Artist Post 9: Jean Pierre Khazem

Jean Pierre Khazem

Jean Pierre Khazem is a French photographer and performance artist who was born in1968 in Paris, France.   Khazem has published work in many fashion magazines and has photographed for various advertising campaigns.  Khazem has incorporated photography, video work, and performance art into his work for years.  Khazem began displaying his work in exhibitions in 1998.

*I could not find information on his personal life, or schooling.

Khazem photography includes the use of still life and models.  When utilizing models Khazem photographs incorporate the usage of full head masks on his models capturing an unnatural surprising vision.  In 2005, Khazem’s exhibit, “Ladies in Waiting,” at the Chelsea’s Sperone Westwater Gallery consisted of images of models portraying American First Ladies.  Khazem created realistic masks of silicone then obtained the right wig and attire for a model to pose as a First Lady.  Betty Ford, Rosalyn Carter, Nancy Reagan, Barbara Bush, and Pat Nixon were all subjects for Khazem’s photographs in the show.  Khazem stated in regards to the First Ladies, “They are like the mothers of the American people, kind of … my interest in them is only as historical figures.” Props and performance play important roles in Khazem’s photographs.  However, in Khazem’s photographs of the “Ladies in Waiting,” they stand on their own as documentation of a performance. Another well known piece of Khazem’s was his live Mona Lisa (2003), this performance piece featured a nude model wearing a realistic mask of the woman in the famous Da Vinci “Mona Lisa,” standing under a stream of light.  This piece received heaps of attention due to the preciseness of how well the Khazem’s mask, wig, and models posture matched to Da Vinci’s “Mona Lisa.”

Khazem’s models are always performers; the photographs capture their performance.  Khazem stated, “I used masks because I couldn’t bear the acting of models, the way they always pull the same faces, the pout, the glare, and so on. When people put on the masks, they forget their egos. With the mask, the quality of the human comes out.”

I am interested in Khazem’s work, the way his models (figures) appear so stiff and emotionless.  Khazem’s photographs also suggest this playful touch, which is what I am now trying to aim for in my work. 

Book: Photo art: photography in the 21^st century, 2007, New York, Aperture

Most recent exhibition: 2008 Teleport Fargfabriken- Fargfabriken Norr, Ostersund

http://www.fargfabriken.se/index.php?tabell=content&id=36

Interview: I could not find one.

Jean- Pierre Khazem, Untitled V14, 1999

30.5 cm x 40.5 cm, Lambda on Crystal Archive

Jean- Pierre Khazem, Briquet, 1999

30.2 cm x 40.5 cm, Lambda on Crystal Archive

Jean- Pierre Khazem, Broadway, 1999

40.7 cm x 30.5 cm, Lambda on Crystal Archive

Jean- Pierre Khazem, Mona Lisa 2, 2003

47.2 in x 32.5 in, C- Print

Jean- Pierre Khazem, Omaha beach 2, 1998

55.9 in x 40.2 in, Color Photograph

Jean- Pierre Khazem, First Ladies: Rosalyn, 2004

62 x 47 7/8 in., C-Print on Fuji Flex Paper

Works Cited

Jean Pierre Khazem biography. Blank England.  30 October 2010. <http://blankofengland.com/Jean_Pierre_Khazem/Jean_Pierre_Khazem_Biography.html>.

<http://faceculture.blogspot.com/2010/03/jean-pierre-khazem.html>.  

Jean-Pierre Khazem: First Ladies. The Gross- Michael Foundation.  8 July 2006. 30 October 2010. <http://www.artinfo.com/galleryguide/exhibition/12247/737/94028/jean-pierre-khazem-first-ladies/>.

Shields, Kathryn. Jean-Pierre Khazem: First Ladies Gross Gallery.  29 October 2010. <http://www.artlies.org/article.php?id=1415&issue=52&s=1>.

Sperone Westwater: artists.  Jean-Pierre Khazem: works.  30 October 2010.

<http://www.speronewestwater.com/cgi-bin/iowa/artists/related.html?record=119&info=works>.

