ARTLURKER

A Miami based contemporary art newsletter / blog

Horror of Marc Quinn Solid Gold Kate Moss Statue

Apparently British sculptor Marc Quinn is ready to unveil his latest creation, a nearly $2.8 million, 110-pound solid gold statue of the supermodel Kate Moss. In addition to following the recent trend set by Damien Hirst’s vile diamond skull in which the concept of value is stretched out of all proportions by the mechanisms of the modern art market and economies that we wish would just hurry up and collapse already, the statue is also hyped as the largest solid gold creation realized since ancient Egypt.

Quinn, the artist responsible for 2006′s Sphinx, a painted bronze statue of Moss in a somewhat provocative yoga pose, has dubbed his new golden girl Siren. If this latest cultural spunk fest follows the theme of his previous Kate Moss works, then we can expect her feet to be somewhere near her ears and various leotard-clad nether-folds inelegantly exposed to public gaze. And while the venerable London museum has so far only released a close-up photo of the statue’s face, one can safely assume that it will look something like this:

In his defense Quinn says: “I thought the next thing to do would be to make a sculpture of the person who’s the ideal beauty of the moment, But even Kate Moss doesn’t live up to the image.”

Members of the British public will soon be able to determine for themselves whether the statue succeeds where Moss apparently failed, with the objet d’art annoyingly going on display in the same British Museum gallery that houses the institution’s ancient Greek sculpture collection. Perhaps at the same time they will discover whether or not the conscience of the nation, so heavily weighed upon by this most heinous effigy of modern vulgarity, will let them sleep at night.

The statue will be on display from October 4th through January 25th. During this time is it estimated that 1808000 children will die from hunger-related causes throughout the world. We shudder to think what could be next.

3 Comments

  • Richard Haden

    Quinn has done interesting work in the past. The solid gold casting of the human figure seem to contradict his earlier interest in reinterpreting the clssical figure i.e. amputees made in marble; or images of himself cast in his own frozen blood. I like his interest in the disfigured and also his use of materials such as ice, blood, glass, lead, marble, DNA, resins, medications etc…all of which are extracted from himself, industrial production, pharmaceutical manufacturing, lead mines, silica, biology and so on. Except for Carrera marble (which has been a staple carving stock for thousands of years) his oeuvre has, mostly been made out of material readily available and not in short supply.

    Gold on the other hand reeks (as did Damian Hirst’s diamond scull) of human exploitation. Diamonds true value (blood diamonds no matter how you look at it) is based on controlled market scarcity and cut. Diamonds are a root source of funding for so many regional bloody conflicts…Hirst’s skull screams the horrors of so many lives that are lost by those like Hirst who are far removed from the reality of their gathered effect.

    Quinn’s solid gold ambition reeks of the same out of touch desire to raise the ante of arts commercial value. It appears Hirst, Quinn and Koons are in a shallow bidding pit battling over price instead of critical Ideas. It is unfortunate that Quinn’s fascinating experiments have given way to the absurd contemporary crisis of meaning and value in contemporary art. At least, Quinn’s new gold lust can be melted down to a real market value that gold earns as a necessary commodity in industrial electronics. It is unfortunate that so much gold (from such sources as strip mined Brazilian rain forest) speaks and reeks of today’s cultural debris i.e. If reference is made to Egyptian equivalence then the historical record of exploited slave tradesman is certainly a disgusting revelation to the state of affairs and re-mindful of the serious class separation that is celebrated today.

    A 110 pound replica of Kate Moss? I guess he got the weight right but the political or social weight a bit twisted in her pose.

    A bit of Thomas Hirschhorn’s familiarity and inspiration would go a long way as antithesis to this triad of dull and excessive greed…by artist that make alters and icons to concentration of wealth and elite consumerism we miss the point and passage of monuments to the great ideas and critiques that keep society from wallowing in the back wash of retro surfdom…

    Richard Haden

    Bachmann Kiosk, Deleuze Monument, Bataille Monument, 24h Foucault -Spinoza and Bataille Nietzsche, Bataille, Deleuze, Foucault. etc etc.

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Horror of Marc Quinn Solid Gold Kate Moss Statue