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. 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. HD film for projection with sound, 5 minutes, Gillian Wearing in collaboration with Wieden + Kennedy. Gillian Wearing, Self Portrait as my Sister Jane Wearing from Album, 2003 We are all performers. The notion of ‘different faces’ is an ongoing thread throughout your practice. [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. She also exhibited Sacha and Mum showing emotions between a mother and daughter. [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. 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 [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. Eliot said, “a face to meet the faces that you meet.” Wearing shows teenagers partying at various clubs and bars along Broad Street, Birmingham. One of Wearing's first UK shows was held at the Chisenhale Gallery in east London, in June 1997. This trio makes obvious connections to earlier of her works, like Confess All On Video, 1994, Trauma, 2000, and Album, 2003, in which masks were a2011device that offered to her storytellers a necessary combination of disguise and freedom. 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 has shifted, however, from sensationalistic sociology to a quieter, autobiographical mode. [9] As John Slyce puts it: “Gillian Wearing does not suffer the indignity of speaking for others.”. 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. 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). [6] as said by Doris Krystof: “Protected by masks, protected by their anonymity and protect by the free realm of art where their confessions are recorded but not judged, where there are no consequences to fear, no ideology or attempted appropriation to deal with, the participants could enjoy a sense of liberation and trust in their own voices.” [16], Trauma (2000) is a further exploration of confessing with a mask. Through Jan. 10. Wearing’s work, in general, is … [25], Wearing also released her first feature film in this year: Self Made. Wearing enjoyed this method of photographing because "when they returned with something they had written, it challenged [her] own perception of them". She moved to Chelsea, London to study art at the Chelsea School of Art and squatted in Oval Mansions. She studied Fine Art at Goldsmiths' College, University of London, and … The purpose was to … Album is a suite of six self-portraits that Wearing made based on old photographs from her family album. 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". [10] How Wearing approaches her subjects then is by inviting the individual to include their own articulation of thought into the picture within the space that she has provided, rather than an objective documentation. [3] She attended Dartmouth High School in Great Barr, Birmingham. 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 … 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. Here Wearing wears a dress her sister wore in the 1980s. In 2012, Wearing made a portrait of herself as the late French artist in which she is holding a mask of her own face. [19] Wearing used a fixed camera and the length of the pose was long in duration, which resulted in an awkward personal moment. [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. In fact each picture is of Ms. [7] Wearing's work reveals that the camera does not take a neutral stance towards its object, but is rather a powerful mass-media organ that breaks down the divide between public and private. Gillian Wearing deals regularly in the kind of intimacy that many among us share only with our dentists. Wearing Gillian, 2018. The participants – through their facilitator, Sam Rumbelow – explore the techniques of "the method", method acting, which will allow them to encounter themselves anew and so generate their own "self-made" film. 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. Intrigued? I couldn’t bear the idea of taking photographs of people without knowing". GILLIAN WEARING artistaren ALBUM izeneko proiektuaren zenbait irudi dituzu. [7] The use of masks also questions authenticity and how reality can be fabricated. They might just be looking away at something, but their expression could be read as showing a kind of depression in their overall behavior. Film theorist David Deamer writes that the film 'is a paradox. Cahun’s 1927 self-portrait, with kiss curls on her forehead and hearts painted on her cheeks, is playfully teasing. Self Portrait at 17 years old from Album, 2003. Don’t worry you will be in disguise. [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. [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. Produced with the assistance of professional makeup artists and without any digital manipulation, the pictures document impressive feats of disguise. ArtSlant profile for contemporary artist Gillian Wearing. Gillian Wearing (b. The drinkers are shown in different scenes individually and in groups. 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. [28] An accompanying monograph was published by Ridinghouse and included texts by curator Daniel Herrmann, Doris Krystof, Bernhart Schwenk and David Deamer. Cornelia Parker, Christine Borland and Angela Bulloch were the other shortlisted artists.[21]. Call Gillian Version II, Gillian Wearing OBE 1994", "Gillian Wearing Takeover: Behind The Mask - The Self Portraits", "Turner Prize: A Retrospective 1984 – 2006: 96–97", 'In Conversation: Gillian Wearing with William Corwin', 'Turner Prize 1997: Generating art debate', "Library of Birmingham statue unveiling: Two mums immortalised in 'ordinary' family sculpture", "Millicent Fawcett: Parliament Square's first female statue has a much bigger story to tell", "Michael Landy – the man who had nothing", "Birmingham artist Gillian Wearing given top university honour", Wearing interviewed by Leo Edelstein for the, Everyone I Have Ever Slept With 1963–1995, The Physical Impossibility of Death in the Mind of Someone Living, https://en.wikipedia.org/w/index.php?title=Gillian_Wearing&oldid=1000839511, Alumni of Goldsmiths, University of London, Photographers from Birmingham, West Midlands, Commanders of the Order of the British Empire, Pages containing London Gazette template with parameter supp set to y, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 17 January 2021, at 00:16. Things are changing now, because the culture’s changed and the Internet has brought people out. 