3 edition of Gillian Wearing. found in the catalog.
Published to accompany an exhibition launched at Spacex Gallery, Exeter, 10 January - 14 February 1998, and then toured by National Touring Exhibitions from the Hayward Gallery, London, for the Arts Council of England.
|Contributions||Spacex Gallery., Hayward Gallery., South Bank Centre., Arts Council Collection.|
|The Physical Object|
|Pagination|| folded leaf :|
The idea is very simple; film a very short clip of either curtains or blinds opening to reveal the view from a window, preferably without showing hands or arms. The relationship between the two women is vague: if they are not related, their position suggests that they must at least be close friends. Dancing in Peckham Dancing in Peckham is a minute video of the artist dancing in the middle of a Peckham shopping center, to music that only she could hear. Whilst some critics have suggested that Wearing is revealing her private self in a public place, others argue that she is attempting to become someone else. Then he got a bit angry, handed back the piece of paper, and stormed off. Time after time after time.
Of taking this photograph, Wearing recalls "I literally had to chase him down the street. In other pieces, Wearing conceals her own image, for example in Homage to the woman with the bandaged face who I saw yesterday down Walworth Roadin which the artist's face is covered. Studying at Goldsmiths was a period of great discovery for Wearing, who notes: "I would walk around a lot of different studios The wanting, the hope, the terror and the final despair. But I didn't have the upbringing where I got to know [my father] that well.
In other works from the series, not included in this exhibition, she poses as her sister, grandmother, and seventeen-year-old self. We only ask that the shot is static and is shot on a horizontal and you follow some simple instructions so all the clips are similar in specification. Other images like I could no longer play I could no longer play by instinct, with an open, possibly ripped dress and blurred knife, together with a slash of black paint covering some of the words could represent personal despair. Each of the five pictures, all hung on one wall, looks like a glossy enlargement of a photograph from a family album: they include old black-and-white yearbook-type pictures of the artist's mother and father; a professional head shot of her smiling uncle; a snapshot of her shirtless brother in his bedroom brushing his elbow-length hair; and a photo-booth picture of the artist herself at
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The series was made against the backdrop of the economic decline in Britain in the early s, represented by such statements as 'Will Britain get through this recession? Courtesy Maureen Paley, London. Speaking to the Guardian inWearing gives the high point of her career to date as making "My breakthrough works, Signs That Say, when I approached people and they wrote thoughts down on a piece of paper", whilst her low point was struggling to achieve a likeness in her mask of documentary photographer, Diane Arbus, who was influential to Wearing's work, and of whom there are few source photographs.
How do we read an image where the person is pretending to be an alternate identity? London: Phaidon. I was interested to revisit them too, to find traces of George Eliot through the present day.
He recalled Eliot writing about how everyone should have an education so that they could make their own decisions — that had really stayed with him. Fair point.
The relationship between the two women is vague: if they are not related, their position suggests that they must at least be close friends.
Of taking this photograph, Wearing recalls "I literally had to chase him down the street. Call Gillian But in the company of my grandmother, whose daring style and self-possession I admired, I sensed that I might, one day, view it as an asset.
On occasions for which she is required to speak in public, her gallerist Maureen Paley has been known to accompany the artist to the stage for reassurance. Although some individuals responded rudely to the artist's approach, the majority took the project seriously and were keen to collaborate.
The confessions vary in significance and levels of impropriety, crime, and 'unacceptable' behaviours - ranging from pissing in the street, to soliciting sex workers, even to murder.
With special thanks to Maureen Paley, London. Were those journeys important to you? One formative experience took place at an amateur dramatics group, when Wearing was seventeen. We only ask that the shot is static and is shot on a horizontal and you follow some simple instructions so all the clips are similar in specification.
Wearing follows these teenagers demonstrating how alcohol contributes to their loss of inhibitions, insecurities, and control.Gillian Wearing CBE, RA (born ) is an English conceptual artist, one of the Young British Artists, and winner of the Turner atlasbowling.com Wearing was elected as lifetime member of the Royal Academy of Arts in London.
Her statue of the suffragist Millicent Fawcett stands Education: Goldsmiths. Gillian Wearing’s work explores the connections between public and private, fiction and reality, and the relationship between artist and atlasbowling.com monograph provides an overview of the artist’s work from the early, iconic photographs of people holding up signs with Brand: Phaidon Press.
Gillian Wearing - Signs That Say What You Want Them to Say and Not Signs That Say What Someone Else. Throughout the past two decades, Gillian Wearing’s films, photographs and sculptures have investigated public personas and private lives.
Since the beginning of her career, the artist has drawn from techniques of theater, reality television and fly-on-the-wall documentary-making to construct narratives that explore personal fantasies and confessions, individual traumas, cultural histories.
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On the cover of Aperture’s “On Feminism” issue is a photograph by Gillian Wearing, who recreated a self-portrait by the French writer and artist Claude atlasbowling.comovered in the s, Cahun was known for her gender bending, theatrical photography.
“Wearing, like Cahun, conceives of gender as multivalent,” Jennifer Blessing writes in an introduction to a portfolio of Wearing’s.