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Liam Gillick
Liam Gillick (born 1964) is a British artist. In the 1990s he was one of the informal Young British Artists group; like many of them, he took a degree in fine art from Goldsmiths' College, in London. He was among the artists included in the Traffic exhibition at the Musée d'art contemporain de Bordeaux in Bordeaux in 1996, where Nicolas Bourriaud's concept of relationality was first proposed. Gillick lives in New York.
Liam Gillick graduated from Goldsmiths College in 1987 with a degree in fine art. In 1989 he mounted his first solo gallery exhibition, 84 Diagrams, through Karsten Schubert in London. Gillick 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.[citation needed]
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. The company produced limited editions by artists including Jeremy Deller and Anya Gallaccio.
In the early 1990s Gillick was a member of the band Soho and is credited with providing samples during their live performances.[citation needed]
Together with Damien Hirst, Sarah Lucas, Angela Bulloch and Henry Bond, he was "the earliest of the YBAs" – the Young British Artists who dominated British art during the 1990s.
Gillick was included in the 1996 exhibition Traffic, curated by Nicholas Bourriaud, which first introduced the term Relational Aesthetics.
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.
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'."
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Liam Gillick
Liam Gillick (born 1964) is a British artist. In the 1990s he was one of the informal Young British Artists group; like many of them, he took a degree in fine art from Goldsmiths' College, in London. He was among the artists included in the Traffic exhibition at the Musée d'art contemporain de Bordeaux in Bordeaux in 1996, where Nicolas Bourriaud's concept of relationality was first proposed. Gillick lives in New York.
Liam Gillick graduated from Goldsmiths College in 1987 with a degree in fine art. In 1989 he mounted his first solo gallery exhibition, 84 Diagrams, through Karsten Schubert in London. Gillick 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.[citation needed]
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. The company produced limited editions by artists including Jeremy Deller and Anya Gallaccio.
In the early 1990s Gillick was a member of the band Soho and is credited with providing samples during their live performances.[citation needed]
Together with Damien Hirst, Sarah Lucas, Angela Bulloch and Henry Bond, he was "the earliest of the YBAs" – the Young British Artists who dominated British art during the 1990s.
Gillick was included in the 1996 exhibition Traffic, curated by Nicholas Bourriaud, which first introduced the term Relational Aesthetics.
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.
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'."