Collection Albright-Knox Art Gallery, Buffalo, New York; Charles Clifton Fund, 2004 (P2004:14.6). [9] In an interview with Donna De Salvo, Wearing states: "For me, one of the biggest problems with pure documentary photography is how the photographer, like the artist, engineers something to look like a certain kind of social statement—for instance, you can make someone look miserable, when this is just one side, a nuance of their personality. Self Portrait of Me Now in Mask framed c-type print 124 x 98 cm ... wax sculpture and wooden plinth 56 x 14 x 10 cm 2013. [28] An accompanying monograph was published by Ridinghouse and included texts by curator Daniel Herrmann, Doris Krystof, Bernhart Schwenk and David Deamer. [8] This exchange between Wearing and the people she photographs makes the interaction more conversational rather than typical documentation methods of portrait photography.[13]. Photographic impersonation of others is not an original idea, of course (see Cindy Sherman, Nikki Lee and many others), but Ms. SMK now presents an exhibition featuring the Turner Prize-winning artist. John Slyce has described Wearing's method of representation as "frame[ing] herself as she frames the other". [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. Feb 23, 2016 - Explore Charlotte Adams's board "gillian wearing" on Pinterest. [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. Download PDF "The Encounter with Reality" Parkett, article by Gordon Burn 2004. One of Wearing's first UK shows was held at the Chisenhale Gallery in east London, in June 1997. Gillian Wearing, Family Album, 2003-2006. [17], "60 Minutes Silence (1996)" is the piece that won Wearing the Turner Prize in 1997. Collection Albright-Knox Art Gallery, Buffalo, New York; Charles Clifton Fund, 2004 (P2004:14.6). 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] The individuality of each member begins to assert itself as the recording goes on and the officers conclusively become “ordinary human beings”. [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. [23] The cover illustrated an article by Stuart Jeffries complaining about the cruelty of modern television. Self Portrait at 17 years old from Album, 2003. 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. [8] This piece materialized after Wearing caught a glimpse of a woman she saw with a bandaged head while in her friend's car. The themes of modern television were further explored in Wearing's project Family History (2006) commissioned by Film and Video Umbrella, and accompanied by a publication on the project. "Gillian Wearing on her Album Series (2003)" Parkett, interview with Cay Sophie Rabinowitz and Gillian Wearing 2003 . Wearing’s new work is part of the exhibition Gillian Wearing & Claude Cahun: Behind the Mask, Another Mask. [6] Wearing presents this fictitious nature of the work as a report. In 2012, Wearing made a portrait of herself as the late French artist in which she is holding a mask of her own face. 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. HD film for projection with sound, 5 minutes, Gillian Wearing in collaboration with Wieden + Kennedy. Gillian Wearing takeover: behind the mask – the Self Portraits The artist leads us through the extraordinary creative process of making her family series in 2003 – including wrapping her body in a silicone torso for hours – in which she depicted herself as members of her own family ArtSlant profile for contemporary artist Gillian Wearing. 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