiting the pose of
Warhol’s Elvis in the guise of English punk musician Sid Vicious. This complex
study of celebrity icons and the commodification of culture was included in the
Royal Academy’s seminal ‘Sensation’ show in 1997.
Layers of art historical
allusion and ‘recycled’ references inform Turk’s work elsewhere, as in his
interpretations of Warhol’s ‘Elvis’ and ‘Disaster’print series, and with Pipe
(1991), a liquorice version of the traditionally-male smoking instrument – cast
in bronze – that plays on Magritte’s famous The Treachery of Images (1929),
whilst simultaneously referencing van Gogh. Influenced by artists such as
Michelangelo Pistoletto, Turk’s skillful manipulation of materials is evident
throughout the show, for example in his exquisitely-cast bronze rubbish bags,
and with the major sculptural work Ariadne (2006–2014). This large-scale bronze
playfully casts the classical female figure, reimagined in Giorgio de Chirico’s
surreal paintings, as if she is made of crudely carved polystyrene, further
debunking the fetishized art historical form.
Hirst first saw Turk’s work
– which he has been acquiring since 1998 – at his Royal College degree show in
1991.
https://www.newportstreetgallery.com/exhibitions/gavin-turk-who-what-when-where-how-why
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