Marc Quinn 麦克．奎安Marc Quinn 麦克．奎安Marc Quinn 麦克．奎安Marc Quinn 麦克．奎安
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Marc Quinn
生于1964年伦敦。1985年毕业于剑桥大学罗宾森学院。奎安的作品主要是以雕塑的方式来呈现人形，经常采用不寻常的材料。从概念来说，他的作品研究着形式和内容的关系，或说内在和外在的关系，尤其是关于身体。《自我肖像》(Self, 1991)是奎安最著名的作品之一，一个用他自己的血液冷冻后制作出来的他的头像。
1999年开始，奎安开始创作一系列大理石雕塑，其内容常常是对生理缺陷的突出。他最著名的作品就是Alison Lapper Pregnant《怀孕的艾莉森·拉帕》，一座安放在Trafalgar Square(伦敦特拉法尔加广场)第四个柱基上的雕塑。艾莉森·拉帕是一位天生残疾的艺术家。
Innoscience《天真科学》表现的是艺术家的小儿子。整个作品由牛奶代替品和蜡制成。他在养育儿子时，因为婴儿对牛奶过敏，因此使用这种替奶品。小婴儿的睡姿看起来很是安静和舒适，却被安置在一个冰冷和生硬的画廊空间地板上。另外，通过使用替奶品 — 一种使他儿子能够存活的物质 — 来铸造成雕像，奎安表达的，是人类生命的脆弱，和我们对为了生存而不断发展的科学的依赖。
Marc Quinn was born in London in 1964. He read History of Art at Cambridge University (1982-85) and began working as a sculptor in 1984. Often grouped with the YBAs or Young British Artists, Quinn is one of the most interesting and compelling artists working today. The work that brought him into the larger public consciousness was Self (1991), a cast of the artist’s head made from 4.5 litres of his own blood. Critical acclaim both at home and abroad has ensured that his work has been included in numerous exhibitions around the world. Shows such as the Sydney Biennale in 1992, Young British Artists II at the Saatchi Gallery in 1993 and Sensation at the Royal Academy of Arts in 1997 helped to enhance his growing reputation.
Recently, Quinn has investigated the essential structure of self - DNA and the human genome - in his extraordinary Portrait of Sir John Sulston, shown at the National Portrait Gallery in 2001. Here, he was able to create a piece that fused both portraiture and biography and contained every conceivable characteristic of the illustrious scientist. He has since produced a self-portrait involving a test tube containing a sample of his own DNA. In addition, he has frozen flowers and plants in silicone, preserving each as a perfect specimen but freezing their life force at the same time. Beauty and death in these works are presented simultaneously. Apparent human imperfection has also attracted Quinn as a subject. In 1999 he began a series of portraits of people without limbs, carved to his instructions by artisans in perfect white marble to the exact likeness of the sitters, who were either damaged in the womb or through accident, war or illness.
Marc Quinn
生于1964年伦敦。1985年毕业于剑桥大学罗宾森学院。奎安的作品主要是以雕塑的方式来呈现人形，经常采用不寻常的材料。从概念来说，他的作品研究着形式和内容的关系，或说内在和外在的关系，尤其是关于身体。《自我肖像》(Self, 1991)是奎安最著名的作品之一，一个用他自己的血液冷冻后制作出来的他的头像。
1999年开始，奎安开始创作一系列大理石雕塑，其内容常常是对生理缺陷的突出。他最著名的作品就是Alison Lapper Pregnant《怀孕的艾莉森·拉帕》，一座安放在Trafalgar Square(伦敦特拉法尔加广场)第四个柱基上的雕塑。艾莉森·拉帕是一位天生残疾的艺术家。
Innoscience《天真科学》表现的是艺术家的小儿子。整个作品由牛奶代替品和蜡制成。他在养育儿子时，因为婴儿对牛奶过敏，因此使用这种替奶品。小婴儿的睡姿看起来很是安静和舒适，却被安置在一个冰冷和生硬的画廊空间地板上。另外，通过使用替奶品 — 一种使他儿子能够存活的物质 — 来铸造成雕像，奎安表达的，是人类生命的脆弱，和我们对为了生存而不断发展的科学的依赖。
Marc Quinn was born in London in 1964. He read History of Art at Cambridge University (1982-85) and began working as a sculptor in 1984. Often grouped with the YBAs or Young British Artists, Quinn is one of the most interesting and compelling artists working today. The work that brought him into the larger public consciousness was Self (1991), a cast of the artist’s head made from 4.5 litres of his own blood. Critical acclaim both at home and abroad has ensured that his work has been included in numerous exhibitions around the world. Shows such as the Sydney Biennale in 1992, Young British Artists II at the Saatchi Gallery in 1993 and Sensation at the Royal Academy of Arts in 1997 helped to enhance his growing reputation.
