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*[http://www.estherschipper.com Berlin Gallery] |
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*[http://www.airdeparis.com Paris Gallery] |
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Revision as of 14:23, 10 September 2007
Liam Gillick (born 1964, Aylesbury, Buckinghamshire) is an British artist. He was nominated for the Turner Prize in 2002. He works in various media, including texts and physical structures.
Life and work
Liam Gillick studied at Hertfordshire College of Art and Goldsmiths College (1984 – 87). Since 1997 he has taught at Columbia University.[1]
He has lectured in many other universities and art schools. In May 2000 he was guest professor at the Research Programme, CCA in Kitakyushu, Japan. During that time he created an installation in the studio communal area. This consisted of benches, low tables, bookshelves and Japanese lanterns. Following this, he was commissioned to make work for a new sculpture court outside the Clore Gallery at Tate Britain. This again was an installation including benches, tables, shelving units and lighting. The work was described as an amalgam of sculpture, design and architecture.[1]
Liam "appropriates the forms of corporate office architecture" and "investigates the semiotics of architecture in fictional yet non-narrative essays and books, installations, and objects" with references to earlier movements such as De Stijl in Holland and the geometrical forms of Piet Mondrian's paintings. An example of this is a piece in the Albright-Knox Art Gallery, Local Discussion Screen (2001-02), measuring 96 x 144 x 12" (240cm x 360cm x 30cm.), it is made from aluminum and orange Plexiglas. At a cursory inspection, it would appear to be an office screen or part of a commercial exhibition stand, and can only be understood in its intended (that is, gallery) context, and on the basis that "it is difficult to separate Gillick’s artworks from his complex and on-going intellectual discourse about the interaction of social, moral, political, and ideological forces in the environment."[2]
In May 2002, he had a major exhibition in London, The Wood Way at the Whitechapel Art Gallery. This featured work made since the mid-1990s and in particular two series, The What if? Scenario and Discussion Island/Big Conference Centre... The title of the show refers to the German expression "Holzweg"— taking the "wood way" means taking the wrong turn and getting lost in woods. The ground floor of the Whitechapel contained a specially constructed labyrinth by Gillick, so "Walking through the exhibition may well feel like taking "The Wood Way" both literally and metaphorically."[3]
In 2002 he was a nominee for the Turner Prize. His display was a mostly empty environment, dominated by a ceiling of brightly-coloured Plexiglas squares with light shining through them.
In 2003 he received a joint commission from London Underground Platform for Art programme and Frieze Art Fair to create a set of posters to be put in unused spaces at Great Portland Street tube station. These have strong single colours and text in simple typography, and were promoted by London Underground:
- The work makes use of transcripts of non-specific television advertising – placing the structure of one communication medium into another. The structure of the message overwhelms the product and we are left to reflect on the potential of narrative and presentation.[4]
A further project for London Underground, announced in January 2007, was the design of the cover for the Underground map, of which 15 million copies are distributed each year. His design, entitled The Day Before (You Know What They'll Call It? They'll Call it the Tube) shows the words of the date of the last day before the Underground opened, written in twelve sets of coloured letters symbolising the twelve rail lines. [5]
Central to his practice has been the publication of a number of books that function in parallel to his built work. The artist has also produced a number of large works in an architectural context.
He divides his time between London and New York City.
Exhibitions
Solo exhibitions since 1989 include ‘Literally’, The Museum of Modern Art, New York, 2003; ‘Communes, bar and greenrooms’, The Powerplant Contemporary Art Gallery, Toronto, 2003; ‘The Wood Way’, Whitechapel Gallery, London, 2002; ‘A short text on the possibility of creating an economy of equivalence’, Palais de Tokyo, 2005.
Group exhibitions include ‘Singular Forms’, Guggenheim Museum, 2004; 50th Venice Biennale, 2003; ‘What If’, Moderna Museet, Stockholm, 2000 and documenta X, 1997.
Public Projects
Public projects and interventions include Ft. Lauderdale Airport in 2002; the Home Office government building in London in 2005 and the Lufthansa Headquarters in Frankfurt in 2006.
Books
Since 1995 Liam Gillick has published a number of books that function in parallel to his artwork including Literally No Place (Book Works, London, 2002); Five or Six (Lukas & Sternberg, New York, 1999); Discussion Island/Big Conference Centre (Kunstverein Ludwigsburg, Ludwigsburg, and Orchard Gallery, Derry, 1997), Erasmus is Late (Book Works, London, 1995) and most recently PROXEMICS: SELECTED WRITINGS 1988–2006 (JRP|Ringier, Zurich, 2007).
Critical Writing
Liam Gillick has contributed to many art magazines and journals including Artforum, Parkett, Frieze, Art Monthly and October.
See also
Notes and references
- ^ Absolute arts Retrieved March 23, 2006
- ^ Abright-Knox Art Gallery Retrieved March 23, 2006
- ^ Whitechapel Art Gallery Retrieved March 23, 2006
- ^ "headache/phone card/soda/donuts/stereo" tfl.gov.uk. Accessed April 16, 2006
- ^ London Underground press release tfl.gov.uk. Accessed 23 January 2007