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==External links==
==External links==
*[http://liamgillick.info Liam Gillick's website]
*[http://liamgillick.info Liam Gillick's website]
*[http://www.contemporaryartdaily.com/tag/liam-gillick/ Documentation of recent Liam Gillick exhibitions]
*[http://www.caseykaplangallery.com Casey Kaplan Gallery]
*[http://www.caseykaplangallery.com Casey Kaplan Gallery]
*[http://maureenpaley.com/artists/liam-gillick Maureen Paley]
*[http://maureenpaley.com/artists/liam-gillick Maureen Paley]

Revision as of 21:52, 18 October 2010

Liam Gillick
NationalityBritish
BildungGoldsmiths
Known forConceptual art, installation art
MovementYoung British Artists

Liam Gillick (born 1964, Aylesbury, Buckinghamshire) is a British artist who lives in New York City.[1][2] He is often associated with the artists included the 1996 exhibit Traffic,[3] which first introduced the term Relational Art.

Life and career

Liam Gillick graduated from Goldsmiths College in 1987. In 1989 he mounted his first solo gallery exhibition, 84 Diagrams, Karsten Schubert, in London.

He has exhibited in galleries and institutions in Europe and the United States, many of which have been collaborative projects with other artists, architects, designers and writers, including—between 1990 and 1995—the Documents Series, with Henry Bond.

In 1991, together with art collector, and co-publisher of Art Monthly, Jack Wendler, Gillick founded the limited editions and publishing company G-W Press.[4] The company produced limited editions by artists including Jeremy Deller and Anya Gallaccio.

Together with Damien Hirst, Sarah Lucas, Angela Bulloch and Henry Bond he was, "the earliest of the YBAs"[5]—the Young British Artists who dominated British art during the 1990s.

In 2002, Gillick was selected to produce artworks for the canopy, the glass facade, the kiosks, the entrance ikon, and the vitrines, of the then-recently-completed Home Office building, a United Kingdom government department, at Marsham Street, London.[6]

In 2002, Gillick was nominated for the annual British Turner Prize.

In the Winter 2006 edition of October (No. 115) Gillick's response to Claire Bishop's October article "Antagonism and Relational Aesthetics," was published as "Contingent Factors: A Response to Claire Bishop's 'Antagonism and Relational Aesthetics'." Gillick has also contributed written articles to fine art journals Frieze and Artforum.

In 2008, he was short-listed for the Vincent Award of the Stedelijk Museum, Amsterdam.

In 2009, Gillick represented Germany in the Giardini Pavilions of the Venice Biennale.[7]

On October 1, 2010, in an open letter to the British Government's culture secretary Jeremy Hunt—co-signed by a further 27 previous Turner prize nominees, and 19 winners—Gillick opposed any future cuts in public funding for the arts. In the letter the cosignatories described the arts in Britain as a "remarkable and fertile landscape of culture and creativity."[8]

In October 2010, Gillick contributed a recipe for a vodka and lime juice-based cocktail as his participation in the Ryan Gander art project "Ryan's Bar." The beverage titled "Maybe it would be better if we worked in groups of two and a half," will be sold for £50 per serving.[9]

Liam Gillick is an Adjunct Faculty at the School of the Arts, Columbia University.[10] Together with others including Ingrid Schaffner and Tirdad Zolghadr, Gillick is one of the Graduate Committee of the Center for Curatorial Studies and Art in Contemporary Culture at Bard College Annandale-on-Hudson.[11]


Artistic practice

Gillick's artistic output is characterized by diversity, as Caoimhin Mac Giolla Leith, of University College Dublin, has said,

"Gillick's practice to date has encompassed a wide range of media and activities (including sculpture, writing, architectural and graphic design, film, and music) as well as various critical and curatorial projects, his work as a whole is also marked by a fondness for diversions and distractions, tangents and evasions."[12]

