They stagger around, fall over, bicker, fight, sleep and in the end one of the men stands against the backdrop and urinates. Gillian Wearing. [27], In 2012, a major retrospective of her work was held at Whitechapel Gallery, London (March–June 2012), which surveyed her career and premiered new films and sculptures. There is something of me, literally, in all those people – we are connected, but we are each very different’ GILLIAN WEARING Executed on a dramatic scale, Gillian Wearing’s Self-Portrait at 17 Years Old (2003) is an iconic work from her celebrated Album series. [5] In Krystof Doris’ text "Masks, Identity, and Performativity" he explains that the power relation between the viewer and the viewed (the police officers) are reversed due to the disciplining scenario that Wearing placed upon the group of police officers. Wearing described the piece as, "Things can not be finalized—- as far as emotions are concerned. [14] In Confess all on video. HD film for projection with sound, 5 minutes, Gillian Wearing in collaboration with Wieden + Kennedy. So, second mode: fiction'. Intrigued? Things are changing now, because the culture’s changed and the Internet has brought people out. 1733 2003 Slyce, John, That Essence Rare: Gillian Wearing’s Family Album, contemporary, 2003, p26-30 2003 Smee, Sebastian, The art of the matter, The Independent Magazine, 18 October 2003 Princenthal, Nancy, Gillian Wearing, Private I, Art in America, Nº3, March 2002 [25], Wearing also released her first feature film in this year: Self Made. Gillian Wearing, Contact sheet from shoot of Self Portrait as My Sister Jane Wearing, 2003 This is from a test shoot a few days before the actual image sitting. Self Portrait at 17 years old from Album, 2003. A closer look reveals an odd waxy quality to the skin of each subject; and around the eyes you can see the edge of a plastic mask. Gillian Wearing (b. [17] The works in Album then do not necessarily put the family members as the main focus; rather they capture Wearing's engagement with the family members. Don’t worry you will be in disguise. GILLIAN WEARING artistaren ALBUM izeneko proiektuaren zenbait irudi dituzu. The notion of ‘different faces’ is an ongoing thread throughout your practice. [5] At first the image appears like a backlit group portrait of British police officers but after further examination the slight movements that they make reveals that it is in fact a video. Gillian Wearing is known for photographs and videos that explore human relationships and social behavior -private, public and personal. [8] This piece materialized after Wearing caught a glimpse of a woman she saw with a bandaged head while in her friend's car. Wearing’s work, in general, is … Wearing Gillian, 2018. [3] She attended Dartmouth High School in Great Barr, Birmingham. I discovered Gillian Wearing’s 2003 series Album in late high school.In it, the British artist painstakingly reenacted portraits of family members in their youth—her brother, sister, parents and uncle—by donning silicon prosthetics that mimicked their skin and facial features. In the late 1990s, Wearing made a three-channel video called Drunk (1997-1999), for which she filmed a group of street drinkers who she had got to know outside her studio against the backdrop of a white photographic backdrop. Album is a suite of six self-portraits that Wearing made based on old photographs from her family album. Turner Prize-winner Gillian Wearing produces candid videos and photographs revealing the disconnect between our inner lives and public personas, the individual and society, and truth and fiction. In fact each picture is of Ms. [11], In her piece Signs that say what you want them to say and not Signs that say what someone else wants you to say (1992–1993), Wearing made a series of portraits where she approaches strangers that she encounters on the street and asks them to write what they are thinking about on a white sheet of paper. Gillian Wearing (British, born 1963). Gillian Wearing The OCA course notes state that Wearing’s Family Album series is questioning her role in her family history and also questioning the role her family has played in who she has become whilst the Tate says she is ‘seizing’ the identity of the person. Photographic impersonation of others is not an original idea, of course (see Cindy Sherman, Nikki Lee and many others), but Ms. Inspired by documentaries, reality television, and the artifice of theater, Wearing describes her … the collection of images have been assembled to depict the … [17] They start creating the mask in clay from a two-dimensional image into a three-dimensional object. Chromogenic color print, edition: 4/6 plus 2 artist's proofs, 45 1/2 x 36 1/4 inches (115.6 x 92.1 cm). John Slyce has described Wearing's method of representation as "frame[ing] herself as she frames the other". In 1997, Wearing won the Turner Prize and exhibited videos such as 60 minutes silence which is a video of 26 uniformed police officers, but at first appears to be a photograph. [31], On 24 April 2018, her statue of the suffragist Millicent Fawcett was unveiled in London's Parliament Square; it is the first statue of a woman in Parliament Square. [24], Wearing's 2010 show People (2005–2011) at Tanya Bonakdar Gallery included work ranging from video, to photographic portraiture, to installation and sculpture. Wearing is known for her method of documentation of everyday life through photography and video, concerning individual identity within the private and the public spaces, where Wearing blurs the line between reality and fiction. She moved to Chelsea, London to study art at the Chelsea School of Art and squatted in Oval Mansions. [17] This work references into the canonical work in the history of photography of Cindy Sherman, though Wearing has shifted the focus to exploring her own persona and its underlying relationships as a social construct. KEN JOHNSON, ART IN REVIEW; Gillian Wearing -- 'Album'. The selected participants represent the art world’s most creative and inspired curatorial visions from a cross-section of emerging, mid-career and established programs from around the world. I can understand that sort of holding on to things—it’s kind of part of British society to hold things in. Still. [8] This exchange between Wearing and the people she photographs makes the interaction more conversational rather than typical documentation methods of portrait photography.