Recently, Quinn has investigated the essential structure of self - DNA and the human genome - in his extraordinary Portrait of Sir John Sulston, shown at the National Portrait Gallery in 2001. Here, he was able to create a piece that fused both portraiture and biography and contained every conceivable characteristic of the illustrious scientist. He has since produced a self-portrait involving a test tube containing a sample of his own DNA. In addition, he has frozen flowers and plants in silicone, preserving each as a perfect specimen but freezing their life force at the same time. Beauty and death in these works are presented simultaneously. Apparent human imperfection has also attracted Quinn as a subject. In 1999 he began a series of portraits of people without limbs, carved to his instructions by artisans in perfect white marble to the exact likeness of the sitters, who were either damaged in the womb or through accident, war or illness.
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Marc Quinn, Self, 1990, Saatchi Collection
《自我肖像》(Self, 1991)是奎安最著名的作品之一，一个用他自己的血液冷冻后制作出来的他的头像。
这件雕塑是用了他在长达五个月的时间里面合计抽取的 4.5升自己的血液冷却而成的他本人的头像。Self （我）正如很多其它的青年英国艺术家的作品一样，被查尔斯·萨其所收藏 （在1991年的价格号称达到13，000英镑）
据说2年前当时存放此件作品的画廊晚上突发停电时值班人员正在梦中.............致使这件牛比烘烘的作品成为一滩血水。
Marc Quinn, Self, 1990, Saatchi Collection
《自我肖像》(Self, 1991)是奎安最著名的作品之一，一个用他自己的血液冷冻后制作出来的他的头像。
这件雕塑是用了他在长达五个月的时间里面合计抽取的 4.5升自己的血液冷却而成的他本人的头像。Self （我）正如很多其它的青年英国艺术家的作品一样，被查尔斯·萨其所收藏 （在1991年的价格号称达到13，000英镑）
据说2年前当时存放此件作品的画廊晚上突发停电时值班人员正在梦中.............致使这件牛比烘烘的作品成为一滩血水。
Publications and Research
Mark Quinn, Self
Self by Marc Quinn 1991: fiercely emblematic of Britart. Photograph courtesy of Jay Jopling/White Cube
Blood ties ... Self by Marc Quinn
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ABOVE: detail from Marc Quinn’s Self (1991).
Self, 1991, © the artist
Courtesy Jay Jopling/White Cube (London)
Rubber Soul, 1994, © the artist
Courtesy Jay Jopling/White Cube (London)
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TITLE: Self
ARTIST: Marc Quinn
WORK DATE: 2006
CATEGORY: Mixed Media
MATERIALS: Pigment print on gesso-coated aluminium panel
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Lucas, 2001,
他用自己的血液速冻制成的他的儿子——卢卡斯的头像。
25
Title:Day I Date:2004 Sheet Size: 5'' diameter
Description:Bronze.
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TITLE: Untitled
WORK DATE: 2004
CATEGORY: Sculptures
MATERIALS: Gold plated bronze sculpture
EDITION/SET OF: 10
MARKINGS: Accompanied by a certificate of authenticity signed by the artist
SIZE: h: 10 x w: 9 in / h: 25.4 x w: 22.9 cm
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除了用自己的身体创作之外，奎安还创作了一系列的天生四肢残疾或受到截肢的人物雕塑。2005年，奎安因为他创作的Alison Lapper Pregnant艾莉森·拉帕（艾莉森·拉帕是一位天生残疾的艺术家）雕塑而闻名天下，该作品还被展示在National Gallery（英国国家画廊）前的Trafalgar Square特拉法尔加广场的第四个柱基之上。
Alison Lapper - a remarkable woman
This very interesting article appeared in the Guardian last week once the great and good decided that Marc Quinn's amazing statue could reside on the 4th plinth with that other disabled celebrity, Horatio Nelson.
[url]http://salopblog.typepad.com/salopblog/2004/03/alison_lapper_a.html
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除了用自己的身体创作之外，奎安还创作了一系列的天生四肢残疾或受到截肢的人物雕塑。2005年，奎安因为他创作的Alison Lapper Pregnant艾莉森·拉帕（艾莉森·拉帕是一位天生残疾的艺术家）雕塑而闻名天下，该作品还被展示在National Gallery（英国国家画廊）前的Trafalgar Square特拉法尔加广场的第四个柱基之上。
Alison Lapper - a remarkable woman
This very interesting article appeared in the Guardian last week once the great and good decided that Marc Quinn's amazing statue could reside on the 4th plinth with that other disabled celebrity, Horatio Nelson.
