Regione Lazio Award (Torino, 1981) Turner Prize (1986) Special International Award (Los Angeles, 1989) South Bank Award (2007) Lorenzo il Magnifico Award (Florence, 2007)
Gilbert Prousch,[1][2] sometimes referred to as Gilbert Proesch[3][4][5] (born 17 September 1943), and George Passmore (born 8 January 1942) are artists who work together as the collaborative art duo Gilbert & George. They are known for their formal appearance and manner in performance art, and for their brightly coloured graphic-style photo-based artworks. In 2017 the pair celebrated their 50th anniversary as collaborators.[6] In April 2023 Gilbert & George opened the Gilbert & George Centre in Heneage Street, London E1, to showcase their work in regular exhibitions.[7]
George Passmore was born in Plymouth in the United Kingdom, to a single mother in a low-income household. He dropped out of regular school by the time he was fifteen years old and studied art at Dartington College of Arts and then Oxford School of Art.[9]
The two first met on 25 September 1967 while studying sculpture at Saint Martin's School of Art. The two claim they came together because George was the only person who could understand Gilbert's rather poor English. In a 2002 interview with The Daily Telegraph, they said of their meeting: "it was love at first sight".[10] They married in 2008.[8] They are often seen together on walks through East London.[11]
Since 1968, Gilbert & George have been residents of Fournier Street, Spitalfields, East London. They live in an 18th-century house that has been restored to its original decor.[12] Their entire body of work has been created in, and focused on, London's East End, which they see as a microcosm. According to George, "Nothing happens in the world that doesn't happen in the East End."[8]
Work
Gilbert and George claim that their approach to art has always been anti-elitist. Adopting the slogan 'Art for All', they aimed to be relevant beyond the narrow confines of the art world. Although they work in a variety of media, they have always referred to all of their works as "sculpture".[citation needed]
Between 1970 and 1974 they made drawings (referred to as 'Charcoal on Paper Sculptures') and paintings to give a more tangible form to their identity as 'living sculptures'.[13][14]
One of their first notable works of art was a photographic self-portrait of them wearing their trademark suits. George the Cunt and Gilbert the Shit was so titled to forestall criticism.[15]
Singing and living sculptures
Whilst still students, Gilbert & George made The Singing Sculpture, which was performed at the National Jazz and Blues Festival in 1969 and at the Nigel Greenwood Gallery in 1970.[16] For this performance they covered their heads and hands in multi-coloured metalised powders, stood on a table, and sang along and moved to a recording of Flanagan and Allen's song "Underneath the Arches", sometimes for a day at a time.[17] The suits they wore for this became a uniform for them. They rarely appear in public without wearing them.
It is also unusual for one of the pair to be seen without the other. The pair regard themselves as "living sculptures". They refuse to dissociate their art from their everyday lives, insisting that everything they do is art. They were listed as among the fifty best-dressed over-50s by The Guardian in March 2013.[18]
The pair are known for their large scale photo works, known as The Pictures. The early work in this style is in black and white, later with hand-painted red and yellow touches. They proceeded to use a range of bolder colours, sometimes backlit, and overlaid with black grids. Their work has addressed a wide variety of subject matter including religion and patriotism. The two artists also often appear in their own "pictures".[19] They have described their "pictures" as a sort of "visual love letter from us to the viewer".[20]
In 1986, Gilbert & George were criticised for a series of pictures seemingly glamourising 'rough types' of London's East End such as skinheads, while a picture of an Asian man bore the title "Paki". Some of their work has attracted media attention because of the inclusion of (potentially) shocking imagery, such as nudity, depictions of sexual acts, and bodily fluids (faeces, urine and semen). The titles of these works, such as Naked Shit Pictures (1994) and Sonofagod Pictures (2005), also contributed to the attention.
The pair starred in a Documentary series in 1997 for LWT. It went on to win the BAFTA Award for the best documentary series.[21][22] A book, The Complete Pictures, 1971–2005, published in 2007 by Tate Modern, includes over a thousand examples of their art.[23]
In May 2007, Gilbert & George were the subject of the BBC documentary Imagine, presented by Alan Yentob. At the end of the programme a picture entitled 'Planed' was made available as a free file download from the BBC and The Guardian websites for 48 hours. People who downloaded the files could then print and assemble the piece, and thus own an original Gilbert and George picture for free.[24]
Jack Freak Pictures
Jack Freak Pictures is, to date, the largest series of work created by Gilbert & George. According to Michael Bracewell "the Jack Freak Pictures are among the most iconic, philosophically astute and visually violent works that Gilbert & George have ever created." The Union Jack and Gilbert & George are the two dominant pictorial images – appearing contorted, abstracted, and sometimes complete. The entire series is set in the East End of London indicated by flags, maps, street signs, graffiti and other less obvious motifs such as brickwork and foliage that can be found there.
