Gillian Wearing CBE
born 1963
© Gillian Wearing, courtesy Maureen Paley/ Interim Art, London
License this image
© Gillian Wearing, courtesy Maureen Paley/ Interim Art, London
License this image
In Tate Britain
Walk Through British Art: 60 years
Free entryBiography
Gillian Wearing CBE, RA (born 1963) is an English conceptual artist, one of the Young British Artists, and winner of the 1997 Turner Prize. In 2007 Wearing was elected as lifetime member of the Royal Academy of Arts in London. Her statue of the suffragist Millicent Fawcett stands in London's Parliament Square.
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Read full Wikipedia entryArtworks
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Gillian Wearing CBE ‘I’m desperate’
1992–3 -
Gillian Wearing CBE ‘Everything is connected in life...’
1992–3 -
Gillian Wearing CBE Self Portrait as My Sister Jane Wearing
2003 -
Gillian Wearing CBE ‘I signed on and they would not give me nothing’
1992–3 -
Gillian Wearing CBE Confess All On Video. Don’t Worry You Will Be in Disguise. Intrigued? Call Gillian Version II
1994 -
Gillian Wearing CBE Self Portrait as My Brother Richard Wearing
2003 -
Gillian Wearing CBE The Garden
1997 -
Gillian Wearing CBE ‘I like to be in the country’
1992–3
Artist as subject
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Gillian Wearing CBE The Garden
1997
Features
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Art Term
Relational aesthetics
Term created by curator Nicholas Bourriaud in the 1990s to describe the tendency to make art based on, or inspired … -
Art Term
Young British Artists (YBAs)
The label Young British Artists (YBAs) is applied to a loose group of British artists who began to exhibit together … -
Art Term
Video art
Art that involves the use of video and /or audio data and relies on moving pictures -
Tate Etc
The luminous view: Recent Artists's Film and Video in Britain 2008-13
Tate Britain is staging an ambitious survey of artists' film and video which reflects the extraordinary blossoming and diversity of … -
Tate Etc
Tate Etc. issue 12: Spring 2008
TATE ETC Issue 12 Spring 2008: Visiting and revisiting Art, etcetera, online edition of Tate's magazine -
Tate Etc
The aesthetics of documentary
‘Documentary is intrinsically aesthetic,’ argues Mark Cousins, ‘it is as much about shots and cuts, structure and rhythm as fiction …
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