Both artists’ work is based on deconstructing the relationship between image and identity, questioning the accuracy of what we see. 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. #GillianWearing Best known for her photographic and video works that intimately capture aspects of our familial and personal histories, Gillian Wearing (b. 1963) Self Portrait at 17 Years Old chromogenic print signed 'G Wearing' (gallery label, frame backing board) image: 41 ¼ x 32 in. Jan 5, 2015 - Explore Robyn Ormerod's board "Gillian Wearing" on Pinterest. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. It is like all the masked faces you pass at … This exhibition brings together for the first time the work of French artist Claude Cahun and British contemporary artist Gillian Wearing. Rachel Maclean comments on social media, technology and consumerism. Feb 2, 2019 - Wearing asked people on the street to write whatever they were thinking on a card and hold it up, and she photographed the result. The final and definitive work of Gillian Wearing dives into her own identity: a series of self-portraits where the artist wears a series of masks of members of her own family (her mother, father and brother) and herself at different ages of her life, plus masks of different personages that she consider very influential in her personality, she depicts her interior landscape, and makes us think about what … In the last room of the exhibition, Wearing places herself next to Cahun once more, this time physically. On 9 March, the National Portrait Gallery opened Behind the Mask, Another Mask – a large exhibition of Gillian Wearing’s work in relation to the practice of French surrealist artist Claude Cahun. If you see a portrait of a policeman your thoughts about that person are influenced for the context, the signs what we see: the police uniform. Mayfair based gallery Sprueth Magers is currently hosting an exhibition on the British identity throughout the seventies and eighties. From the Spring 2017 issue of RA Magazine, issued quarterly to Friends of the RA. Call Gillian. Larry Clark is an American photographer and filmmaker known for his raw and unfiltered depictions of youth culture. Moore also gets her due. Gillian Wearing, Self Portrait as My Mother Jean Gregory, 2003, framed black and white print. (104.7 x 81.2 cm.) This even applies to her self-portraits where she is rarely fully present, instead flickering in and out of the frame, oscillating between herself and an older self, or another family member, or another photographer. Gillian Wearing, “At Claude Cahun’s Grave” (2015). framed: 45 ¼ x 36 in. Types Of Photography. In “I am in training don’t kiss me,” Cahun sits in front of the camera as a strongman, but an effeminate one: a fake barbell across her lap, pale cheeks decorated with painted hearts, two slicks of hair curling on her forehead. ISSN 2385-7374. Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask continues at National Portrait Gallery (St Martin’s Place, London) through May 29. (Cahun never wrote about a preference for gender-neutral pronouns; as a result, most academic writing, and the exhibition text, refers to her with feminine pronouns. 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 … Gillian Wearing, whose name I did not know, is the first in Newsweek’s list The 10 Most Important Artists of Today.. A swift look at photographs of her work online suggest a woman interested in hidden layers of common human expression. Obviously the self-portrait is the photographic genre in which we can depicted our physical aspect, showing ourselves in front of the camera in the way we want to be seen for others. Self Portrait at 17 Years Old Exhibited London, Whitechapel Gallery, Gillian Wearing, 2012, p. 222 (another example from the edition exhibited; illustrated in colour on the front cover and p. 113; work in progress illustrated in colour, pp. There is a real person behind the façade of a uniform, a social role or collective of people. John Slyce has described Wearing's method of representation as "frame[ing] herself as she frames the other". Wearing's early childhood was also characterized by silence, as she did not feel that she learned to speak properl… Wearing Gillian Gillian Wearing in collaboration with Wieden + Kennedy HD film for projection with sound 5 minutes 2018. The films and photographs of British artist Gillian Wearing (b. Birmingham, 1963) explore our public personas and private lives. Cahun, despite her Surrealist associations, was largely forgotten after she moved to Jersey with her partner Marcel Moore in 1938. The Album series are really self-portraits, the artist exploring her own identity by familial impersonation with the aid of realistic masks. Conceived over the course of the COVID-19 pandemic, the exhibition focuses mainly on works made during the lockdown. Discover (and save!) Turner Prize winner, YBA, and the artist behind the first statue of a woman in London’s Parliament Square. 