Liam Gillick, And a mirror... Or a mirror..., 2016
Kerlin Gallery, Dublin
Liam Gillick, Factories in the Snow (Anywhere Anywhere Out of the World), 2007-2013
Private Collection, Paris
Contemporary Art Since 1820
Columbia University Press, New York.
Liam Gillick writes the holistic genealogy of contemporary art that we need to appreciate its engagement with history, even when it seems apathetic or blind to current events. Rather than focus on dominant works or special cases, Gillick takes a broad view of artistic creation from 1820 to today, underscoring the industry and intelligence of artists as they have responded to incremental developments in science, politics, and technology. The great innovations and dislocations of the nineteenth and twentieth centuries have their place in this timeline, but their traces are alternately amplified and diminished as Gillick moves through artistic reactions to liberalism, mass manufacturing, psychology, nuclear physics, automobiles, and a host of other advances. He intimately ties the origins of contemporary art to the social and technological adjustments of modern life, which artists struggled to incorporate truthfully into their works.
50 b&w illustrations
Hardcover & ebook
Chrome powder coated aluminum, white opaque Plexiglas
230 x 80 x 20cm
Casey Kaplan, New York
The Thought Style Meets the Thought Collective
12 October - 22 November 2015
Maureen Paley, London
1 Rue Gabriel Tarde, Sarlat-la-Caneda, Dordogne
Galerie Micheline Szwajcer, Brussels, 2015
Hydrodynamica Applied, 2015
Collection Istanbul Modern
“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 Gillick’s work within exhibitions at CCS Bard, Hessel Museum, Annandale-on-Hudson (2013) and the École du Magasin, Grenoble (2014).
Published with Le Magasin CNAC, Grenoble; CCS Bard/Hessel Museum of Art, Annandale-on-Hudson; and the support of Esther Schipper, Berlin.
Hardcover, 190 x 240 mm
Images 200 color