Idea 9: Superimpose

Superimpose

tr.v. su·per·im·posed, su·per·im·pos·ing, su·per·im·pos·es

1. To lay or place (something) on or over something else.

2. To add as a distinct feature, element, or quality: superimposed her own interpretation when she retold the story

: to place or lay over or above something <superimposed

For my project I have been superimposing objects to make specific scenarios.  To superimpose is to place or layer something over something else, relating to photography specifically, would be placing an image on top of an already existing image to change the overall effect.  Recently I have been wondering if I should try layering more images or objects over or (in) my pictures to make them more dynamic.  After looking at Tierney Gearon’s double exposed work, I have become interested in the idea of possibly adding more layers to my over all image.  By adding a semi- transparent layer of me posing and acting out current reoccurring situations, then placing it over a similar scene in the doll like setting could possibly make my work more dynamic.  

Lipstick and Rouge Submission

Artist Post 8: Tierney Gearon

Tierney Gearon

Tierney Gearon was born in 1963, in Atlanta, Georgia and is an American photographer.  Gearon never attended art school but began her career as a ballet dancer and model, and was shortly discovered by an agent in Paris for taking impressive photos of her fellow models.  Later Gearon became a fashion photographer, taking photos for the influential fashion houses and producing work for Times Square Ads.  After five years of working as a fashion photographer, Gearon married a Frenchman and had two children.  When Gearon and her husband divorced Gearon started a very personal project (I am a Camera), which documented her family. 

In 2001, Gearon’s exhibit, I Am a Camera, was at the Saatchi Gallery and consisted of large blown up photographs of Gearon’s two children.  There were many complaints about the nude photographs of Gearon’s children and London police eventually demanded that the work be removed. Gearon said in reference to her work at the Saatchi Gallery being criticized, “I think that the pictures are incredibly innocent and totally unsexual. I don't crop them, I don't retouch, and the shots are never staged. I might introduce an element, like a mask, to a given situation, but I would never insist that the child put it on.” (Gearon- Guardian)

Gearon takes photos of her children during everyday life and according to Gearon in reference to her work, “It’s not a business for me. My work is like a diary. I do it for my soul.”

Tierney Gearon in her series Explosure, created beautiful prints by layering double exposures. Gearon said, “Two boring images suddenly become more interesting than a regular photograph.”  (West) Gearon in this series often combined themes that contradict each other, combining indoor images with outdoor images and youth with elderly.  Gearon’s grouping with the photographs is fascinating and makes you study the work longer to discover where one picture begins and where the other picture ends. Gearon’s Explosure work fascinates me because there are so many layers to each photograph making them busy yet playful. I am interested in Gearon’s work and feel that it may be beneficial for my work to make it more playful.

In 2006, The Mother Project, a personal project of Gearon’s was the subject of a documentary film by directors Jack Youngelson and Peter Sutherland.  Gearon now has four children and is working on a series of children’s book, as well as working on a variety of different campaigns.  Gearon currently lives and works in Los Angeles.  (20x200)

Tierney Gearon’s daughter said in reference to photographs, “You can have pictures for ages and ages and you’ll always remember, that’s what pictures are, there memories.”

Interview: I couldn’t find an interview with Tierney Gearon however I found this youtube video of her and her children talking in reference to “The Mother Project” (film). http://www.youtube.com/watch?v=TWCBvuQpjIU

Book: Daddy, Where are You? By Tierney Gearon Publisher Steidl, Gerhard Druckerei und Verlag, published October 2006.

Most recent exhibition: Explosure, Philips de Pury & Company, 2008/ ace Beverly Hills, 2009.

Tierney Gearon, Explosure

Untitled, Frame 18, 2008 Archival Print 42 x 53in. 

Tierney Gearon, Explosure

Untitled, Frame 50, 2008 Archival Print 42 x 53 in. 

Tierney Gearon, Explosure

Untitled, Frame 12, 2008 Archival Print 42 x 53 in.

Tierney Gearon, I am a Camera

Untitled, Archival Print,

 (print size can't find, however i know she prints on a large scale)

Tierney Gearon, The Mother Project 

Untitled, Archival Print?

 (print size can't find, however i know she prints on a large scale)

I added the photograph below to show how she plays with different scales.

Tierney Gearon, (for an fashion ad)

Untitled, unknown

Works Cited

Gearon, Tierney.  The Guardian. 13 March 2001. 24 October 2010. <http://www.guardian.co.uk/society/2001/mar/13/childprotection>.

