The Goss-Michael Foundation is pleased to announce an exhibition of sculptural works by one of the most influential British contemporary artists: Marc Quinn. The GMF has partnered with The Rachofsky Collection, one of the world’s foremost private collections, to produce an exceptional survey of Marc Quinn’s sculptural works throughout the last decade. The exhibition brings together a strong array of Quinn’s works dated from 1998 to present. Utilizing both traditional mediums such as bronze and marble, in addition to more innovative materials such as ice, blood, insulin and DNA, Quinn breaks the boundaries of historical sculpture-making. The works included in the exhibition comment on the modern preoccupation of eternal preservation of the self and explore Quinn’s obsession with the unpredictability of the human body and the dualisms that define human life, such as: spiritual and physical, surface and depth, cerebral and sexual.
The Rachofsky Collection has contributed Marc Quinn’s signature piece, Self II (1998), which has become famously known as The Blood Head. This frozen sculpture of the artist’s head is made from ten pints of his own blood, taken from his body over a five month period. Juxtaposed in the space is the Goss-Michael Collection’s, Sky (2006), a frozen representation of Quinn’s child created from the birth placenta and umbilical cord. Amongst several sculptural works in the exhibition is another of Quinn’s most important pieces: Alison Lapper and Parys (2009), a 7ft high marble sculpture of Quinn’s dear friend Alison Lapper. Born with no arms and shortened legs, she is powerfully depicted sitting with her son Parys. Again, Quinn challenges traditional parameters and social standards for immortalizing beauty in white marble, elevating instead on a tall plinth an unconventional sitter. A version of this sculpture was on prominent display on the fourth plinth in Trafalgar Square in front of the National Gallery (London, 2005).
Marc Quinn was born in London in 1964 and graduated from Cambridge University in 1985. Since then, his work has been included in Sensation – Young British Artists from the Saatchi Collection, at the Royal Academy, London, 1997, and the Brooklyn Museum, Brooklyn, New York, 1998; Spaced Out: Late 1990s Works from the Vicki and Kent Logan Collection, CCA Wattis Institute for Contemporary Arts, San Francisco, California, 1999; Presence, Tate Gallery Liverpool, Liverpool, 1999; Thinking Big: Concepts for 21st Century British Sculpture, Peggy Guggenheim Collection, Venice, Italy, 2002; and Art of the Garden, Tate Britain, London, 2004. Solo Exhibitions include Emotional Detox: The Seven Deadly Sins, The Tate Gallery of Modern Art, London, 1995; Marc Quinn, Groninger Museum, Groningen, The Netherlands, 2000; Marc Quinn, Fondazione Prada, Milan, Italy, 2000; Fourth Plinth, Trafalgar Square, London, 2005; Chemical Life Support, White Cube, London, 2005; Meat Sculptures, Mary Boone Gallery, NYC, NY, 2005; Sphinx, Mary Boone Gallery, NYC, NY, 2007; and Marc Quinn, DHC/ART Fondation pour l’art contemporain, Montréal, Canada, 2007. The artist currently lives and works in the UK.