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. Masks, in particular, are a favourite form of concealment. They used clothing, make up, props and poses they altered their appearance. Practice: Gillian Wearing is known for her method of documentation of the 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. 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 is an artist of many faces. The confessions behind the mask represents a disconnected identity of the person, and in the opposite way that the unmasked person reveals a manipulated identity to the world. There is a clear intentionality, a kind of game, where the viewer guess that someone else is behind the mask. LONDON — If the history of art could be likened to a card game, Claude Cahun had the ultimate poker face. This exhibition brings together for the first time the work of French artist Claude Cahun and British contemporary artist Gillian Wearing. 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. But in what way photography can express a vision of ourselves? A Turner Prize–winning Young British Artist, Wearing’s … Student No. A Gillian Wearing exhibition at the National Portrait Gallery puts her work in dialogue with her largely forgotten Surrealist inspiration. And at the time, even though she ran with the Surrealist crowd, it was quite a radical mind-set to exteriorize. On 9 March, the National Portrait Gallery opened Behind the Mask, Another Mask – a large exhibition of Gillian Wearing’s work in relation to the practice of French surrealist artist Claude Cahun. Become a member today ». 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. Gillian Wearing : signs that say what you want them to say and not signs that say what someone else wants you to say, ... their work shares similar themes - gender, identity, masquerade, and performance. She’s not feminine, she’s not masculine; she is indefinable. Wearing’s personal display is also universal, effectively evoking thoughts of one’s own aesthetic ancestry. The control she exercises over her image could be likened to that of an Instagramming celeb, but her photographs aren’t necessarily critical; they are inquisitive (it takes her about four months to create one silicone mask). 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. The Art of Photography In her piece 'Signs that say what you want them to say and not Signs that say what someone… Instead, images of a recognisable, public face – Gillian Wearing CBE – alternate throughout with brutally collapsed, private-seeming revelations. Presenting works from the likes of Gillian Wearing, Peter Saville, Gary Hume and more, Sprueth Magers honours the legacy of British identity. Art. See more ideas about british artist, how to wear, human condition. The mask has fascinated and preoccupied Gillian Wearing in her artistic practice and takes on an even greater significance in her sculpture Mask Masked, 2020, especially now when the proliferation of masks has reshaped our collective identity, day-to-day appearance and reality. Candid Photography.. Her work explores the subject of Identity in an open and free-forming type of portraiture, as she has defined it, using video, film and photography. The final and definitive work of Gillian Wearing dives into her own identity: a series of self-portraits where the artist wears a series of masks of members of her own family (her mother, father and brother) and herself at different ages of her life, plus masks of different personages that she consider very influential in her personality, she depicts her interior landscape, and makes us think about what conforms our own identity. Blas' learning log for the OCA course: Her work portrays messages that are quite personal to her. The artist is forty years old, but she poses quite convincingly as her mother at twenty-three. Jul 15, 2014 - Explore Scott Chainey's board "Gillian Wearing" on Pinterest. The evidence of her pilgrimage hangs next to Cahun’s own “death portrait,” taken in the same cemetery a few years before her own death. And that was exactly the point. Feminine? Beneath the mask. Her new watercolour portraits have all been created in this time of self-reflection motivated by isolation. Gillian Wearing, Self Portrait as My Mother Jean Gregory, 2003, framed black and white print. Email: email@example.com, Editado en Barcelona por Rebeca Pardo. Gillian Wearing (B. Tuner Prize winner Gillian Wearing is a master of disguise. twitter facebook. Explore. Gillian Wearing, interview with Cay-Sophie Rabinowitz Parkett No. 