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. And in a certain way that’s the point of photography. They used clothing, make up, props and poses they altered their appearance. Art. In her 2012 homage, Wearing has replaced the barbell prop with a mask of her own face, dangling white and eyeless in front of the black backdrop. She’s not feminine, she’s not masculine; she is indefinable. Both artists’ work is based on deconstructing the relationship between image and identity, questioning the accuracy of what we see. 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… 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. Where Cahun’s images are badly exposed or warped by time, Wearing’s are hyperreal. 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. Some 80 years later, one of these agendered personas had an immediate and revelatory effect on conceptual artist Gillian Wearing. Gillian Wearing has long explored ideas around identity and the masks we wear. 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. (104.7 x 81.2 cm.) Wonderful wonderful exhibition and research experience as both artists ‘share a fascination with the self-portrait and use the self-image, through the medium of photography, to explore themes around identity and gender, which is often played out through masquerade and performance’. A pilot with lens caps for goggles. The artist is forty years old, but she poses quite convincingly as her mother at twenty-three. During lockdown, she has been painting self-portraits and using the isolating time as a means for self-reflection and questioning of the human condition in unprecedented times. Without a mask we are acting in order to show a socially acceptable personality that fits with the established conventions. View Larry Clark’s 598 artworks on artnet. Her new work takes this theme into the realm of an AI-created self-ad, created with advertising agency Wieden + Kennedy, mimicking the blurring of sincerity and manipulation rife in … Gillian Wearing is an artist of many faces. This kinship forms the basis of London’s National Portrait Gallery exhibition Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask. In a world oversaturated by images, Wearing explores the complexities of identity. 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. Claude Cahun, “Self-portrait (full length masked figure in cloak with masks)” (1928) (© Jersey Heritage), Claude Cahun, “Je tends les bras” (c. 1932) (© Jersey Heritage), Claude Cahun, “Self-portrait (with Nazi badge between her teeth)” (1945) (© Jersey Heritage). Discover (and save!) 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. Gillian Wearing. On 11 December 2007, Wearing was elected as lifetime member of the Royal Academy of Arts in London. Courtesy the artist. The artist is forty years old, but she poses quite convincingly as her mother at twenty-three. 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. Tuner Prize winner Gillian Wearing is a master of disguise. Wearing's childhood was spent in Birmingham, where she lived with her parents and two siblings. Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask continues at National Portrait Gallery (St Martin’s Place, London) through May 29. 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. Cindy Sherman and Samuel Fosso used self-portraits to explore the idea of stereotypes. Statue of Millicent Fawcett Parliament Square, London 2018. Gillian Wearing continues her exploration of identity, fiction, reality and the mask presenting a series of new works on paper, board, sculpture and film. Wearing's early childhood was also characterized by silence, as she did not feel that she learned to speak properl… Mayfair based gallery Sprueth Magers is currently hosting an exhibition on the British identity throughout the seventies and eighties. LONDON — If the history of art could be likened to a card game, Claude Cahun had the ultimate poker face. Since that golden era Wearing has chosen to stay out of the spotlight, rather allowing her deeply reflective work to speak for itself. 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. 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. With her varied, oeuvre-spanning show now open at Tanya Bonakdar Gallery in Chelsea, we're drawn to her tribute self-portraits as idols Andy Warhol, Diane Arbus, and Robert Mapplethorpe. Turner Prize-winning artist Gillian Wearing is best known for her photographic and video works exploring the projection and protection of individual identity both in herself and others. There is a clear intentionality, a kind of game, where the viewer guess that someone else is behind the mask. 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. Gillian Wearing, Self Portrait as My Mother Jean Gregory, 2003, framed black and white print. Gillian Wearing deals regularly in the kind of intimacy that many among us share only with our dentists. But what is the reason that leads Gillian Wearing to perform such a trick? Call Gillian. This exhibition brings together for the first time the work of French artist Claude Cahun and British contemporary artist Gillian Wearing. Aug 24, 2012 - This Pin was discovered by Chris Bolton. Sort of. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York. 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.. Gillian Wearing studied at Chelsea College of Art 1985–87 and Goldsmiths College 1987–90. Beneath the mask. 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. Conceived over the course of the Covid-19 pandemic, the exhibition focuses mainly on works made during the lockdown. Through sculpture, photography, performance and film, she has spent the last three decades confronting identity, artificiality and the many selves we exhibit to the world. A Turner Prize–winning Young British Artist, Wearing’s … The films and photographs of British artist Gillian Wearing (b. Birmingham, 1963) explore our public personas and private lives. The series “Signs” is the first attempt of Gillian Wearing to discover the true identity of people. 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. 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. Gillian Wearing has long explored ideas around identity and the masks we wear. The difference between the private and the public self has long been a source of fascination for Gillian Wearing, who has been making video and photography investigating the notion of identity for over twenty years. This was to create a sense of equality amongst the family members. Recently I’ve discovered the social network Flickr where amateur photographers expose their pictures. 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. Conceptual artist Gillian Wearing emerged in the 1990s as part of a bold generation of artists that helped define modern British art. Conceived over the course of the COVID-19 pandemic, the exhibition focuses mainly on works made during the lockdown. Gillian Wearing, Self Portrait as My Mother Jean Gregory, 2003, framed black and white print. 