[url]http://salopblog.typepad.com/salopblog/2004/03/alison_lapper_a.html
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Alison Lapper當代藝術創作者八個半月身孕的裸體像by Marc Quinn
Alison Lapper pregnant
White marble
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Marc Quinn works on Alison Lapper Pregnant in Pietrasanta, Tuscany. Photograph: David Levene/Guardian
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《怀孕的艾莉森》引来不同的评价，有艺术杂志批评它是一件恐怖及丑陋的作品，但伤健人士权益组织则认为它表现了力量，而且引人注目。作为艺术家的模特儿，艾莉森女士则称它是对女性、伤健人士及母亲的致敬。艺术家马克本人认为在艺术中一直很少有关伤健人士的题材，希望透过这次的作品，引起公众对伤健人士的注意，而且女性造型的雕塑可以平衡广场四周刚阳气甚重的帝皇及将军雕像。
Alison Lapper當代藝術創作者八個半月身孕的裸體像by Marc Quinn
Alison Lapper pregnant
White marble
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Marc Quinn works on Alison Lapper Pregnant in Pietrasanta, Tuscany. Photograph: David Levene/Guardian
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《怀孕的艾莉森》引来不同的评价，有艺术杂志批评它是一件恐怖及丑陋的作品，但伤健人士权益组织则认为它表现了力量，而且引人注目。作为艺术家的模特儿，艾莉森女士则称它是对女性、伤健人士及母亲的致敬。艺术家马克本人认为在艺术中一直很少有关伤健人士的题材，希望透过这次的作品，引起公众对伤健人士的注意，而且女性造型的雕塑可以平衡广场四周刚阳气甚重的帝皇及将军雕像。
1999年开始，奎安开始创作一系列大理石雕塑，其内容常常是对生理缺陷的突出。他最著名的作品就是Alison Lapper Pregnant《怀孕的艾莉森•拉帕》，一座安放在Trafalgar Square(伦敦特拉法尔加广场)第四个柱基上的雕塑。艾莉森•拉帕是一位天生残疾的艺术家。
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Marc Quinn Tom Yendell 2000
marble, 68 x 26 x 5 inches
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Left: Catherine Long, Marc Quinn, 2000. Photo: Courtesy Jay Jopling/White Cube (London).
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Right: Quinn's award-winning sculpture on show at the Royal Academy's 2001 summer exhibition. Image courtesy Jay Jopling/White Cube (London).
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Marc Quinn Tom Yendell 2000
marble, 68 x 26 x 5 inches
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Left: Catherine Long, Marc Quinn, 2000. Photo: Courtesy Jay Jopling/White Cube (London).
[attachment=37208]
Right: Quinn's award-winning sculpture on show at the Royal Academy's 2001 summer exhibition. Image courtesy Jay Jopling/White Cube (London).
Sculpture and Architecture,
Room 50a
Catherine Long 2000
Marble
159 x 50 x 74 cm
Jay Jopling/White Cube, London
Alexandra Westmoquette 2000
Marble
86 x 74 x 40 cm
Olbricht Collection
Jamie Gillespie 1999
Marble
180 x 62 x 51 cm
Private Collection, Mike Meire, Cologne
Tom Yendell 2000
Marble
173 x 66 x 37 cm
Mugrabi Collection
Stuart Penn 2000
Marble
160 x 98 x 54 cm
The Richard H. Cooper Foundation
Other works not shown
Sculpture and Architecture,
Room 50a
Peter Hull 1999
Marble
82 x 65 x 42 cm
Private Collection, London
Selma Mustajbasic 2000
Marble
89 x 55 x 144.5 cm
Mugrabi Collection
Helen Smith 2000
Marble
90 x 70 x 62 cm
Jay Jopling/White Cube, London
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2004
40' x 18.2
signed by photographer and embossed with the FIFA Centennial Emblem
edition of 100
TITEL: Map of the Human Heart
K躈STLER: Marc Quinn
ENTSTEHUNGSJAHR: 2005
KATEGORIE: Photographs
K躈STLER: Marc Quinn
ENTSTEHUNGSJAHR: 2005
KATEGORIE: Photographs
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22 June- 30 September 2006
Venue: Rome
22 June- 30 September 2006
Venue: Rome
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Garden
ARTIST: Marc Quinn
WORK DATE: 2004
材料；有些是照片，有些是画
用速冻技术凝固鲜花盛开的瞬间是马克·奎因作品的另一个引人关注的亮点。多年来，艺术家创作个许多速冻鲜花作品，如《向日葵》、《花园》、《永远的春天》等。在马克·奎因看来，生命最美丽的时刻因冰冻而保持，一旦冰被熔化，生命就随之消亡，而科学在其中起到了至关重要的作用。
Garden
ARTIST: Marc Quinn
WORK DATE: 2004
材料；有些是照片，有些是画
用速冻技术凝固鲜花盛开的瞬间是马克·奎因作品的另一个引人关注的亮点。多年来，艺术家创作个许多速冻鲜花作品，如《向日葵》、《花园》、《永远的春天》等。在马克·奎因看来，生命最美丽的时刻因冰冻而保持，一旦冰被熔化，生命就随之消亡，而科学在其中起到了至关重要的作用。
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《天真科学》2004 马克·奎安（Marc Quinn）
整个作品由牛奶代替品和蜡制成。他的小儿子对牛奶过敏，只能食用这种替奶品。通过使用替奶品——一种使他儿子能够存活的物质——来铸造成雕像，奎安表达的，是人类生命的脆弱，和我们为了生存而不断产生的对科学的依赖。
小婴儿的睡姿很安静，却被安置在一个冰冷和生硬的画廊空间地板上。
《天真科学》2004 马克·奎安（Marc Quinn）
整个作品由牛奶代替品和蜡制成。他的小儿子对牛奶过敏，只能食用这种替奶品。通过使用替奶品——一种使他儿子能够存活的物质——来铸造成雕像，奎安表达的，是人类生命的脆弱，和我们为了生存而不断产生的对科学的依赖。
小婴儿的睡姿很安静，却被安置在一个冰冷和生硬的画廊空间地板上。
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Eternal Spring (Lilies) I, 1998,
[attachment=37274] Frozen Sunflowers
Eternal Spring (Lilies) I, 1998,
[attachment=37274] Frozen Sunflowers
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Love is All Around You, 1999, © the artist
Courtesy Jay Jopling/White Cube (London)
