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	Gillian Wearing - Wikipedia, the free encyclopedia
		Gillian Wearing (born 1963) is an English artist.
		Born in Birmingham, Wearing moved to Chelsea, London to study art at the Chelsea School of Art and later went on to Goldsmiths College.
		Wearing has acknowledged the influence of 1970s English fly-on-the-wall documentaries such as Michael Apted's 7-Up, and many of her works have a similar concern with discovering details about individuals.
	en.wikipedia.org /wiki/Gillian_Wearing (461 words)

	Victoria and Albert Museum - Shhh... Artists (Site not responding. Last check: 2007-10-31)
		London-based artist Gillian Wearing is known for her clever and acutely poignant photography and video work exploring the complexity of human relationships.
		Gillian Wearing was born in Birmingham, England in 1963.
		Wearing was honoured with a mid-career retrospective at the Serpentine Gallery in London in 2000.
	shhh.vam.ac.uk /artists.php?artist=wearing (280 words)

	Gillian Wearing > Project Info
		The films show adult actors lip-synching to a soundtrack taken from interviews that Wearing recorded with children between the age of 10 and 16.
		The disjuncture between the impact of an adult speaking with the cadence, words and even the bearing of a child was the initial focus of the work.
		Gillian Wearing was shortlisted for the Turner Prize in 1997.
	www.chisenhale.org.uk /html/files/304_project_info.html (182 words)

	The McGill Tribune - Gillian Wearing's facial features
		Gillian Wearing is a social spectator who digs into the idiosyncrasies of humans with her artwork.
		Wearing allows everyday people to participate in the political and cultural commentary with her work, "Signs that say what you want them to say and not signs that someone else wants you to say, 1992-93".
		Wearing's subjects have their roots in the everyday and the real world, and have experiences which are often left out of art.
	www.mcgilltribune.com /home/index.cfm?event=displayArticlePrinterFriendly&uStory_id=84ed5e89-5f42-417d-be0f-15099a09d5ba (681 words)

	ICA: Past Exhibitions > Gillian Wearing: Mass Observation
		The ICA is presenting the only East Coast showing of "Gillian Wearing: Mass Observation," a survey of her work from 1992 to 2002.
		Wearing's mass observation signifies her interest in a collective of individuals in a large group.
		Wearing effectively reverses the power relationship between the viewer and the viewed; as the authority normally given to the officers is stripped as they are held captive by the portrait photograph-like situation.
	www.icaphila.org /exhibitions/past/wearing.php (729 words)

	erasing clouds (Site not responding. Last check: 2007-10-31)
		Wearing's role in all this is to heighten these emotions for the viewer (and perhaps the participants) by dubbing this discourse over a film of the person who is the recipient of the comments lip-synching their family members' words.
		Wearing's longest piece in the exhibition is Sixty-Minute Silence, where several British police officers pose for what at first appears to be a traditional group shot.
		Her participatory documentary skills are also exemplified in her collection of nearly famous photos titled "Signs that say what you want them to say and not signs that say what someone else wants you to say," where she has given pedestrians the opportunity to create a "sign" of their very own to be photographed with.
	www.erasingclouds.com /1022wearing.html (878 words)

	BBC NEWS \| Entertainment \| Arts \| Artist sorry for Cilla insult
		Wearing used the F-word and the name of TV host Cilla Black in her cover design for the Guardian's G2 supplement on Tuesday.
		Wearing was invited to illustrate the G2's main story of the day - about Black's resignation from TV show Blind Date and the rise of "mean TV" - as part of a week-long project in which David Hockney and Antony Gormley are also coming up with cover designs.
		Wearing said she was a fan of Cilla Black and Blind Date, and that it was the quickest piece of work she had produced in her life.
	news.bbc.co.uk /1/hi/entertainment/arts/2638259.stm (502 words)

	Free Gillian Anderson pics at DeepLake Babes
		You are in: DeepLake.com > DeepLake Babes > Gillian Anderson
		Gillian sitting on a bed on white satin sheets with her arms covering part of her chest.
		Gillian lying on the bed on her stomach clutching the frame at the end of the bed.
	www.deeplake.com /babes/gillian_anderson.shtml (613 words)

