Goldsmiths College, 1987
About The Artist
British-born and New York City-based artist Liam Gillick has developed a complex body of work in a wide range of media including sculpture, writing, architectural and graphic design, and film.
His work evaluates the aesthetic forms that have evolved from our social organizations and as such, he also tends to engage in rethinking the constructs of art exhibitions. Because of this, Gillick is often associated with the mid-nineties term Relational Art, which takes the form of contextual production from human relationships.
Gillick graduated from Goldsmiths College in 1987 and is considered one of the earliest of the YBAs–the Young British Artists–that came to prominence in the 1990s. In 2009, he represented Germany in the Venice Biennale, and he has had solo museum exhibitions at the Museum of Contemporary Art in Chicago, the Museum of Modern Art in New York and the Tate in London. Gillick’s work is in many important public collections including the Centre Pompidou in Paris, the Guggenheim Museum in New York and Bilbao and the Museum of Modern Art in New York. He’s also created major public commissions for the British Government Interior Ministry building in London and the Lufthansa Headquarters in Frankfurt.
During his career, Gillick has also been a prolific writer and critic of contemporary art in publications such as Artforum, October, Frieze and e-flux Journal. He is the author of a number of books including a volume of his selected critical writing, and he’s currently completing a book on the genealogy of the contemporary artist titled Industry and Intelligence: Contemporary Art Since 1820 for Columbia University Press.
Gillick has also produced a number of short films since the late 2000s of the subject of the creative persona in contemporary art. He is represented by Casey Kaplan Gallery in New York City, Maureen Paley in London, Air de Paris in Paris, Eva Presenhuber in Zurich, and Meyer Kainer in Vienna.
Casey Kaplan Gallery, New York
Maureen Paley, London
Select Permanent Collections
The Albright Knox Museum, Buffalo, New York
Arts Council Collection, London, UK
Baltimore Museum of Art, Baltimore, Maryland
British Council Collection, London, UK
Centre Georges Pompidou, Paris, France
Essl Museum of Contemporary Art, Vienna, Austria
FER Collection, Laupheim, Germany
Fondazione Sandretto Re Rebaudengo, Torino, Italy
Fonds Régional d’Art Contemporain (FRAC), France
Le Fonds National d’Art Contemporain (FNAC), France
Foundation Centro de Arte de Salamanca, Salamanca, Spain
Fundación Jumex, Ecatepec, Mexico
The Hirshhorn Museum and Sculpture Garden, Washington D.C.
Lenbachhaus Museum, Munich, Germany
Moderna Museet, Stockholm, Sweden
Musée des Beaux Arts et d’archéologie, Besançon, France
Museum der Angewandten Kunst (MAK), Vienna, Austria
The Museum of Contemporary Art, Chicago, Ilinois
The Museum of Modern Art, New York, New York
Museum Sztuki, Lodz, Poland
The Solomon R. Guggenheim Museum, New York, New York
Tate Modern, London
Guggenheim Museum, Bilbao
Now you could study Shakespeare and be quite elite
And you can charm the critics and have nothin’ to eat
Just slip on a banana peel
The world’s at your feet
”Make ‘em Laugh,” Singin’ in the Rain (1952)
February 8, 2016
Liam Gillick, Phantom Structures Casey Kaplan (121 West 27th Street, New York, NY) February 11 – March 19, 2016 Opening: Thursday, February 11, 6-8pm
November 10, 2015
Liam Gillick, Immanent Critique, 2015.
October 7, 2015
LIAM GILLICK The Thought Style Meets the Thought Collective October 12 – November 22, 2015 From Wallpaper: Disruptive art: Liam Gillick explores collective tensions at Maureen Paley, by Emma Hopkinson
September 25, 2015
This is the first in a series of letters Liam Gillick will write as his contribution for the 6th Moscow Biennale. Originally published on the Moscow Biennale website: As the ghost of the Moscow Biennial Liam Gillick will be present from afar. His contribution may become perceivable as a response to a keynote, or via other channels … Continue reading Liam Gillick’s ‘Letter from Moscow’, September 21