During lockdown amid the COVID-19 pandemic, Gilbert & George started an online video diary, posting weekly updates on life in their newly limited circumstances. The bulletins, often short films, were a continuation of their usual creative habit of documenting social change.[26]
Awards and honours
Gilbert & George have received acclaim with extensive solo exhibitions in the UK, USA, France, the Netherlands, Switzerland, Germany, Spain, Austria, Denmark, Finland, Russia and China; numerous Honorary Doctorates from academic institutions including Plymouth University; and awards such as the Special International Award, the South Bank Award and the Lorenzo il Magnifico Award. In 1986 they won the Turner Prize which is widely considered to be the UK's most prestigious contemporary art award. In 2005 they represented the UK at the Venice Biennale.[27]
In 2017, Gilbert & George were elected to the Royal Academy of Arts; in 2020, however, they resigned from the academy in reaction to a decision not to go ahead with an exhibition they had been planning to stage in its galleries.[26]
Gilbert & George claim to be an oddity in the artistic world because of their openly conservative political views and their praise for Margaret Thatcher. George claims never to have been anti-establishment: "You're not allowed to be Conservative in the art world, of course," he says. "Left equals good. Art equals Left. Pop stars and artists are meant to be so original. So how come everyone has the same opinion? ... We admire Margaret Thatcher greatly. She did a lot for art. Socialism wants everyone to be equal. We want to be different."[8] Both are supportive of Brexit and the Conservative Party.[35] The duo are monarchists and have said of the King, at the time Prince of Wales: "We're also fond of the Prince of Wales: he's a gentleman."[8] In a Guardian interview, they said that they opposed the removal of statues after the George Floyd protests, saying that "they're part of the city" and that their removal is "shameful".[36]
Influence and legacy
Gilbert & George inspired two characters, Man Green and Man Yellow, Chief Constables of the Science Gestapo, in Grant Morrison's comicbook series The Filth. The two characters appear in pastiches of Gilbert & George's artwork, with the separate sections of the imagery acting as individual comic book panels. The look that electronic music band Kraftwerk adopted between 1974 and 1978, with men in suits wearing ties, was partly inspired by Gilbert & George: musicians Florian Schneider and Ralf Hütter had seen an exhibition of the artists in Düsseldorf in 1970 and were inspired by the idea of "bringing art into everyday life".[37]Vic Reeves has explained to The Independent that Vic Reeves Big Night Out was initially thought of as "performance art, like Gilbert and George's singing sculpture".[38]David Bowie was a collector of the artists' work.[39]
On 1 April 2023, the Gilbert & George Centre was inaugurated on Heneage Street (near Aldgate East station). It features 3 gallery spaces[40] in a building redesigned in 2017 by SIRS Architects with sustainability in mind.[41] When speaking to Tabish Khan, writing for Artsy, a spokesperson for the centre stated: “After the deaths of Gilbert & George, it is intended that the properties in Fournier Street occupied by them, which contain their archives will become a place of scholarship and research into the art of Gilbert & George".[42]
^"Ćiasa Nadè. – SMACH". 27 September 2013. Archived from the original on 27 September 2013.{{cite web}}: CS1 maint: bot: original URL status unknown (link)
^Cartner-Morley, Jess; Mirren, Helen; Huffington, Arianna; Amos, Valerie (28 March 2013). "The 50 best-dressed over 50s". The Guardian. London.
^Greig, Georgie (11 May 2009). "Jesus and an Unholy Union Flag". Evening Standard. Archived from the original on 17 October 2009. Retrieved 25 April 2021. In their new show they stir up debate over religion and patriotism.
Baudino, Isabelle; Gautheron, Marie, eds. (2005), Gilbert & George, E1, Lyon: ENS Editions (to accompany an exhibition at the Musée d'art moderne de Saint-Etienne, parallel French and English texts)
Dutt, Robin (2004), Gilbert & George: obsessions & compulsions. London: Philip Wilson Publishers ISBN0-85667-570-9
Farson, Daniel (1999), Gilbert & George: a Portrait, London: HarperCollins
Farson, Daniel (1991), With Gilbert & George in Moscow, London: Bloomsbury