[13]. [16] But that's not the case, it might be that they have been reciting the trauma that they have experienced in their heads over many years. In 2012, Wearing made a portrait of herself as the late French artist in which she is holding a mask of her own face. In her new series of large, eerie photographs, the London-based, Turner Prize-winning Gillian Wearing continues to … Actors and con men make it their profession; the rest of us just make it our lives, preparing, as T.S. Album exhibition view: Maureen Paley, London 2003. Her work in photography and video at first appear like most other journalistic methods of documentation seen in television and documentaries, but after further examinati… Produced with the assistance of professional makeup artists and without any digital manipulation, the pictures document impressive feats of disguise. Wearing Gillian Gillian Wearing in collaboration with Wieden + Kennedy HD film for projection with sound ... 2003. Executed in 2004, this work is number four from an edition of six plus two artist's proofs Her statue of the suffragist Millicent Fawcett stands in London's Parliament Square. [28] The exhibition was organised with Kunstsammlung Nordrhein-Westfalen, Düsseldorf and supported by Maja Hoffmann, Vicky Hughes and John Smith, and Dr Naomi Milgrom AO. Snapshot (2005) is a series of seven single-projection videos framed by a candy-colored array of plasma screens, each depicting different stages of the female life cycle—from the innocence of early childhood to old age. There is a recurring pattern in her work where she plays and mocks the idea of the artist as anthropologist, but her anthropological activities do not focus on discovering a foreign culture but instead challenges what we thought we already knew. Gillian Wearing takeover: behind the mask – the Self Portraits The artist leads us through the extraordinary creative process of making her family series in 2003 – including wrapping her body in a silicone torso for hours – in which she depicted herself as members of her own family The drinkers are shown in different scenes individually and in groups. Download PDF "I'm Desperate: Gillian Wearing's Art … In 2007 Wearing was elected as lifetime member of the Royal Academy of Arts in London. [4] In 1987 she attained a bachelor of technology degree in art and design and in 1990 she attained a BFA from Goldsmiths, University of London.[3]. [6] Her work in photography and video at first appear like most other journalistic methods of documentation seen in television and documentaries, but after further examination it becomes apparent that they do not conform to mass-media conventions. The films and photographs of British artist Gillian Wearing (b. Birmingham, 1963) explore our public personas and private lives. Gillian Wearing is interested in real life. [네이버 지식백과] 질리언 웨어링 [Gillian Wearing] (두산백과) [17] These expensive silicone masks deteriorate easily after use, turning the photo shoot into a performative act where the action is unrepeatable. [28] An accompanying monograph was published by Ridinghouse and included texts by curator Daniel Herrmann, Doris Krystof, Bernhart Schwenk and David Deamer. 2003 O’Reilly, Sally, Gillian Wearing, Time Out, 5 – 12 November, No. For her series Album 2003, Wearing reconstructed old family snapshots using silicone masks fabricated with the help of experts from Madame Tussauds. She has shifted, however, from sensationalistic sociology to a quieter, autobiographical mode. The purpose was to … (157.5 x 130cm.) Gorney Bravin & Lee. [2] This makes Wearing the first woman to create a statue that is in Parliament Square. [17] This process becomes paradoxical because of the difficulties that are encountered while recreating these casual snapshots. Wearing has always been interested in creating what she calls platforms that allow her subjects to articulate the “plethora of stories and experiences” they are … [1] Her statue of the suffragist Millicent Fawcett stands in London's Parliament Square. Wearing shows teenagers partying at various clubs and bars along Broad Street, Birmingham. [16] What's intriguing about this piece is that it seems like that it's not the first time that the participants have told their story because of how well rehearsed it looks. Over the years I have encountered many of her self-portraits—especially the ones from the series Album (2003), where she wears astonishingly true-to-life masks of her family members or herself at a younger age—and scanned every single detail in search for a glimpse of the reality behind the accurate fiction, the present moment behind the reconstructed past. [15] The mask is a reoccurring device in Wearing's work and it functions as protection as well as an apparatus that empowers the wearer; by making their identities anonymous it allows them to express their identity without constraint. One of Wearing's first UK shows was held at the Chisenhale Gallery in east London, in June 1997. [12] The photographed subjects that are from different backgrounds become unified through this paper where ‘all of a sudden you have to start re-appraising people.’