Tierney Gearon Bio. <http://www.tierneygearon.com/bio/>.

West, Naomi.  Tierney Gearon: double exposure.  2 January 2009.  24 October 2010. <http://www.telegraph.co.uk/culture/photography/4014998/Tierney-Gearon-double-exposure.html>.

Tierney Gearon. Wikipedia. 7 August 2010. 24 October 2010. <http://en.wikipedia.org/wiki/Tierney_Gearon>. 

Tierney Gearon. 20x200: It's Art for Everyone. 24 October 2010. <http://www.20x200.com/artists/tierney-gearon.html>.

you tube:  http://www.youtube.com/watch?v=TWCBvuQpjIU

Idea 8: Dolls

Dolls

The definition of doll is:

–noun

1. a small figure representing a baby or other human being, esp. for use as a child's toy.

2. Slang. a. a pretty but expressionless or unintelligent woman.

b. a girl or woman, esp. one who is considered attractive.

c. a boy or man who is considered attractive.

d. (sometimes initial capital letter ) an affectionate or familiar term of address (sometimes offensive when used to strangers, casual acquaintances, subordinates, etc., esp. by a male to a female).

3. Informal. a generous or helpful person: You're a doll for lending me your car.

Dolls represent human beings.  Archaeological digs have found remnants of dolls showing that dolls have existed since the beginning of mankind. Most recently in my work, I have become interested in making the figures (me) in my photographs give the impression of being a doll. Because I am working in a small scale setting (doll house) I figured it would be most interesting if I became visible as a doll with in the doll house.  I am attracted to dolls because of their stillness and how peaceful they appear. Most dolls are designed as toys.  Children play with dolls stimulating their imagination and role playing allowing them the freedom to create their own unique stories. Dolls began as toys but were often also used in religious ceremonies, as well as in folk art cultures.  Today many dolls can be acknowledged as art.

Works Cited

Dictionary.com 20 October 2010. <http://dictionary.reference.com/browse/doll>.

Wikipedia. Doll. 20 October 2010.  18 October 2010. <http://en.wikipedia.org/wiki/Doll>. 

Artist Post 7: Ruud Van Empel

Ruud Van Empel

Ruud Van Empel born in 1958, in Breda, The Netherlands graduated in 1981, from his hometown school, the Academy of Fine Arts St. Joost.  Empel began his career as a designer but focused mostly on film and photography.  Empel takes and collects pictures of models, leaves, flowers, plants, etc putting them in a database.  Empel when editing his photographs (mostly in Photoshop) uses these images that he collects to produce superior collage encouraged photos.  According to Empel in reference to his work “Coincidence is very important in making collages, I photograph all kinds of things, just following my fascinations, later these photo’s happen to come together in one collage. Sometimes it takes years for a photo to get into my collages, lots of photo’s I take never get in.”  (Interview)

Empel describing his work states, "I use one model's forehead, then another one's nose, then I add on light to the nose and the pupils in the eyes. I'm just mixing, mixing, mixing. Even the upper and lower lips are separate montages." He is creating a mosaic of facial features to craft a unique imaginary individual. (Paris)

Empel enhances images making them appear dreamlike and painterly.  The characters in Empel’s photographs display as doll like characters.  I am interested in Empel’s work, the way Empel edits his models giving the impression that they are doll like and fragile.  In my work I want to try and expand on this idea of making myself appear more delicate and doll like by editing and exaggerating certain features. 

Rudd van Empel’s work often consists of young children in tropical forest settings.  Empel finds leaves and flowers intriguing and captivating because of this he places his models in these tropical like settings.  Empel has produced a new kind of collage photography.

Empel’s work negatively scrutinized in the past for how dark the children (African Children) are in his compositions challenges this inquiry.  Empel states, "When people think of childhood innocence they automatically think of a white girl with pale skin, which is strange because all children - whether they're black or white - are the same. And in Christianity, the colour black is often used to express something negative. The devil is black; death is black. I wanted to challenge these conventional perceptions and show that a black child can also represent beauty."  (Ruud Van Empel)

Ruud Van Empel, Generation #1 2010, Panorama Works

Cibachrome 49 x 130 inches

Ruud Van Empel, World #1 2005

Cibachrome, 41.34 x 59.06 inches

Ruud Van Empel, Untitled #1, 2004

Cibachrome, 33.11 x 46.81 inches

Ruud Van Empel, Brothers & Sisters #3, 2010

Cibachrome 47 x 47 inches

Book: Ruud van Empel Photoworks. January 2009. Published by PhotoWorks.  Amsterdam text by Maartje van den Heuvel. 

