This was to create a sense of equality amongst the family members. I will never finish removing all these faces.” Claude Cahun, 1930. Her work was often in collaboration with her partner Marcel Moore, also an artist, and she is known mostly But what is the reason that leads Gillian Wearing to perform such a trick? Gillian Wearing has long explored ideas around identity and the masks we wear. Gillian Wearing continues her exploration of identity, fiction, reality and the mask presenting a series of new works on paper, board, sculpture and film. See more ideas about british artist, how to wear, human condition. (114.9 x 91.4 cm.) Gillian Wearing, “At Claude Cahun’s Grave” (2015). Become a member today ». LOS ANGELES — For her exhibition Everyone, Gillian Wearing hired palm readers to tell her fortune without knowing her professional identity. It depends on the situation. If artists such as Yasumasa Morimura delight in facilitating recognition, UK artist Gillian Wearing partially or completely disguises subjects in order to emphasise alternative aspects of their identity. 1994 (Tate T07329), the Signs series examines the relationship between public image and private identity. There is no doubt that many factors influence our personality: we can say that our identity is composed by our family heritage, the relationships with other family members and friends allow us to grow in society and build our external image, the past and own experiences along the years also model our reactions and behaviors, and the cultural background in which our life thrives shapes our thoughts and opinions. Call Gillian (1994) is a 30-minute long video where Wearing recruited strangers through posting an ad in Time out magazine and provided a space where participants would confess their terrors and fantasies to the camera, their identity protected by costume masks. Support Hyperallergic’s independent arts journalism. 200-201).This exhibition later travelled to Düsseldorf, Kunstsammlung Nordrhein-Westfalen and Munich, Pinakothek der Moderne. Gillian Wearing. Masculine? Gillian Wearing. Statue of Millicent Fawcett Parliament Square, London 2018. Family resemblance is fleshed out in a series inspired by her own family album; famous portraits of Wearing as Robert Mapplethorpe and Andy Warhol (in drag) hang amid portraits of herself, wearing a mask of — herself. Beneath the mask, a repeated flicker of life peaks through: the gold brown eyes of Gillian Wearing. The mask series especially, as in this project Wearing made several masks of her family as younger version of themselves so that they are of all equal age. The book, illustrated with collages made from her own photographs, provides a glimpse into Cahun’s gender-fluid, identity-defying mantra: disembodied hands hold her all-seeing eye, her shaved head repeats across a black background, masked to varying degrees. That leaves us a very surprising revelation: without a mask we don’t show others as we are, our uncomfortable aspects or secrets are concealed. Art. Giraffe-necked and with an upright, almost rigid posture, her direct, unflinching gaze is unnerving. Cindy Sherman and Samuel Fosso used self-portraits to explore the idea of stereotypes. Gillian Wearing, Self Portrait as My Mother Jean Gregory, 2003, framed black and white print. About: Gillian 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 she blurs the line between reality and fiction. Gillian Wearing: In my studio, it sort of looks like an office with a very long table/desk, cabinets, a sofa and three office chairs. Student No. Conceived over the course of the COVID-19 pandemic, the exhibition focuses mainly on works made during the lockdown. Jul 15, 2014 - Explore Scott Chainey's board "Gillian Wearing" on Pinterest. Turner Prize winner, YBA, and the artist behind the first statue of a woman in London’s Parliament Square. She is based in Jerusalem. See more ideas about How to wear, Portrait, British artist. Michael Landy, my husband, has the downstairs space and we share the studio with our beloved Staffordshire Bull Terrier, May. She grew up closer to her mother (whom she describes as "loving and supportive") than her father, writing of their relationship: "There was a little bit of separation between my parents, though they didn't divorce until many years later. A face wearing a mask over mouth and nose greets you as you enter Gillian Wearing’s exhibition Lockdown. Although they were born almost seventy years apart and came from different backgrounds, remarkable parallels can be drawn between the two artists. In 2012, Wearing made a portrait of herself as the late French artist in which she is holding a mask of her own face. The series “Signs” is the first attempt of Gillian Wearing to discover the true identity of people. Sort of. Photography. The title of her first work “Signs that say what you want them to say and not signs that say what someone else wants you to say” declares the intention of the series: a collection of street portraits of different individuals which belong to easily identifiable social groups, and which allows us to form a preconceived idea of their identities. Gillian Wearing, Self Portrait as My Mother Jean Gregory, 2003, framed black and white print. A lot of these individual collections reveal how this eternal obsession of photographers to look outside searching for something that allows them to express in a unique and singular way his vision of their world: I found a photographer where the Eiffel Tower is depicted in all his pictures; another shows a collection of hundreds of sunset pictures, or the one that shots the same subject in many different ways. The exhibition, curated by Tanya Bentley and organized in collaboration with Wearing herself, does well to place the two artists in dialogue with each other, rather than relying on continued compare/contrast scenarios. Conceptual artist Gillian Wearing emerged in the 1990s as part of a bold generation of artists that helped define modern British art. Statue of Millicent Fawcett Parliament Square, London 2018. A Turner Prize–winning Young British Artist, Wearing’s … Sometimes we, as photographers, are looking for unusual visions of our environment, in a quest for extra ordinaries landscapes and magnificent sunsets or searching for new points of view that reveal an uncommon view of ordinary subjects. In the last room of the exhibition, Wearing places herself next to Cahun once more, this time physically. Discover (and save!) 1963) Self Portrait at 17 Years Old chromogenic print signed 'G Wearing' (gallery label, frame backing board) image: 41 ¼ x 32 in. Mayfair based gallery Sprueth Magers is currently hosting an exhibition on the British identity throughout the seventies and eighties. Call Gillian. The films and photographs of British artist Gillian Wearing (b. Birmingham, 1963) explore our public personas and private lives. Concealing her own identity in favor of adopting that of others has become a recurring theme for Wearing, and is evident in her self-portraits of the early 2000s. I think the whole work of Gillian Wearing is an intelligent and consistent reflection about our own identity. framed: 45 ¼ x 36 in. When Wearing came across a small, surviving vintage print of Cahun’s photograph “I am in training don’t kiss me” (1927), it struck her. 9 March – 29 May 2017 “Under this mask, another mask. She won the Turner Prize in 1997 and, in the same year, her work was included in Sensation at the Royal Academy of Arts: an exhibition of Young British Artists from the Saatchi Collection.. And in a certain way that’s the point of photography. The two artists are separated by two generations, their backgrounds and technologies worlds apart, but they approached personal identity in the same way. Conceived over the course of the Covid-19 pandemic, the exhibition focuses mainly on works made during the lockdown. Our beloved Staffordshire Bull Terrier, May watercolour on paper, 39.5 x 31.5.... 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