Collecting documentation of Liam Gillick’s (born 1964) artworks, graphics, films and exhibitions since 2008, this substantial volume also features an extensive body of writings by the British-born, New York–based artist, who has also been a prolific theorist of contemporary art. Rising to prominence with his inclusion in the 1996 exhibition Traffic, which introduced the concept of relational aesthetics, Gillick has since worked at the forefront of conceptual art by interrogating both the social forces of economics and technology and the attempts by artists to engage with these processes, notably through his visual commentary on American minimalism and its absorption by corporate architecture. With 530 color illustrations, the book is an ample survey of Gillick’s recent work, offering a fresh insight into his oeuvre.
Published by JRP|Ringier. Edited by Yves Aupetitallot, Tom Eccles. Text by Yves Aupetitallot, Tom Eccles, Paul O'Neill, Jörn Schafaf, et al.
This publication is a selected survey of British-born, New York-based artist Liam Gillick's groundbreaking projects, installations, methods and practices, which since the 1990s have challenged the orthodox presentation and reception of art. Considering the relationship between the artist, the institution and the audience to be mutually codependent in the creation of meaning, Gillick has created situations in which the outcome was incomplete, questioning the expanded role of the exhibition visitor. From Nineteen Ninety "A" to Nineteen Ninety "D" includes the artist's original texts from the 1990s, new essays by Yves Aupetitallot, Tom Eccles, Paul O'Neill and Jörn Schafaff, and contributions from the many collaborative partners and students who restaged his work in exhibitions at CCS Bard, Hessel Museum, Annandale-on-Hudson (2013) and the École du Magasin, Grenoble, in 2014.
Published by Verlag für moderne Kunst. Edited by Robert Eikmeyer.
An audio portrait of British artist Liam Gillick (born 1964), An Idea Just Out of Reach was recorded at the Hamburger Bahnhof in Berlin in February 2009, and records his thoughts on everything from his own work to larger matters of contemporary art. As a talker and an interlocutor, Gillick proved to be quick-witted and always open to new perspectives.
Liam Gillick’s designs for conference rooms, corridors and offices solidify the artist’s sustained interest in negotiating the middle-ground between corporate culture and contemporary art. This illustrated reader contains an essay by Gillick on the dissolution of the public/private dichotomy within the grey zone of semi-public/semi-private spheres.
Published by JRP|Ringier. Essay by Lilian Haberer.
This new monograph, the first in 10 years to bring together a truly substantial body of Gillick's work, takes as its focus the artist's projects of the last five years, proposing a new reading of his oeuvre. It draws attention to the rigor of the thinking developed in both his sculptural work and his writings, as well as to his sharp visual sense of the structural and formal properties of his materials. Gillick appeared on the scene at the beginning of the 1990s, right in the middle of the YBA phenomenon, and has since had wide exposure in exhibitions like Documenta, Manifesta and the Venice Biennale, and in being nominated for the 2002 Turner prize.
Published by JRP|Ringier. Edited by Lionel Bovier.
No less versatile in his writing than in his installations, films, architecture and sculpture, Liam Gillick unites his critical essays in this collection, most of which were originally printed in art magazines or exhibition catalogues. Lauded for his ingenious reinterpretation of Conceptual and Minimalist art, Liam Gillick has often used language, whether in type on a wall or on a page, as a site of artistic, theoretical and political intervention. He reveals himself here as a witness of and major actor in the largely European 1990s art scene that included Philippe Parreno, Pierre Huyghe, Carsten Höller, Angela Bulloch, Douglas Gordon and Rirkrit Tiravanija. A key publication of discussions, references, and artistic engagements of the 1990s, the book also allows an examination of the renewed importance at this time of Felix Gonzalez-Torres, John Baldessari and Allen Ruppersberg.