In 1998, Quinn created a life-size cast of himself in ice called Across the Universe, but this time the glass container was not kept below freezing point and the ethereal effigy slowly thawed. Incidentally, in the chronology of his career, Quinn’s own form also metaphorically melted away from his oeuvre after this work; subsequent self-portraits became more abstract, involving mirrors and DNA representations of the artist. In fact, he began to turn to the bodies of others, as in another ice sculpture of a kissing couple made a year later, entitled Love is All Around You. This work also gradually evaporated into the atmosphere of the gallery and the visitors inhaled the vapour. "You are literally taking it into your body, and it becomes you," says Quinn of the physical relationship between viewer and sculpture.
Love is All Around You, 1999, © the artist
Courtesy Jay Jopling/White Cube (London)
In 1998, Quinn created a life-size cast of himself in ice called Across the Universe, but this time the glass container was not kept below freezing point and the ethereal effigy slowly thawed. Incidentally, in the chronology of his career, Quinn’s own form also metaphorically melted away from his oeuvre after this work; subsequent self-portraits became more abstract, involving mirrors and DNA representations of the artist. In fact, he began to turn to the bodies of others, as in another ice sculpture of a kissing couple made a year later, entitled Love is All Around You. This work also gradually evaporated into the atmosphere of the gallery and the visitors inhaled the vapour. "You are literally taking it into your body, and it becomes you," says Quinn of the physical relationship between viewer and sculpture.
[attachment=37248]
Across the Univers, 1998, © the artist
Courtesy Jay Jopling/White Cube (London)
The Egyptians practised a nascent form of posthumous body preservation, not unlike the latter-day cryonic process, and for an exhibition among the ancient sarcophagi in the galleries of the British Museum in 1994, Quinn created a variation on Self. This time, he created a perspex mould of his head with a transparent box suspended inside where the dormant area of the brain should be. The box contained a frozen North American wood frog of a certain species ( Rana sylvatica) that allows itself to freeze solid in winter and then thaw in the spring. Technically, then, the frog remained alive throughout the exhibition, albeit in a state of hibernation or suspended animation.
Across the Univers, 1998, © the artist
Courtesy Jay Jopling/White Cube (London)
The Egyptians practised a nascent form of posthumous body preservation, not unlike the latter-day cryonic process, and for an exhibition among the ancient sarcophagi in the galleries of the British Museum in 1994, Quinn created a variation on Self. This time, he created a perspex mould of his head with a transparent box suspended inside where the dormant area of the brain should be. The box contained a frozen North American wood frog of a certain species ( Rana sylvatica) that allows itself to freeze solid in winter and then thaw in the spring. Technically, then, the frog remained alive throughout the exhibition, albeit in a state of hibernation or suspended animation.
[attachment=37250] [attachment=37284]
Installation view
Marc Quinn came to the attention of the international public with "Self", a work in which the artist's head was cast in his own frozen, congealed blood. This and other work using human bodily fluids are key to the artist's central preoccupation: the exploration of self and issues of mortality. Pictured at the center here is one of two sculptures made of real flowers entitled "Eternal Spring", which are frozen in full bloom and presented in refrigeration. A floral cadaver...
Installation view
Marc Quinn came to the attention of the international public with "Self", a work in which the artist's head was cast in his own frozen, congealed blood. This and other work using human bodily fluids are key to the artist's central preoccupation: the exploration of self and issues of mortality. Pictured at the center here is one of two sculptures made of real flowers entitled "Eternal Spring", which are frozen in full bloom and presented in refrigeration. A floral cadaver...
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Man Struck by Lightning, 1998 (three views)
bronze and stainless steel, height of figure 122 in.
Left: No Visible Means of Escape XI, 1998 - RTV rubber and rope.
Presence/absence; positive/negative; the spirit has flown...
Man Struck by Lightning, 1998 (three views)
bronze and stainless steel, height of figure 122 in.
Left: No Visible Means of Escape XI, 1998 - RTV rubber and rope.
Presence/absence; positive/negative; the spirit has flown...
