Boyd Webb

Boyd Webb (born 1947) is a New Zealand-born visual artist who works in the United Kingdom, mainly using the medium of photography although he has also produced sculpture and film. He was shortlisted for the Turner Prize in 1988. He has had solo shows at venues including the Hirshhorn Museum, Washington D.C., and Whitechapel Art Gallery, London.

He was born in New Zealand in 1947 and attended at the Ilam School of Art in Christchurch from 1968 to 1971 majoring in sculpture under Tom Taylor. He came to the UK and studied sculpture at the Royal College of Art, London from 1972 to 1975.^[1] He currently lives and works in Brighton, East Sussex, UK.

Initially he worked as a sculptor, making fibreglass forms. However he soon switched to photography, developing a practice based around constructing tableaux which he then photographs. His work has been cited as a major influence on the famous, long-running advertising campaigns by Silk Cut and Benson & Hedges.^[2]

Holly Arden described his art thus: "Many of them are shot in studio sets using man-made props to represent natural objects. Men, women and plastic animals adopt Monty Pythonesque poses against landscapes of plastic and carpet. The images have a literal quality, where Webb seems to go out of his way to show how they are constructed. Yet, they also pose bafflingly complex oppositions/connections between ideas of language and meaning, object and environment, scale and detail."^[3] Arden divides his art into three periods. The first, from the 1970s, is about "man's need to classify and analyse", and tends to combine text and image. In the 1980s he focused more on photographing installations, combining the large and the small in a harmonious relationship. Following that, in the 1990s, his works became more "scientific" and took greater effort to hide their construction, so it becomes hard to see how they are made.^[3]

Más tarde también incursionó en el cine, con Horse and Dog, que se exhibió en la Colección Estorick de Londres en 2003. La película presenta a un zorro y un caballo (una persona disfrazada de zorro y dos personas con trajes de caballo de pantomima ) vagando por los campos ingleses con maletas y luego acampando. Adrian Searle la consideró oscura, carente de dramatismo y patetismo, y la comparó desfavorablemente con la obra de Matthew Barney , Paul McCarthy y Peter Fischli & David Weiss . ^{[ 4 ]}

Exposiciones individuales:

• Galería de Arte Whitechapel , Londres 1978 ^{[ 5 ]}
• Galería de Arte Whitechapel, 1987 ^{[ 5 ]}
• Indicaciones , Museo Hirshhorn , Washington, DC, 1990 ^{[ 5 ] [ 6 ]}
• Boyd Webb , Galería de Arte de la Ciudad de Brighton y exposición itinerante, 1994. ^{[ 2 ]}
• Galería de Arte de Auckland y gira, 1997 ^{[ 5 ]}

Caballo y perro, Galería Milton Keynes, 2002.

Otro:

• En la Bienal de Sídney de 1995, representando a Nueva Zelanda ^{[ 5 ]}

• Louise Garrett, "El lenguaje vernáculo contradictorio de Boyd Webb", Art New Zealand, junio de 1998.
• Jenny Harper, "Verdades indómitas", en Boyd Webb , catálogo de la exposición, Galería de Arte de Auckland, 1997.
• S. Morgan, ensayo, en Boyd Webb , catálogo de la exposición, Londres: Whitechapel Art Gallery, 1987.