	Guggenheim Collection - Artist - - Biography
		Gillian Wearing was born on December 10, 1963, in Birmingham, England.
		Wearing explored the same phenomenon in Take Your Top Off (1993), a series of color photographs that pair her and a male-to-female transsexual sitting in bed together with their breasts exposed.
		Solo exhibitions of Wearing's work have been organized by Le Consortium in Dijon, France (1996), Centre d'Art Contemporain in Geneva (1998), Serpentine Gallery in London (2000), Musée d'Art Moderne de la Ville de Paris (2001), Sala de Exposiciones de la Fundación "la Caixa" in Madrid (2001), and the Museum of Contemporary Art in Chicago (2003).
	www.guggenheimcollection.org /site/artist_bio_230.html (646 words)

	BBC News \| Turner Prize \| Gillian Wearing - Turner Prize winner 1997
		Unlike those she beat to claim this year's Turner Prize, Gillian Wearing is more interested in live people than dead ones or dead matter.
		She says that her some of her main formative influences were the 1970s fly-on-the-wall documentaries such as The Family and much of her work uses video and photographs to focus on the conflict between established behaviour and what people do on impulse.
		As it says, Wearing covered her 10 volunteers in wigs and masks and recorded their tales of theft, revenge, betrayal and sexual perversion.
	news.bbc.co.uk /1/hi/special_report/1997/turner_prize/36273.stm (403 words)

	artnet.com Magazine Reviews - Sad Scenes
		In Trauma Wearing seems to be exploiting the subject's post-traumatic experience for the sake of an artistic gesture.
		Wearing asked the drunks to go about their usual activities while being videotaped in the studio.
		Wearing's justification of her artistic practice, on the other hand, is considerably more uncertain.
	www.artnet.com /magazine/reviews/velez/velez8-5-03.asp (523 words)

	gillian wearing
		Opus Gillian Wearing obsega video-dela, projekte na televiziji in akcije v urbanem prostoru.
		Gillian Wearing was born in Birmingham, Great Britain, in 1963.
		The video presents an adult daughter who obviously found herself in a problematic situation, which cannot be univocally defined: although it seems that her mother is the main cause of her problems, the daughter seeks refuge with her mother as if these problems were not part of this relationship.
	www.glu-sg.si /veryprivate/gillianwearing.htm (618 words)

	Gillian Wearing Explores the Complexity of Human Relationships - Centro Galego de Arte Contemporánea - Absolutearts.com
		Wearing's impartial attitude makes her worthy of the respect of the characters she takes on, such as the homeless alcoholics in Drunk (2000), or the people who relive their childhood or adolescent problems in Trauma (2000).
		When Wearing works in the editing room, she manipulates the images and the texts filmed, turning sometimes to techniques such as dubbing NULL as happens in 2 into 1 (1997) or in 10-16 (1997) NULL or rewinding the image, as in Sacha and Mum.
		Wearing's work reminds us that art's role consists of fomenting our perception of reality, of calling into question what we think we know to be true, our acceptance of what is conventional, our taboos, and our way of putting the world around us into compartments.
	www.absolutearts.com /artsnews/2001/07/17/28865.html (570 words)

	Gillian Wearing (Contemporary Artists Ser.) - Gillian Wearing (Site not responding. Last check: 2007-10-31)
		Artist Gillian Wearing uses photography and video to produce a portrait of the complexities of contemporary life.
		British artist Gillian Wearing, winner of the 1997 Turner Prize, uses photography and video to produce an honest portrait of the complexities of contemporary life.
		In 1993 she began the acclaimed series 'Signs that say what you want them to say and not Signs that say what someone else wants them to say', in which random passers-by are photographed holding messages of their own choosing, such as the mild-mannered young businessman whose sign unexpectedly reads 'I'm Desperate'.
	www.biblio.com /books/2697068.html (385 words)