[11] The audience's fantasies of imposing their own interpretations onto these photographed subjects are challenged and redirected by the paper that they are holding. Here Wearing wears a dress her sister wore in the 1980s. [6] Wearing presents this fictitious nature of the work as a report. The tragic struggle between the unique self and the smothering hand of genetic destiny is something that anyone with parents and siblings knows only too well. Self Portrait at 17 years old from Album, 2003. They might just be looking away at something, but their expression could be read as showing a kind of depression in their overall behavior. They’re always in turmoil and can go to two polar opposites." [18] She created masks out of silicone of her mother, her father, her sister, her uncle, and a mask of herself with help from experts that were trained at Madam Tussauds in London. Gillian Wearing CBE, RA (born 10 December 1963) is an English conceptual artist, one of the Young British Artists, and winner of the 1997 Turner Prize. [9] As the viewer, access to truth becomes dislocated. [9] In an interview with Donna De Salvo, Wearing states: "For me, one of the biggest problems with pure documentary photography is how the photographer, like the artist, engineers something to look like a certain kind of social statement—for instance, you can make someone look miserable, when this is just one side, a nuance of their personality. Maureen Paley, the gallery’s founder and director, was born in New York, studied at Sarah Lawrence College, and graduated from Brown University before coming to the UK in 1977 where she completed her Masters at The Royal College of Art from 1978-80. Wearing’s aforementioned 1993 video Dancing in Peckham was another crucial inclusion for the show’s curator Nathaniel Stein.“It stated, ‘This artist is going to turn things upside down,’” he notes. Collection Albright-Knox Art Gallery, Buffalo, New York; Charles Clifton Fund, 2004 (P2004:14.6). Wearing enjoyed this method of photographing because "when they returned with something they had written, it challenged [her] own perception of them". In her art she gives perfectly ordinary people a voice, examining and documenting the relationships between them. The eight participants confess their trauma and the mask that is given reflects the age when they suffered their trauma, with the intention of transporting the viewer back to "the defining moment in the wearer’s lives". In 2007 Wearing was elected as lifetime member of the Royal Academy of Arts in London. [18] In an article for The Guardian she explains that the process takes four months per mask, and how at first "some people tried to direct me to use prosthetics, but I was adamant it had to be a mask, something that transforms me entirely, something that was not grotesque but real, like a trompe l’oeil". 534 West 26th Street, Chelsea. Gillian Wearing, Family Album, 2003-2006. Wearing follows these teenagers demonstrating how alcohol contributes to their loss of inhibitions, insecurities, and control.[22]. Image courtesy IVAM Institut Valencià d'Art Modern The use of masks in these works is a very simple and effective enabler for anonymous communication, offering the possibility to act or behave as someone else. We have Facebook and Twitter where people tell you small details of their life.[20]. In the early 1990s, Wearing began putting together photography exhibitions where she worked with strangers. an exhibition of historical photo booth photographic works are on display at musée de l’elysée lausanne. Gillian Wearing (British, born 1963). [5] John Slyce has described Wearing's method of representation as "frame[ing] herself as she frames the other". She studied Fine Art at Goldsmiths' College, University of London, and … SMK now presents an exhibition featuring the Turner Prize-winning artist. Wearing's self-portraiture has its own creepy metaphorical intrigue. The themes of modern television were further explored in Wearing's project Family History (2006) commissioned by Film and Video Umbrella, and accompanied by a publication on the project. Don't Worry You Will Be In Disguise. Through Jan. 10. © Gillian Wearing "Gillian Wearing on her Album Series (2003)" Parkett, interview with Cay Sophie Rabinowitz and Gillian Wearing 2003 . This Turner Prize winner’s remarkable works draw on fly-on-the-wall documentaries, reality TV and the techniques of theatre, to explore how we present ourselves to the world. ArtSlant profile for contemporary artist Gillian Wearing. Gillian Wearing, Self Portrait as my Sister Jane Wearing from Album, 2003 We are all performers. I always think of Britain as being a place where you’re meant to keep your secrets—you should never tell your neighbors or tell anyone. Cornelia Parker, Christine Borland and Angela Bulloch were the other shortlisted artists.[21]. [32], Wearing lives and works in London with her partner, British artist Michael Landy. Chromogenic color print, edition: 4/6 plus 2 artist's proofs, 45 1/2 x 36 1/4 inches (115.6 x 92.1 cm). Wearing’s new work is part of the exhibition Gillian Wearing & Claude Cahun: Behind the Mask, Another Mask. Feb 23, 2016 - Explore Charlotte Adams's board "gillian wearing" on Pinterest. 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