• Marc Quinn, Tate Liverpool 2002, front cover, extreme close-up infant face, eyes and nose, colour photograph
  • Marc Quinn, Tate Liverpool 2002, interior spread, conversation with Sarah Whitfield, colour photograph grandmother holding infant
  • Marc Quinn, Tate Liverpool 2002, interior spread, grid of sculpture photographs and exhibition installation view, pale pink ground
  • Marc Quinn, Tate Liverpool 2002, interior, copyright page and colour photograph of clay head sculpture on plinth, mauve ground
  • Marc Quinn, Tate Liverpool 2002, back cover, extreme close-up infant face, Tate barcode and ISBN panel lower left
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Tate Liverpool

MARC QUINN, Tate Liverpool, 2002

MARC QUINN, Tate Liverpool, 2002

Artist
Marc Quinn
Publisher
Tate Liverpool
Place & year
Liverpool, 2002
Type
Exhibition Catalogue
Format
Illustrated softcover, 96 pp., colour and black-and-white illustrations
Size
16.5 × 23.5 cm
With
Curated and edited by Christoph Grunenberg and Victoria Pomery; contributions by Sarah Whitfield and Victoria Pomery
Condition
Good; general rubbing, surface marks and light scratching to the printed wrappers, with minor edge and corner wear; internally clean and firmly bound.
Register
TNR-2026-0471 · 28 July 2026
£45
£45
Sale Placed
Register No. TNR-2026-0471
Registered 28 July 2026
Placement No. TNR1035.4
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Notes

ISBN 1-85437-424-9.

Published for Quinn’s 2002 Tate Liverpool exhibition, then described as his most substantial presentation to date. The exhibition brought together sculpture, drawing, painting, photography and installation, tracing his continuing interest in the body, mortality, reproduction, science and the unstable boundary between natural and constructed form.

The publication includes an extended conversation between Quinn and Sarah Whitfield, alongside an essay by Victoria Pomery. Its design follows a loose sketchbook structure: overlapping texts, coloured grounds, exhibition photography and reproductions are distributed across densely layered pages. A cropped photograph of an infant’s face extends across both covers, converting the book’s exterior into an enlarged bodily surface.

Produced at a moment when Quinn’s work was moving between the intimate material of the body and the institutional scale of the museum. Sculpture and installation return here as image, sequence and conversation — the exhibition reformatted for circulation.

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