Current Exhibits:

Flatland Gallery, Utrecht, The Netherlands, Solo Exhibition “Wonder” October 30- December, 2010. 

Paris Bejing PhotoGallery, Bejing, China, Solo Exhibition December 11, 2010- February 1, 2011. 

Interview: http://web.ruudvanempel.nl/publications-press/reviews/320-foggy-grizzly-interview-with-ruud-van-empel-2006.html

Samson, Anna.  Galerie Rabouan- Moussion Paris Review. http://web.ruudvanempel.nl/publications-press/reviews/245-exhibitions.html

Ruud Van Empel. 16 October 2010.  2010. <http://web.ruudvanempel.nl/home.html>.

Ruud Van Empel.  16 October 2010.  14 May 2010. <http://en.wikipedia.org/wiki/Ruud_van_Empel>. 

Competition Entry #1

I entered the Photographer's Forum magazine competition. Here's proof and the images i entered. 

Idea 7: Iconic

Iconic

 –adjective

1. of, pertaining to, or characteristic of an icon.

2. Art . (of statues, portraits, etc.) executed according to a convention or tradition.

Throughout history, various religious cultures[1] have been inspired or supplemented by concrete images, whether in two dimensions or three.

While looking back on my most recent artist post I noticed that I used the word iconic to describe the family photos that Bill Owens took.  I began thinking what the word iconic means.  Iconic is tradition and convention; I am representing the idea of creating traditional images.  One doesn’t set out to make an iconic image however after taking an image they may become iconic.  A photograph becomes iconic by being a recognizable image.  The word icon often refers to religious characters, however with a more modern reference “icon” can represent a person, symbol, or an image, which exemplify another meaning or story. 

In my work, I’d like to think that these photographs I am creating are not iconic but that the situations and ideas behind them are in fact iconic.  Because the images I am creating are familiar repeating images my audience has seen in the past they appear to be iconic. 

              
                                                                         Iconic image

VJ Day, The Kiss, 1945 Alfred Eisensaedt

 Works Cited

http://en.wikipedia.org/wiki/Icon

http://dictionary.reference.com/browse/iconic

Artist Post 6: Bill Owens

Bill Owens

Bill Owens was born in 1938, in San Jose, California. Owens was born near the end of the Great Depression and right about the time suburbs started to spring up and become popular.  Owens studied and graduated in 1963 from the Industrial Arts at the University of Chico in California.  Later Owens married and joined the Peace Corps with his wife and both taught English at villages in Jamaica and India.  While abroad teaching Owens became interested in photography after having the opportunity to watch a photographer document Peace Corps work.  This led Owens to buy a camera; he began documenting the villages as well.  Owens later became a photo editor for the San Francisco State Daily Gator.  In 1968, Owens became interested in photography as a source for social commentary after documenting student movements at Berkley and San Francisco.  After World War II, houses began to be mass produced creating miniature towns, “… by 1980 more than 60 million Americans had moved from the cities to the suburbs.” (Zanfi)  Owens would document the development, the architecture, and the people who lived in these suburbs.  Owens photographs simple everyday lives of American middle class. Owens received a Guggenheim fellowship in 1976. 

 Bill Owens is known for taking photographs of suburbs.   In Owens book, “Suburbia” he documented everyday lives of people and would also document specific holiday events such as, 4^th of July, Thanksgiving, Christmas, birthdays, etc.  I find that my work to some extent relates to Owens, in my project I am playing on this idea of storytelling. Also, I am interested in how American families participate in holiday events.  I am trying to show how oddly similar photographs can be, and how people do play roles in life, which can be captured through a picture.  Owens said in relation to people enjoying his work, “People can identify with a little girl’s messy room (“Responsibility”), there’s an immediate identification. You can’t avoid being part of the middle class. People want that home, it’s freestanding, they have a back yard, a lawn, their own sense of privacy.”