Yellow Cut Nervous Breakdown, 1998
stainless steel, concrete, polyurethane and sponges
stainless steel, concrete, polyurethane and sponges
Left: No Visible Means of Escape, 1998 (detail)
RTV rubber and rope - height 138 in.
Center: The Invisible Man, 1996
stainless steel,RTV polyurethane - height 93 in.
Left: The Great Escape, 1998
rubber and stainless steel - height 146 in.
RTV rubber and rope - height 138 in.
Center: The Invisible Man, 1996
stainless steel,RTV polyurethane - height 93 in.
Left: The Great Escape, 1998
rubber and stainless steel - height 146 in.
Intuitive Morphology, 1998 (detail)
glass and silver - dimensions variable
Intimations of another body, another form...
glass and silver - dimensions variable
Intimations of another body, another form...
Artist Marc Quinn has made a sculpture of Kate Moss in a yoga position. Quinn says of Moss, "She is a contemporary version of the Sphinx. A mystery." Others might suggest that we know quite enough about the sordid little minx. Quinn usually sculpts with marble, but his Kate was cast in bronze and then painted white, creating a flat, blank surface.
Quinn is also famous for putting a sculpture of Alison Lapper, a woman lacking arms and fully developed legs ¨C on to a plinth in Trafalgar Sqare ¨C and for casting his head in his own blood and freezing it. This Kate is showing at White Cube in London, but New Yorkers get to see the whole series of five at the Mary Boone Gallery starting in April 2007
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莫斯像
这姿势看上去的确有些奇怪，脚腕子和手腕子几经扭曲分置于脸畔两侧，整个身体扭曲成环状。然而这就是英国著名雕刻家马克-昆恩(Marc Quinn)的得意作品之一，而这座雕塑的原型，就是超级名模凯特-莫斯。根据来自英国媒体的最新消息，昆恩的这一力作将于近期运至新西兰参展，至于接下来的下一站，初定美国。
昆恩的这一作品取名为“Sphinx”，直译理解，是希神神话中斯芬克司(有翼的狮身女怪)或古埃及狮身人面像的意思。据悉，在邀请凯特-莫斯作原型之前，昆恩曾经找过另一位世界顶级模特完成这样一个瑜伽动作，然而效果却与此前预计相去甚远。几经周折，这位艺术大师的创作灵感总算在凯特-莫斯身上得以圆满体现。昆恩在面对记者解释自己这一作品时说道：“仔细看看这樽雕像可能你会觉得有点眼熟，你不难发现她看上去很像默片时代最伟大的北欧女星路易斯-布鲁克斯(Louise Brooks)。的确，我的创作灵感就来自这位伟大的女演员。在我的印象里，她时一个时代的灵魂，在那样的年代里，路易斯-布鲁克斯就像是反传统的斗士，她是一个迷，像‘斯芬克司’一样神秘，却植如人心。”至于为什么以凯特-莫斯为作品的创作蓝图，昆恩同样在接受采访时给出了明确解释，他说：“从某种意义上讲，莫斯与路易斯-布鲁克斯于整个时代有着异曲同工的意义。她们就像希腊神话中爱情女神的现世，纯粹到无所顾忌。”
谈到与凯特-莫斯合作创作的这段过往，昆恩表示双方都很满意。他说：“起初凯特先是到我的工作室看了写草图，然后她觉得非常满意，立刻就答应了合作的请求，她说整个过程都令她感到无比兴奋和刺激。在吸毒事件被曝光之后，的确现实中的凯特-莫斯与我作品中的‘灵魂’多有抵触，世人也许感到难以接受。可是出人意料的是，凯特-莫斯的意志力最终扭转了一切。”
Quinn is also famous for putting a sculpture of Alison Lapper, a woman lacking arms and fully developed legs ¨C on to a plinth in Trafalgar Sqare ¨C and for casting his head in his own blood and freezing it. This Kate is showing at White Cube in London, but New Yorkers get to see the whole series of five at the Mary Boone Gallery starting in April 2007
[attachment=37272] [attachment=37278] [attachment=37273]
莫斯像
这姿势看上去的确有些奇怪，脚腕子和手腕子几经扭曲分置于脸畔两侧，整个身体扭曲成环状。然而这就是英国著名雕刻家马克-昆恩(Marc Quinn)的得意作品之一，而这座雕塑的原型，就是超级名模凯特-莫斯。根据来自英国媒体的最新消息，昆恩的这一力作将于近期运至新西兰参展，至于接下来的下一站，初定美国。
昆恩的这一作品取名为“Sphinx”，直译理解，是希神神话中斯芬克司(有翼的狮身女怪)或古埃及狮身人面像的意思。据悉，在邀请凯特-莫斯作原型之前，昆恩曾经找过另一位世界顶级模特完成这样一个瑜伽动作，然而效果却与此前预计相去甚远。几经周折，这位艺术大师的创作灵感总算在凯特-莫斯身上得以圆满体现。昆恩在面对记者解释自己这一作品时说道：“仔细看看这樽雕像可能你会觉得有点眼熟，你不难发现她看上去很像默片时代最伟大的北欧女星路易斯-布鲁克斯(Louise Brooks)。的确，我的创作灵感就来自这位伟大的女演员。在我的印象里，她时一个时代的灵魂，在那样的年代里，路易斯-布鲁克斯就像是反传统的斗士，她是一个迷，像‘斯芬克司’一样神秘，却植如人心。”至于为什么以凯特-莫斯为作品的创作蓝图，昆恩同样在接受采访时给出了明确解释，他说：“从某种意义上讲，莫斯与路易斯-布鲁克斯于整个时代有着异曲同工的意义。她们就像希腊神话中爱情女神的现世，纯粹到无所顾忌。”
谈到与凯特-莫斯合作创作的这段过往，昆恩表示双方都很满意。他说：“起初凯特先是到我的工作室看了写草图，然后她觉得非常满意，立刻就答应了合作的请求，她说整个过程都令她感到无比兴奋和刺激。在吸毒事件被曝光之后，的确现实中的凯特-莫斯与我作品中的‘灵魂’多有抵触，世人也许感到难以接受。可是出人意料的是，凯特-莫斯的意志力最终扭转了一切。”
[attachment=37257]
Marc Quinn
27.6. - 19.9. 1999
Skulpturen, Fotografie
Marc Quinn
27.6. - 19.9. 1999
Skulpturen, Fotografie
Cybernetic Engineered Cloned
& Grown Rabbits
Marc Quinn- 2004
[attachment=37358]
