 | |  | |  | |  | |  | |  |
| MARCUS HARVEY |
| CLICK ON IMAGE FOR LARGER VIEW |
| shown courtesy The Saatchi Collection and White Cube |
SOLO EXHIBITIONS
2005 Marcus Harvey, Mimmo Scognamiglio, Naples The Führer's Cakes, Galleria Marabini, Bologna
2002 Marcus Harvey, Mary Boone Gallery, New York Marcus Harvey, Vedovi Fine Art, Brussels
1996 Marcus Harvey, Vedovi Fine Art, Brussels
1995 Marcus Harvey, Tanya Bonakdar Gallery, New York
1994 Snaps, White Cube, London
1993 Marcus Harvey, Cohen Gallery, New York
GROUP EXHIBITIONS
2005 London Calling. Young British Artists Criss-Crossed, Galleri Kaare Berntsen, Oslo
2002 Closer, Standpoint Gallery, London
2001 Happy the World so Made, The Nunnery, London
2000 MoMa. A Thick Bloke Kicking a Dog to Death, The International 3 Summer Fête, Fairfield,
Manchester Sex and the Britsh,
Galerie Thaddaeus Ropac, Salzburg; Galerie Thaddaeus Ropac, Paris Out There, White Cube2, Hoxton,
London
1999 Now It's My Turn to Scream. Works by Contemporary British Artists from the Logan
2005 Marcus Harvey, Mimmo Scognamiglio, Naples The Führer's Cakes, Galleria Marabini, Bologna
2002 Marcus Harvey, Mary Boone Gallery, New York Marcus Harvey, Vedovi Fine Art, Brussels
1996 Marcus Harvey, Vedovi Fine Art, Brussels
1995 Marcus Harvey, Tanya Bonakdar Gallery, New York
1994 Snaps, White Cube, London
1993 Marcus Harvey, Cohen Gallery, New York
GROUP EXHIBITIONS
2005 London Calling. Young British Artists Criss-Crossed, Galleri Kaare Berntsen, Oslo
2002 Closer, Standpoint Gallery, London
2001 Happy the World so Made, The Nunnery, London
2000 MoMa. A Thick Bloke Kicking a Dog to Death, The International 3 Summer Fête, Fairfield,
Manchester Sex and the Britsh,
Galerie Thaddaeus Ropac, Salzburg; Galerie Thaddaeus Ropac, Paris Out There, White Cube2, Hoxton,
London
1999 Now It's My Turn to Scream. Works by Contemporary British Artists from the Logan
Julie From Hull
1994 oil and acrylic on canvas 244 x 244 cm
Taking his images sources from home-brew porn magazine Reader’s Wives, Marcus
Harvey’s early canvases use paint as a means to explore the concept of excess.
Replicating smutty urgency, Harvey’s Julie from Hull is bathed in frenzied gushy
pink, a dirty allurement promising fleshy debauchery. Using a heavy black line over a
thick expressionist ground, Harvey’s graphic form becomes both container and
barrier of over-indulgence, the promise of gratification monumentalised.
My Arse is Yours
1993 oil on canvas 213 x 213 cm
Through his paintings Marcus Harvey explores pornography as a phenomenon of
frustration. Using the instantaneity of paint, Harvey builds his canvases up as raw
explosions, his brushwork capturing the urgency and sheer physicality of sexual
fixation. Tracing over his gestures with images taken from top-shelf zines, Harvey
places his desire in the teasing world of pop, uniting detached graphic image and
aggrandised emotion as a parody of media portrayal and Pavlovian response.
1994 oil and acrylic on canvas 244 x 244 cm
Taking his images sources from home-brew porn magazine Reader’s Wives, Marcus
Harvey’s early canvases use paint as a means to explore the concept of excess.
Replicating smutty urgency, Harvey’s Julie from Hull is bathed in frenzied gushy
pink, a dirty allurement promising fleshy debauchery. Using a heavy black line over a
thick expressionist ground, Harvey’s graphic form becomes both container and
barrier of over-indulgence, the promise of gratification monumentalised.
My Arse is Yours
1993 oil on canvas 213 x 213 cm
Through his paintings Marcus Harvey explores pornography as a phenomenon of
frustration. Using the instantaneity of paint, Harvey builds his canvases up as raw
explosions, his brushwork capturing the urgency and sheer physicality of sexual
fixation. Tracing over his gestures with images taken from top-shelf zines, Harvey
places his desire in the teasing world of pop, uniting detached graphic image and
aggrandised emotion as a parody of media portrayal and Pavlovian response.