Bill Owens, 1970-1972, Responsibility

"I wanted Christina to learn some responsibility for cleaning her room, 

but it didn't work."

These original iconic American family photos that Owens seemed to take inspire my project that I am currently working on.  I appreciate Owens work for the fact that he was genuinely interested in making the suburbs appear appealing to people who otherwise consider the suburbs as boring.  Owens stated in an interview, “Most people look at the suburbs as “ticky tacky” little houses and say that there’s no culture, and then they go back to the city. I’m not interested in the city, I’m interested in the middle class…I was interested in making the suburbs a better place to live.”

Bill Owens, 1970-1972, Chinese Food

"Because we live in the suburbs we don't eat too much Chinese food.

It's not available in the supermarkets so on Saturday we eat hot dog."

Bill Owens, 1970-1972, Richie

"I don't feel that Richie playing with guns will have a negative effect on his

personality. (He already wants to be a policeman.)"

Bill Owens, 1970-1972, Watching the traffic go by

"Our house is built with the living room in the back, so in the evenings we sit out front 

of the garage and watch the traffic go by."

Bill Owens, 1970-1972, Christmas?

"We really enjoy getting together with our friends to drink and dance.

It's a wild party and we're having a great time."

Bill Owens, 1971, Rake Leaves

"My dad thinks it's a good idea to take all the leaves off the tree and

rake up the yard. I think he's crazy. 

Book: Bill Owens Photographs.  Introduction: A.M. Holmes editor: Claudia Zanfi

Interview with Bill Owens and Art a gogo

<http://www.artagogo.com/interview/owensinterview/owensinterview.htm>.

Bill Owens most recent art exhibition I found was at the James Cohan Gallery.  In their New York gallery on June 26 - August 1, 2008.

http://www.jamescohan.com/artists/bill-owens/exhibitions/

Works Cited

Lang, Doug. Photographer, Brew Master, Publisher: Bill Owens. Comes Full Circle.  Art a GoGo. 2000.  6 October 2010.

<http://www.artagogo.com/interview/owensinterview/owensinterview.htm>.

Bill Owens (photographer).  Wikipedia. 30 September 2010.  6 September 2010.

<http://en.wikipedia.org/wiki/Bill_Owens_(photographer)>.

Bill Owens.  6 October 2010. <http://www.billowens.com/>.

Zanfi, Claudia. Bill Owens Photographs.  Damiani 2007.  

Idea 6: Acting

Actors

–noun

1.

a person who acts in stage plays, motion pictures, television broadcasts, etc.

2.

a person who does something; participant.

According to wikipedia:

Acting is the work of an actor or actress, which is a person in theatre, television, film, or any other storytelling medium who tells the story by portraying a character and, usually, speaking or singing the written text or play.

Acting is storytelling.  My thoughts for this project originate with the idea of storytelling and the roles people play in their lives and how everyone can be described or matched to a specific character. I ask my models to pose in specific situations reenacting a character they have seen or a roll they actually participated in or played in real life.  I found it interesting that when I explain to someone who is posing what I want him or her to do for me they respond as “Oh, yeah I used to do this all the time when I was small.” This is comforting to me that they have indeed engaged in these roles before.  I don’t want people to deduce that I am assuming everyone has the same style photographs and that all families behave the same way.  However, I am trying to show how oddly similar photographs can be, and how people do play roles in life and that it can be shown through a picture.  




Works cited


Dictionary.com: http://dictionary.reference.com/browse/acting 


Wikipedia: http://en.wikipedia.org/wiki/Acting

Artist lecture- Julika Rudelius

Questions and response

1.) Do you feel disturbed or offended by what you discover from your work?

2.) How do you choose your subjects based on your themes for your videos, and do you let your subjects know what the theme is before filming them in these situations?

 Julika Rudelius

Guest lecture Julika Rudelius is a documentary filmmaker and photographer.  I found Rudelius’s work to be very compelling and motivating. Rudelius’s technique for getting her subjects to confess (tell all) to the video camera was intriguing.  Rudelius would get her subjects to wear an earpiece as a result making it easier to direct them and ask questions as they communicate with the camera.  Then again, I was slightly disappointed when discovering that Rudelius directs her models body language.  What attracts me most to Rudelius and her work is how she plans and manipulates her subjects so delicately prior to capturing the essence of her creation.  Rudelius comes up with an idea and will plan it for months making sure she has the right people, background, and dialogue set up for each project.