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… 1963) Self Portrait at 17 Years Old chromogenic print signed 'G Wearing' (gallery label, frame backing board) image: 41 ¼ x 32 in. The Album series are really self-portraits, the artist exploring her own identity by familial impersonation with the aid of realistic masks. Since that golden era Wearing has chosen to stay out of the spotlight, rather allowing her deeply reflective work to speak for itself. Exhibition Gillian Wearing … your own Pins on Pinterest More by Mary Pelletier. Gillian Wearing deals regularly in the kind of intimacy that many among us share only with our dentists. Conceived over the course of the COVID-19 pandemic, the exhibition focuses mainly on works made during the lockdown. Gillian Wearing approaches identity furtively. In a portrait Moore took of Cahun in 1945 — after the two had just spent a year in prison during the Nazi occupation of Jersey — Cahun grips a Nazi eagle badge between her teeth, victorious. This kinship forms the basis of London’s National Portrait Gallery exhibition Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask. Life: Gillian Wearing includes a concise selection of the artist’s iconic lens-based works along with several new projects receiving their world premiere in Cincinnati. Her younger body kneels, tanned and naked, in front of a pillowy quilt in one dreamlike scene; in another, her body is hidden by a large black cloak stitched with eye masks. 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. share . Gillian Wearing has long explored ideas around identity and the masks we wear. Support Hyperallergic’s independent arts journalism. Cindy Sherman, Gillian Wearing, Samuel Fosso and Rachel Maclean all used themselves to explore the theme of changed identity. Conceived over the course of the COVID-19 pandemic, the exhibition focuses mainly on works made during the lockdown. It depends on the situation. 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. Jan 5, 2015 - Explore Robyn Ormerod's board "Gillian Wearing" on Pinterest. Some 80 years later, one of these agendered personas had an immediate and revelatory effect on conceptual artist Gillian Wearing. Gillian Wearing Whitechapel Gallery, London, March 28 — June 17, 2012. Gillian Wearing continues her exploration of identity, fiction, reality and the mask presenting a series of new works on paper, board, sculpture and film. In her large-scale color photographs, she is transformed into her brother, her grandparents, strangers, and famous artists — upon close inspection, her eyes remain the same, and the lines of her masks and wigs are visible, but only just. ), Claude Cahun, “Self-portrait (kneeling, naked, with mask)” (c. 1928) (© Jersey Heritage). 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. 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. 28 March – 17 June 2012 . 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. 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. Cindy Sherman, Gillian Wearing, Samuel Fosso and Rachel Maclean all used themselves to explore the theme of changed identity. Her work was often in collaboration with her partner Marcel Moore, also an artist, and she is known mostly Gillian Wearing continues her exploration of identity, fiction, reality and the mask presenting a series of new works on paper, board, sculpture and film. In Self Portrait as My Mother Jean Gregory, Gillian Wearing wears a prim blouse with pointed collars, her hair coiffed short. A collaboration of sorts, the words carved into Cahun’s tombstone echo the two artists’ linked journeys of self (and selfless) discovery: And I Saw New Heavens and a New Earth. Gillian Wearing studied at Chelsea College of Art 1985–87 and Goldsmiths College 1987–90. Beneath the mask, a repeated flicker of life peaks through: the gold brown eyes of Gillian Wearing. A pilot with lens caps for goggles. Gillian Wearing’s work considers masks and identity. But what is the reason that leads Gillian Wearing to perform such a trick? These silicone masks and costumes are uncanny! In “At Claude Cahun’s Grave” (2015), Wearing’s elbows rest on Cahun’s headstone, supporting her shrouded, specter-like head. (104.7 x 81.2 cm.) As a new show at the National Portrait Gallery places the two artists side by side, Lauren Elkin explores how Gillian Wearing RA finds identity-blurring inspiration in the inter-war writer and photographer Claude Cahun. But I didn't have the upbringing where I got to know [my father] that well." She is based in Jerusalem. Without a mask we are acting in order to show a socially acceptable personality that fits with the established conventions. 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