9 March – 29 May 2017 “Under this mask, another mask. Call Gillian…, ten participants became the subjects of a 30-minute-long video in which they revealed outlandish things about themselves, while wearing masks. But in what way photography can express a vision of ourselves? But I didn't have the upbringing where I got to know [my father] that well." Wearing often cites the influence of early British ‘fly-on-the-wall’ television documentaries such as Michael Apted’s pioneering Seven-Up (Granada Television 1964), which charted the progress of a group of children at seven year intervals, or Paul Watson’s raw investigation of family life in The Family … And that was exactly the point. your own Pins on Pinterest (114.9 x 91.4 cm.) Her new work takes this theme into the realm of an AI-created self-ad, created with advertising agency Wieden + Kennedy, mimicking the blurring of sincerity and manipulation rife in … Gillian Wearing continues her exploration of identity, fiction, reality and the mask presenting a series of new works on paper, board, sculpture and film. Gillian Wearing, interview with Cay-Sophie Rabinowitz Parkett No. 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. Wearing Gillian Gillian Wearing in collaboration with Wieden + Kennedy HD film for projection with sound 5 minutes 2018. 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. From one of her early projects, ... she scours the notion of identity, leaving no stone unturned in the process. Gillian Wearing, “Me as Cahun holding a mask of my face” (2012) (courtesy Maureen Paley, London; Regen Projects, Los Angeles; Tanya Bonakdar Gallery, New York). Wearing is an established British conceptual artist who came to fame during the prominence of the YBA’s. See more ideas about How to wear, Portrait, British artist. Gillian Wearing, “Me as mask” (2013) (courtesy Maureen Paley, London; Regen Projects, Los Angeles; Tanya Bonakdar Gallery) (all images courtesy of the National Portrait Gallery)New York; Shuffle the cards. The Jersey Heritage Trust acquired her scant archive in 1995, but painfully little remains of her vintage work. See available photographs, prints and multiples, and paintings for sale and learn about the artist. Putting the mask will allow to liberate our real personality, because the mask makes impossible to connect the person thoughts with the real person. Gillian Wearing OBE RA is an English conceptual artist, one of the YBAs, and winner of the annual British fine arts award, The Turner Prize, in 1997. 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. Gillian Wearing (B. Presenting works from the likes of Gillian Wearing, Peter Saville, Gary Hume and more, Sprueth Magers honours the legacy of British identity. Claude Cahun, “I am in training don’t kiss me” (c. 1927) (© Jersey Heritage). Statue of Millicent Fawcett Parliament Square, London 2018. Gillian Wearing, “At Claude Cahun’s Grave” (2015). 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. Gillian Wearing, together with other YBA’s like Tracy Emin or Damian Hirst, has gained a respected position within the arts world as an individual artist. 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. Explore. Gillian Wearing approaches identity furtively. In “At Claude Cahun’s Grave” (2015), Wearing’s elbows rest on Cahun’s headstone, supporting her shrouded, specter-like head. Her work portrays messages that are quite personal to her. 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. From the Spring 2017 issue of RA Magazine, issued quarterly to Friends of the RA. Jan 5, 2015 - Explore Robyn Ormerod's board "Gillian Wearing" on Pinterest. 1963) Self Portrait at 17 Years Old chromogenic print signed 'G Wearing' (gallery label, frame backing board) image: 41 ¼ x 32 in. Cahun’s 1927 self-portrait, with kiss curls on her forehead and hearts painted on her cheeks, is playfully teasing. 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. In Self Portrait as My Mother Jean Gregory, Gillian Wearing wears a prim blouse with pointed collars, her hair coiffed short. 28 March – 17 June 2012 . Michael Landy, my husband, has the downstairs space and we share the studio with our beloved Staffordshire Bull Terrier, May. 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 If you have ever logged on to social media and seen an image of someone holding a hand-written sign in front of them, proclaiming a truth or confession about themselves, then you will have seen the influence of Gillian Wearing. twitter facebook. 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 … Gillian Wearing: The idea of a show at the Whitechapel was muted in 2006 with Iwona, just after Doris Krystof from K20 Museum in Düsseldorf had also invited me to do a survey show. (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. Although the masks are very well made, she doesn’t try to conceal the fact that she is wearing a mask. The photographer can also add elements to the composition that reveals basic aspects of his/her personality, showing fears, dreams, hopes or obsessions. 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. Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. 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 Candid Photography.. Masks, in particular, are a favourite form of concealment. Visited the Gillian Wearing/ Claude Cahun exhibition at the Portrait Gallery. They used clothing, make up, props and poses they altered their appearance. 70, 2004. Here, Rochelle Roberts reflects on Claude Cahun's notable work, Self-Portrait (as weight trainer). 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. LOS ANGELES — For her exhibition Everyone, Gillian Wearing hired palm readers to tell her fortune without knowing her professional identity. Support Hyperallergic’s independent arts journalism. I will never finish removing all these faces.” Claude Cahun, 1930. In 2007 Wearing was elected as lifetime member of the Royal Academy of Arts in London. She is based in Jerusalem. Gillian Wearing, Lockdown Portrait, 2020, watercolour on paper, 39.5 x 31.5 cm. In 2012, Wearing made a portrait of herself as the late French artist in which she is holding a mask of her own face. Instead, images of a recognisable, public face – Gillian Wearing CBE – alternate throughout with brutally collapsed, private-seeming revelations. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. 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. 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. 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. The films and photographs of British artist Gillian Wearing (b. Birmingham, 1963) explore our public personas and private lives. In her second work “Confess”, she uses the video footage to present different characters that hide behind a mask to reveal us intimate and personal secrets or embarrassing truths. 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. Mary Pelletier is an American writer and art historian specializing in early Middle Eastern photography. 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. It is like all the masked faces you pass at … share . Gillian Wearing continues her exploration of identity, fiction, reality and the mask presenting a series of new works on paper, board, sculpture and film. The writer, photographer, and collage artist wrote these words in 1930, at the age of 36, in her Parisian anti-memoir, Aveux non avenues. 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