Marc Quinn is not the first artist to use the carcasses of animals within his work. Other artist have used them as a way to explore mortality. Quinn takes a slightly different approach, using the carcass directly, creating poses that reference traditional figurative sculpture such as torsos or reclining nudes.
The casts from rabbits take on a Rodin-like elegance. From certain angles they could be mistaken for reclining human figures; the stumps of their necks appear like small heads. At other angles, their skin falls like cloth, revealing glimpses of innards. Quinn's sculptures contain a quiet dignity. He has said:
"Somehow all life is the same. All life has the same origin. It has to because there is nowhere else for it to come from. Human beings are very grand and think they're above everything but in fact we're connected to everything else"
[attachment=37361]
Reduced version of the standing rabbit (30mm tall) cast into 0.002mm wax layers. This was used to make an edition of silver rabbits.
As with the Orchids, scale plays a very important part in Marc Quinns work. One of the main advantages of digitally recording an object is that in digital form scale is not fixed and can be varied witrh relative ease. Factum Arte now has what is possible the best equipped workshop for digitally recording objects in 3 dimnesions at the highest resolution, Using a white light scanners . This equipment was used to record 3 of Marc Quinn´s flayed rabbits from the show Flesh.
Once scanned the files were assembles and processed before being sent to Delcam UK where they were cut in 3 dimensions on 5 axis routing machines
[attachment=37362]
Routed reclining rabbit. The material used is a high density polyurethene
Once routed and reassembled the sculptures were brought back to Madrid where they were cast in bronze at Fademesa
Alongside the 2.2 meter bronze casts Factum Arte also produces a miniature version of each. The 3D files were sent to Barcelona and printed in wax at a resolution of 25 microns. They were then moulded and cast in silver in Madrid.
[attachment=37363]
After making the mould from the prototype it was cast in bronze. A black patina was then applied.
220 x 110 x 100cm
. [attachment=37364]
Virtual model scanned from the flayed carcass of a rabbit. The rabbit was scanned using a NUB 3D white light scanning system.
[attachment=37365]
& Grown Rabbits
Marc Quinn- 2004
[attachment=37358]
Marc Quinn is not the first artist to use the carcasses of animals within his work. Other artist have used them as a way to explore mortality. Quinn takes a slightly different approach, using the carcass directly, creating poses that reference traditional figurative sculpture such as torsos or reclining nudes.
The casts from rabbits take on a Rodin-like elegance. From certain angles they could be mistaken for reclining human figures; the stumps of their necks appear like small heads. At other angles, their skin falls like cloth, revealing glimpses of innards. Quinn's sculptures contain a quiet dignity. He has said:
"Somehow all life is the same. All life has the same origin. It has to because there is nowhere else for it to come from. Human beings are very grand and think they're above everything but in fact we're connected to everything else"
[attachment=37361]
Reduced version of the standing rabbit (30mm tall) cast into 0.002mm wax layers. This was used to make an edition of silver rabbits.
As with the Orchids, scale plays a very important part in Marc Quinns work. One of the main advantages of digitally recording an object is that in digital form scale is not fixed and can be varied witrh relative ease. Factum Arte now has what is possible the best equipped workshop for digitally recording objects in 3 dimnesions at the highest resolution, Using a white light scanners . This equipment was used to record 3 of Marc Quinn´s flayed rabbits from the show Flesh.