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. the collection of images have been assembled to depict the … And it is the nature of the paradox that gives the film its power [...] The paradox emerges indirectly, a consequence of the two modes of narration of the film. [네이버 지식백과] 질리언 웨어링 [Gillian Wearing] (두산백과) They stagger around, fall over, bicker, fight, sleep and in the end one of the men stands against the backdrop and urinates. See more ideas about british artist, a level photography, human condition. [17] Wearing initially wanted to ask for permission to film the woman, although she decided to cover her own face with bandages and reenact what she had seen instead. Download PDF "The Encounter with Reality" Parkett, article by Gordon Burn 2004. 2003 O’Reilly, Sally, Gillian Wearing, Time Out, 5 – 12 November, No. 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. [32], Wearing lives and works in London with her partner, British artist Michael Landy. Actors and con men make it their profession; the rest of us just make it our lives, preparing, as T.S. Gillian Wearing, Family Album, 2003-2006. 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… In Wearing's Broad Street (2001), she documents the behavior of typical teenagers in British society who go out at night and drink large amounts of alcohol. [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. [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". Wearing a silicone mask with holes cut out for her eyes, the artist –forty years old at the time – reconstructs a photograph of herself taken in a photo booth as … 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. Gillian Wearing (British, born 1963). [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. Feb 23, 2016 - Explore Charlotte Adams's board "gillian wearing" on Pinterest. 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. [29], In 2013, Wearing showed her exhibit People: Selected Parkett Artists' Editions from 1984–2013 Parkett Space, Zurich, Switzerland (9 February-11 March 2013)[30], On 30 October 2014 her sculpture A Real Birmingham Family was unveiled in front of the Library of Birmingham. Wearing described the piece as, "Things can not be finalized—- as far as emotions are concerned. [33], Signs that say what you want them to say and not Signs that say what someone else wants you to say (1992–1993), statue of the suffragist Millicent Fawcett, Officer of the Order of the British Empire, "Millicent Fawcett: Statue of suffragist to be unveiled in London", "Criminalising squatters will hurt British pop music", "Confess All on Video. Photographic impersonation of others is not an original idea, of course (see Cindy Sherman, Nikki Lee and many others), but Ms. Intrigued? Krystof Doris contextualizes Wearing's approach: “The relationship between observer and observed is first established, then reversed, but always recounted from the perspective of the artist.” [17] In 2003-2006, Gillian Wearing recreated photographs of her relatives that were found in her family album. [17] These expensive silicone masks deteriorate easily after use, turning the photo shoot into a performative act where the action is unrepeatable. So, second mode: fiction'. Of these "confessional" pieces, Wearing stated, .mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0}, I decided that I wanted people to feel protected when they talked about certain things in their life that they wouldn’t want the public that knows them to know. an exhibition of historical photo booth photographic works are on display at musée de l’elysée lausanne. 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. [14] In Confess all on video. Self Portrait at 17 years old from Album, 2003. [2] This makes Wearing the first woman to create a statue that is in Parliament Square. [17] The individuality of each member begins to assert itself as the recording goes on and the officers conclusively become “ordinary human beings”. (157.5 x 130cm.) 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). [17], In the early 1990s, Wearing started putting together photography exhibitions that were based around the idea of photographing anonymous strangers in the street who she had asked to hold up a piece of paper with a message on it. [8] This exchange between Wearing and the people she photographs makes the interaction more conversational rather than typical documentation methods of portrait photography.[13]. Download PDF "I'm Desperate: Gillian Wearing's Art … Gillian Wearing is interested in real life. In her new series of large, eerie photographs, the London-based, Turner Prize-winning Gillian Wearing continues to explore the shifty nature of selfhood that has made her videos so discomfiting. [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. 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. In her art she gives perfectly ordinary people a voice, examining and documenting the relationships between them. [1] Her statue of the suffragist Millicent Fawcett stands in London's Parliament Square. [17] Her walk was documented discreetly from behind and there was a hidden camera installed inside of the mask, capturing onlookers’ horrid reactions. In 2007 Wearing was elected as lifetime member of the Royal Academy of Arts in London. Wearing herself, made up to resemble her relatives as they appear in actual photographs. [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. [7] 534 West 26th Street, Chelsea. 《60분간의 침묵 Sixty Minute Silence 》(1996), 《앨범 Album 》(2003) 등이 있다. Gillian Wearing Wearing a Mask of Gillian Wearing British-born photo, video and performance-based artist Gillian Wearing is best known for bringing home the 1997 Turner prize and her series of direct street portraits, Signs that say what you want them to say and not Signs that say what someone else wants you to say (1992-3). In the early 1990s, Wearing began putting together photography exhibitions where she worked with strangers. 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. Founded in 2010, Independent is an invitational art fair devised by and for gallerists, which re-examines traditional methods of presenting, viewing, and experiencing contemporary art. [9] As the viewer, access to truth becomes dislocated. [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. Still. [16], In Homage to the woman with the bandaged face who I saw yesterday down Walworth Road (1995), Wearing covers her head with white bandages and walks around in public. "Gillian Wearing on her Album Series (2003)" Parkett, interview with Cay Sophie Rabinowitz and Gillian Wearing 2003 . [5] John Slyce has described Wearing's method of representation as "frame[ing] herself as she frames the other". We have Facebook and Twitter where people tell you small details of their life.[20]. Gillian Wearing (British, born 1963). 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