About The Work
Best known as one of the “Young British Artists” that gained notoriety in the 1990s, Gavin Turk’s work deals with issues of identity, authorship and authenticity. Like many of his YBA counterparts, Turk challenges the notion of “the artist’s hand,” drawing on art-historical motifs—like Duchamp’s ready-mades—and unique materials in his highly conceptual work. Frequently interjecting his own name or image into his work, in addition to collected cultural reference, one of Turk’s most recognizable pieces is Pop, 1993, in which the artist created a realistic wax figure of himself as punk icon Sid Vicious—posed as Andy Warhol’s Elvis. In this bright yellow silkscreen, a sneering set of painted lips, taken from a Pop image, recalls the toothy pout of Warhol’s Marilyn Monroe’s Lips.
About Gavin Turk
From The Magazine
Silkscreen on paper
27.17 x 19.88 in
69.0 x 50.5 cm
This work is signed, numbered and dated by the artist.
About The Work
Best known as one of the “Young British Artists” that gained notoriety in the 1990s, Gavin Turk’s work deals with issues of identity, authorship and authenticity. Like many of his YBA counterparts, Turk challenges the notion of “the artist’s hand,” drawing on art-historical motifs—like Duchamp’s ready-mades—and unique materials in his highly conceptual work. Frequently interjecting his own name or image into his work, in addition to collected cultural reference, one of Turk’s most recognizable pieces is Pop, 1993, in which the artist created a realistic wax figure of himself as punk icon Sid Vicious—posed as Andy Warhol’s Elvis. In this bright yellow silkscreen, a sneering set of painted lips, taken from a Pop image, recalls the toothy pout of Warhol’s Marilyn Monroe’s Lips.
About Gavin Turk
From The Magazine
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