Once scanned the files were assembles and processed before being sent to Delcam UK where they were cut in 3 dimensions on 5 axis routing machines
[attachment=37362]
Routed reclining rabbit. The material used is a high density polyurethene
Once routed and reassembled the sculptures were brought back to Madrid where they were cast in bronze at Fademesa
Alongside the 2.2 meter bronze casts Factum Arte also produces a miniature version of each. The 3D files were sent to Barcelona and printed in wax at a resolution of 25 microns. They were then moulded and cast in silver in Madrid.
[attachment=37363]
After making the mould from the prototype it was cast in bronze. A black patina was then applied.
220 x 110 x 100cm
. [attachment=37364]
Virtual model scanned from the flayed carcass of a rabbit. The rabbit was scanned using a NUB 3D white light scanning system.
[attachment=37365]
[attachment=37267] [attachment=37259] [attachment=37268]
TITEL: Chemical Life Support (Gallery Installation)
K躈STLER: Marc Quinn
PREIS*: Contact Gallery for Price
TITEL: Chemical Life Support (Gallery Installation)
K躈STLER: Marc Quinn
PREIS*: Contact Gallery for Price
[attachment=37262] Pissende man, Marc Quinn, 1993.
[attachment=37271] TITLE: Endless Possibilities
ARTIST: Marc Quinn
CATEGORY: Sculptures
MATERIALS: Chrome plated steel, bread and varnish
ARTIST: Marc Quinn
CATEGORY: Sculptures
MATERIALS: Chrome plated steel, bread and varnish
[attachment=37275] Bill Waltier (Blind from birth)
2005
[attachment=37276] Anna Cannings (Blind from birth)
2005
先天失明者
2005
[attachment=37276] Anna Cannings (Blind from birth)
2005
先天失明者
Art Review — NewYorkArtWorld ®
Selma Mustajbasic, 2000.
Marble,
35" x 22" x 57".
Stuart Penn, 2000. Marble, 63" x 39" x 21".
Some of E.M. Forster's characters went from England to Italy to live in villas and walk the countryside, to immerse themselves in a different culture. Marc Quinn's went as body casts to be carved in marble by Italian craftsmen, also to be immersed, to be engulfed within a particular form and shape of human history. There were eleven life-size portrait sculptures in the show, of Helen Smith, Alexandra Westmoquette, Catherine Long, Selma Mustajbasic, Alison Lapper (eight months pregnant), Tom Yendell, Stuart Penn, Peter Hull, Jamie Gillespie, Alison Lapper and her son Parys, and a young man and woman kissing. The marble is white and completely unblemished, beautifully carved in a tradition that has continued since the early Renaissance, and that had emerged centuries before in ancient Greece. It is the quintessential expression of the western classical heritage. The people are mostly young, some stout, some thin, all missing one limb or more, from birth or because of an accident, all naked. The marble doesn't notice the missing or distorted limbs, hands, and feet; it simply smoothes them over, like bark over a missing branch, or the figure of Daphne transforming into a laurel tree to escape the advances of Apollo in Bernini's Apollo and Daphne of the 17th century.
Many of Bernini's figures are life-size too, as though to elicit our sympathy and identification. In Quinn's figures, however, there is no theatricality, no gaping mouths or wild eyes, though Stuart Penn kicks his shortened right leg out and clenches his right fist like an Olympic kick-boxer. But the others sit or stand calmly, quietly commanding the space they occupy. Bernini operates in a rush of linear energy towards climax. Quinn would seem to typify a kind of post-modern coldness, in the locution of current art discourse. The subjects are victims or marginal, perversely the opposite of what the heroic mode would call for, unless, of course, the victims could be shown to have overcome their handicaps. They are presented as beautiful compositions or arrangements of limpid lines and graceful volumes, art constructs. The medium itself is one of great coolness and luxurious materiality (or kitsch), appropriated from tradition (cynically, by implication) in attendance with humanistic idealism (or insufferable idealizing). And, anyway, all the work was jobbed out to craftsmen. Making money, making art, on peoples' misfortunes.
Kiss, 2002.
Marble,
69" x 25" x 24".
How curiously all that devolves. Someone suggested that the people here are too attractive and the deformities too palatable for the work to have much affect, which would seem to say that Quinn has either not been courageous enough or exploitative enough, as though his subjects belonged to some special category of humanity. So why were the casts sent to Italy? Nudity has not been a prominent feature of English art over time, except in the work of John Flaxman and William Blake around the turn of the 19th century and in the more recent paintings of Lucien Freud and Francis Bacon, to whose wonderfully sinuous figures Quinn seems to pay homage. In a way the casts were sent so they could be nude, so they could be in a warmer climate. It is hard to imagine them the same way had they been carved in England, even if the marble had been imported from Italy, or even if it had been the artist himself who had carved them. They belong in the sun, in the heart of western civilization, in the hands of people who are perfectly skilled at carving marble into human form. They celebrate those things as part of the possibilities of an English sculptor's life. They are votive figures celebrating the gift of life itself, for as long as the marble will last, even as it deteriorates over time.