	PHF BELIEF \| Mass Observation
		Winner of the prestigious Turner Prize in 1997, Gillian Wearing has emerged as one of the foremost British artists of her generation, creating video installations and photographic works that explore the odd, unsettling, and eccentric aspects of everyday life.
		The ICA is presenting the first East Coast solo museum exhibition of Wearing in the United States, surveying her work from 1992 to 2002.
		Wearing's fascination with human behavior has led her to produce work that is a cross between sociological studies and documentary filmmaking, revealing the tension between the private self and public persona that people present.
	humanities.sas.upenn.edu /03-04/semmel.html (263 words)

	The Official Gillian Anderson Website - Archive - Transcripts
		Gillian: Oh, 'cause we usually shoot until the end of April or May, and it's usually around that time..
		Gillian: But when else are you going to tell these kinds of stories..
		Gillian: Okay, so I'm in, I'm in Scotland, and we're in Glasgow, or we're in some mansion and we're doing this period drama, and I've got, I've got this corset on, and I've got a hat on, and I've got this gown like this.
	www.gilliananderson.ws /transcripts/99_00/00leno.shtml (1092 words)

	Gillian Wearing — Family History
		Artist Gillian Wearing has been commissioned to create a new film installation entitled ‘Family History’ in a unique collaboration between Film and Video Umbrella and Artists in the City, Reading Borough Council with the support of Film London Artists’ Moving Image Network.
		Gillian Wearing’s film and video works combine a powerful and provocative insight into the formation of personal identity and an intimate understanding of the language of documentary film-making.
		A recipient of the Turner Prize in 1997, Wearing has exhibited in museums and galleries around the world and examples of her work can be found in many international collections.
	amin.filmlondon.org.uk /news_details.asp?NewsID=746 (345 words)

	Trevor Pateman: "The Turner Prize 1997: Gillian Wearing, Cornelia Parker, Angela Bulloch, Christine Borland"
		Wearing has choreographed their movements, and by running the stark fl and white film backwards, creates a disquieting scenario in which horseplay turns into coercion, bordering on violence' (Button 1997, unpaginated).
		But it would be fatal for Gillian Wearing to say she resorted to video because of economic constraints.
		So a direct question to Gillian Wearing is to ask whether she sees herself as producing Art or Drart.
	www.selectedworks.co.uk /turner1997.html (4127 words)

	Umelec international
		Call Gillian...“ The authentic character of the confessions is intensified by cliche that may be easily overlooked and that Wearing took over from documentaries.
		Gillian Wearing’s critical anthropology wreathes fibers of power relations that set the individual’s position in the society.
		Gillian Wearing does not only document their stories, she tries to intensify them by all accessible means to break into our disability to hear others and particularly ourselves.
	www.divus.cz /umelec/en/pages/umelec.php?id=656&roc=1998&cis=3 (898 words)

	ArtandCulture Artist: Gillian Wearing (Site not responding. Last check: 2007-10-31)
		Fusing humanist concepts, shrewd observation, social commentary, and rather simple filming techniques, London-based artist Gillian Wearing unmasks the human condition in her clever but acutely poignant photographs and single-channel videos.
		As Wearing reflects, "Above all, I really love people who go through life without compromise and stick to their character, even if it means they remain unemployed, or they don't have any friends or relationships...We all have a certain madness about us and these people don't mind showing it.
		Leo Edelstein chats with Gillian Wearing about diverse topics, like her move from Birmingham to London and the everyday subjects and portraitlike style of her work.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?id=821 (487 words)

	Gilliam Wearing
		Wearing explains: “I was interested in the idea of being genetically connected to someone but being very different.
		Gillian Wearing is known for her photographs and videos that explore human relationships and social behavior – private, public, and personal.
		The elaborate disguises the artist wears, when combined with the snapshot “realism” of the original images on which they are based, create an eerie fascination that serves to reveal aspects of her identity rather than conceal it.
	www.albrightknox.org /acquisitions/acq_2004/Wearing.html (512 words)