The focus of Gillick' practice is evaluations of the aesthetics of social systems with a focus on modes of production rather than consumption.[13] He is interested in forms of social organization.[14] Through his own writings and the use of specific materials in his artworks, Gillick examines how the built world carries traces of social, political and economic systems.[15] As art critic Ina Blom has said,

"Artists such as Liam Gillick ... no longer address abstraction as the principle for the creation of distinct minimalist objects, but rather try to create through design spaces for open social interaction [artworks] whose actual use is to be constantly redefined within the situation of the exhibition - without necessarily producing relational-aesthetic models of community."[16]

Central to Gillick's practice are the publication that function in parallel to his artworks. An anthology of these "Allbooks" was published by Book Works, in 2009.

Exhibitions

Solo exhibitions include "The Wood Way" at Whitechapel Gallery in London 2002, "A short text on the possibility of creating an economy of equivalence" at Palais de Tokyo in Paris 2005, and the retrospective project "Three Perspectives and a short scenario" at Witte de With in Rotterdam, Kunsthalle Zürich and Museum of Contemporary Art, Chicago 2008-2010.

Personal life and family

Gillick is cousin to British artists James Gillick and Theodore Gillick. In the early 1990s he was in a relationship with artist Angela Bulloch.[17] He married fellow artist Sarah Morris, in 1998 at a ceremony in Miami.[18] Family relatives include the sculptor Ernest Gillick, the medallionist Mary Gillick, and the pro-life activist Victoria Gillick.

References

  1. ^ Tous, "Liam Gillick takes a cat to the Germany Pavilion," Calgary Herald, July 31, 2010.
  2. ^ MIT Press Journals
  3. ^ Frieze Magazine, Issue 28 1996, "Traffic"
  4. ^ Unattributed, "Liam Gillick and Carsten Holler," Fondazione Antonio Ratti, retrieved, October 6, 2010.
  5. ^ Archer, Michael (2006). "Overlapping Figures" in How To Improve the World: 60 Years of British Art, London: Hayward Gallery, p. 50, i.e., "Then later still there is the generation of Damien Hirst, Sarah Lucas, Angela Bulloch, Henry Bond and Liam Gillick, the earliest of the yBas (young British artists)."
  6. ^ Government Art Collection minutes/2002
  7. ^ Artinfo, "Liam Gillick to Represent Germany in Venice,", May 27, 2008.
  8. ^ Peter Walker, "Turner prize winners lead protest against arts cutbacks," The Guardian, October 1, 2010.
  9. ^ Spoonfed Arts Team, "Artists to make £50 cocktails at SUNDAY Art Fair," Spoonfed, accessed, October 10, 2010.
  10. ^ School of the Arts
  11. ^ Bard: The Graduate Program
  12. ^ Dr Caoimhin Mac Giola Leith, "Liam Gillick, Whitechapel Art Gallery," Artforum, October 2002
  13. ^ Gabriel Tarde – Underground (Fragments of Future Histories)
  14. ^ Madoff, Steven Henry. "The Singularity Problem" Summer 2009, Modern Painters.
  15. ^ MoMA
  16. ^ Blom, Ina, "THE LOGIC OF THE TRAILER: Abstraction, Style, and Sociality in Contemporary Art", Texte Zur Kunst, March 2008, Issue 69, pp. 171-77
  17. ^ Gregor Muir, Lucky Kunst: The Rise and Fall of Young British Art (London: Aurum, 2009), p. 84.
  18. ^ Louisa Buck, "Miami Through the Artist's Eye and Tastebuds," The Art Newspaper, 1 December, 2004, p.6

Literature

  • Liam Gillick, Proxemics: Selected writing 1988-2006 (JRP Ringier, 2007).
  • Lilian Haberer, Liam Gillick: Factories in the Snow (JRP-Ringier, 2007).
  • Monika Szewczyk (ed.) Meaning Liam Gillick (MIT Press, 2009).
  • Gillick, Liam: Installation at Venice Biennale, 2009
    Gillick, Liam: Installation at Venice Biennale, 2009

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