Gillian Wearing
Gillian Wearing. Family Monument Trento, (2008)
→ café library - photo- 01 Jun 11
Gillian Wearing. Family Monument Trento, (2008) Gillian Wearing. Family Monument Trento, (2008). Bronze sculpture.
Gillian Wearing: A Real Birmingham Family (2011-13) (press release)
→ café libraryADP staff - 01 Jun 11
Gillian Wearing: A Real Birmingham Family (2011-13) (press release) ADP staff; Text by Ikon Gallery, Birmingham, UK artdesigncafé | café library | Published 25 June 2011 Press Release Gillian Wearing: A Real Birmingham Family (May 2011-2013) Gillian Wearing. Family Monument Trento,...
Love is the devil: Study for a portrait of Francis Bacon (1998) film review
→ café libraryJohn A. Walker - 06 Apr 09
Love is the devil: Study for a portrait of Francis Bacon (1998) film review A review by John A. Walker (2009), the author of Art & Artists on screen. In London, during the 1950s, it was Francis Bacon (1909-92), the virtually self-taught painter and homosexual, who emerged as Britain’s...
Reykyavik, European City of Culture (2000)
→ café libraryR.J. Preece - 01 Sep 00
...Gillian Wearing, Michael Landy, and Angus Fairhurst. As northern light fades into winter, “Red,” which opens in October, will focus on the dangerous life and political views of Roska (1940–96), a radical Icelandic artist. Several other art events will complete the year’s schedule, including...
Turner Prize 1997: Generating art debate
→ café libraryM. Flannery, R.J. Preece - 02 Jan 98
Turner Prize 1997: Generating art debate Featuring artwork by Gillian Wearing (winner), Christine Borland, Angela Bulloch, and Cornelia Parker. Gillian Wearing. 60 minutes silence, (1996). Color video projection with sound. The 1997 Turner Prize, Britain’s most prestigious and...
Sensation at the Royal Academy of Arts, London (1997) (Press release)
→ café libraryADP staff - 12 Sep 97
...Gillian Wearing, Rachel Whiteread and Cerith Wyn Evans. CATALOGUE The catalogue accompanying the exhibition examines the rise of these young British artists and places their work in a historical and critical context. Norman Rosenthal, Exhibitions Secretary at the Royal Academy, writes an...