	Guardian Unlimited Arts \| Arts features \| The case against Gillian Wearing's G2 cover
		It is also cruelly nasty about complacent figures and fixers in the trendy art establishment, such as Gillian Wearing, in the same way that the television programmes implicitly criticised in her cover encourage what is for me unwatchable nastiness between their contestants.
		Gillian Wearing is a Turner prize-winner, the recipient of major shows at major public galleries and of at least two National Touring Exhibitions.
		As far as the cover's peripheral design is concerned, it occurs to me that Wearing is a typical "Young British Artist": she can't even colour in.
	arts.guardian.co.uk /features/story/0,11710,870667,00.html (657 words)

	To California
		Costumes: Dana and Gillian are wearing typical teenage dress for spring in a Midwest state.
		Fox is wearing jeans, a T-shirt and sneakers.
		Costumes:B.J. is wearing a bathrobe and Gillian is wearing the same thing she was in the last scene.
	members.tripod.com /~JSC2/storyfile4/story158 (1584 words)

	Artists in the City: Projects: Gillian Wearing
		Heather Wilkins, the youngest daughter from the family - with whom Wearing identified at the time as a kind of surrogate older sister - is interviewed in a chat-show setting by Trisha Goddard, a familiar face on day-time TV.
		In a mock-up of her front room in 1970s Birmingham, a young Wearing lookalike watches ‘The Family’, surrounded by the detritus of the era.
		Gillian Wearing’s film and video works combine powerful and provocative insights into the nature of personal identity and an intimate understanding of the language of documentary filmmaking.
	www.artistsinthecity.org.uk /reading/projects/details.asp?proj_id=39 (311 words)

	GILLIAN WEARING (Site not responding. Last check: 2007-10-31)
		The ICA is presenting the first East Coast solo museum exhibition of Gillian Wearing in the United States and Strange Messenger: The Work of Patti Smith will include more than 50 works on paper.
		The complexity of human relationships is one of the central themes of Gillian Wearing's work.
		This British artist, born in Birmingham in 1963 and winner of the prestigious Turner Prize in 1997, draws her inspiration from the formats of television documentaries and popular confession-type programmes, turning to photography and the use of video to explore the most intimate aspects of our relationship with others and with our own self.
	www.undo.net /artinpress/artist/GILLIAN_WEARING.html (1113 words)

	Guggenheim Collection - Photography - - Self-Portrait at Three Years Old
		Wearing has employed various kinds of masks—from literal disguises to voice dubbing—to conceal the physical identities of her subjects and allow them to reveal their innermost secrets.
		Often this has entailed surprising leaps in age: In one video, adult actors lip-synch the audio-recorded confessions of adolescents; in another, adults wearing plastic masks of generic children divulge traumatic experiences from their youths.
		Confronting the viewer with her adult gaze through the eyeholes of the toddler’s mask, Wearing plays on the rift between interior and exterior and raises a multitude of provocative questions about identity, memory, and the veracity of the photographic medium.
	www.guggenheimcollection.org /site/medium_work_md_Photography_230_1.html (232 words)

	Gillian Wearing
		Wearing: I first wanted to do the piece because I saw a woman in the Royal Festival Hall and she was dancing to a jazz band and I was more fascinated by her than the jazz band!
		Wearing: I think it was more looking at people in general, and I wanted to somehow do things with them.
		Wearing: I'm a very forward looking person, but what interests me is the idea of what happens to your life.
	www.jca-online.com /wearing.html (1282 words)

	Penn Humanities Forum on Belief
		Call Gillian (1994), Wearing films the confessions of ten masked people who have responded to her ad in the personal section of the newspaper.
		In her video Dancing in Peckham (1994), on the other hand, Wearing renounces the exploitive position of the artist, instead assuming the discomfiting vulnerability of the observed as she dances in public to sound that only she hears in her head, oblivious to the reactions of those around her.
		Wearing’s work, Semmel concludes, unsettles the foundational assumptions of Mass Observation: that there exists not only a simple relationship between observer and masses, but also, more importantly, the possibility of a spontaneous, unorganized act of mass observation.
	humanities.sas.upenn.edu /03-04/summaries/summary_semmel.html (447 words)

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