In the exhibition, four male figures spaced out on the right face four female figures on the left. Alison Lapper appears twice, between the two rows, at the far end a single figure eight months pregnant, at the near end holding her new baby Parys, who appears to be physically normal, though I honestly didn't think to confirm that. In the lobby is Kiss, in which a young man and woman embrace. Moving around this latter piece, I have never been so aware of the infinite evolution of form and space, in time: the arc of his back flowing into the fall of her hair, their four feet forming an endless variety of interlocking angles and rectangles, the spaces between their legs and their torsos opening and closing in the most beautiful shapes, as though stretched across the universe. For each of the twelve figures, life forces have been poured into eternal forms, all connected to one another, all connected to us.
Selma Mustajbasic, 2000.
Marble,
35" x 22" x 57".
Stuart Penn, 2000. Marble, 63" x 39" x 21".
Some of E.M. Forster's characters went from England to Italy to live in villas and walk the countryside, to immerse themselves in a different culture. Marc Quinn's went as body casts to be carved in marble by Italian craftsmen, also to be immersed, to be engulfed within a particular form and shape of human history. There were eleven life-size portrait sculptures in the show, of Helen Smith, Alexandra Westmoquette, Catherine Long, Selma Mustajbasic, Alison Lapper (eight months pregnant), Tom Yendell, Stuart Penn, Peter Hull, Jamie Gillespie, Alison Lapper and her son Parys, and a young man and woman kissing. The marble is white and completely unblemished, beautifully carved in a tradition that has continued since the early Renaissance, and that had emerged centuries before in ancient Greece. It is the quintessential expression of the western classical heritage. The people are mostly young, some stout, some thin, all missing one limb or more, from birth or because of an accident, all naked. The marble doesn't notice the missing or distorted limbs, hands, and feet; it simply smoothes them over, like bark over a missing branch, or the figure of Daphne transforming into a laurel tree to escape the advances of Apollo in Bernini's Apollo and Daphne of the 17th century.
Many of Bernini's figures are life-size too, as though to elicit our sympathy and identification. In Quinn's figures, however, there is no theatricality, no gaping mouths or wild eyes, though Stuart Penn kicks his shortened right leg out and clenches his right fist like an Olympic kick-boxer. But the others sit or stand calmly, quietly commanding the space they occupy. Bernini operates in a rush of linear energy towards climax. Quinn would seem to typify a kind of post-modern coldness, in the locution of current art discourse. The subjects are victims or marginal, perversely the opposite of what the heroic mode would call for, unless, of course, the victims could be shown to have overcome their handicaps. They are presented as beautiful compositions or arrangements of limpid lines and graceful volumes, art constructs. The medium itself is one of great coolness and luxurious materiality (or kitsch), appropriated from tradition (cynically, by implication) in attendance with humanistic idealism (or insufferable idealizing). And, anyway, all the work was jobbed out to craftsmen. Making money, making art, on peoples' misfortunes.
Kiss, 2002.
Marble,
69" x 25" x 24".
How curiously all that devolves. Someone suggested that the people here are too attractive and the deformities too palatable for the work to have much affect, which would seem to say that Quinn has either not been courageous enough or exploitative enough, as though his subjects belonged to some special category of humanity. So why were the casts sent to Italy? Nudity has not been a prominent feature of English art over time, except in the work of John Flaxman and William Blake around the turn of the 19th century and in the more recent paintings of Lucien Freud and Francis Bacon, to whose wonderfully sinuous figures Quinn seems to pay homage. In a way the casts were sent so they could be nude, so they could be in a warmer climate. It is hard to imagine them the same way had they been carved in England, even if the marble had been imported from Italy, or even if it had been the artist himself who had carved them. They belong in the sun, in the heart of western civilization, in the hands of people who are perfectly skilled at carving marble into human form. They celebrate those things as part of the possibilities of an English sculptor's life. They are votive figures celebrating the gift of life itself, for as long as the marble will last, even as it deteriorates over time.
In the exhibition, four male figures spaced out on the right face four female figures on the left. Alison Lapper appears twice, between the two rows, at the far end a single figure eight months pregnant, at the near end holding her new baby Parys, who appears to be physically normal, though I honestly didn't think to confirm that. In the lobby is Kiss, in which a young man and woman embrace. Moving around this latter piece, I have never been so aware of the infinite evolution of form and space, in time: the arc of his back flowing into the fall of her hair, their four feet forming an endless variety of interlocking angles and rectangles, the spaces between their legs and their torsos opening and closing in the most beautiful shapes, as though stretched across the universe. For each of the twelve figures, life forces have been poured into eternal forms, all connected to one another, all connected to us.
[attachment=37281]
Template for my Future Plastic Surgery
ARTIST: Marc Quinn
WORK DATE: 1992
Template for my Future Plastic Surgery
ARTIST: Marc Quinn
WORK DATE: 1992
TITEL: Big Bang
ENTSTEHUNGSJAHR: 2006
Sculptures
ENTSTEHUNGSJAHR: 2006
Sculptures
TITLE: Marble
Prints
Prints