Rudelius seemed to answer both of my questions during her lecture. I value how Rudelius finds her models for each specific topic that she works on. Rudelius noted that she would study areas (parties, events, political, etc) and people based on the particular project she was working on at the time.  For instance Rudelius found well to do Hampton’s women in her piece “Forever” which consisted of women, poolside sharing their ideas on happiness.  Rudelius went to the Hampton’s and would hang outside of parties and events until she could meet potential subjects for her films.  Rudelius more or less answered my other question; Rudelius stated in the beginning of her lecture, “ I get triggered by anger and discomfort.”  I value how Rudelius will create her projects relating to things that occur in her personal life and things that interest her in general.

Overall, I really enjoyed Julika Rudelius’s lecture.  

Artist lecture- Julika Rudelius

1.) Do you feel disturbed or offended by what you discover from your work?

2.) How do you choose your subjects based on your themes for your videos, and do you let your subjects know what the theme is before filming them in these situations?

Artist Post 5: Gillian Wearing

Gillian Wearing

Gillian Wearing was born in Birmingham, United Kingdom in 1963. Wearing is a photographer and video based artist who studied at both Chelsea School of Art as well as Goldsmith College.  She is now a conceptual based artist.  Wearing’s work often deals with discovering details about individuals.  Wearing referred to her work stating, “I’m always trying to find ways of discovering new things about people, and in the process discover more about myself.”  Some of Wearing’s influences are “English fly-on-the-wall” documentaries for instance Michael Apted’s 7-up and the 1970s documentary The Family.  Gillian Wearing won the Turner Prize in 1997. 

“A great deal of my work is about questioning handed-down truths,” states Wearing.  This reflects Wearing’s project, “Signs that say what you want them to say and not Signs that say what someone else wants you to say”, was made shortly after graduating from Goldsmith College.  This piece was created by Wearing approaching people on the streets of London, asking them to write something down and then she photographed the people displaying what they wrote.  Most people would display their thoughts or write something personal down.  Wearing continued to record individuals in this self- exposure manner in her video piece, “Confess All on Video. Don’t Worry, You Will Be in Disguise. Intrigued? Call Gillian.”  Using the title of the project, Wearing recruited models through classified ads.  Wearing would videotape individuals (wearing wigs and masks) as they shared secrets with the camera.  Wearing used wigs and masks as a disguise for the models, many of the masks resembled famous people.  Wearing stated, “… you think of a mask as being perfect, like a doll is.”

I am interested in Wearing’s fixation of studying individuals, and how she is able to open them up to the camera (and public).  I am attracted to how Wearing used masks to cover the models faces in her piece, “Confess All on Video. Don’t Worry, You Will Be in Disguise. Intrigued? Call Gillian.”  The masks are not perfect in fact some of them are messed up (cracked) yet the models still appear doll like.

Gillian Wearing, “Signs that say what you want them to say and not Signs that say what someone else wants you to say” "I like to be in the country" 1992-3

Gillian wearing, “Signs that say what you want them to say and not Signs that say what someone else wants you to say” "I'm Desperate" 1992-3

Gillian Wearing, “Signs that say what you want them to say and not Signs that say what someone else wants you to say” "Help,"1992-3

Gillian Wearing, “Confess All on Video. Don’t Worry, You Will Be in Disguise. Intrigued? Call Gillian.” "Lily Cole" year? (2009?)

Gillian Wearing, “Confess All on Video. Don’t Worry, You Will Be in Disguise. Intrigued? Call Gillian.” year?

Wearing’s most recent exhibit was during the summer 2009 at the Musee Rodin, in Paris, France, “Gillian Wearing: Confessions/ Portrits, Videos.”   

Interview with Gillian Wearing: http://www.postmedia.net/999/wearing.htm

book: Difference in Contemporary Art: the visability of women's practice

Works Cited

“Gilding Lily: Gillian Wearing on her latest Muse.”  The Independent. 24 January 2009. 2 October 2010. <http://www.independent.co.uk/arts-entertainment/art/features/gilding-lily-gillian-wearing-on-her-latest-muse-1488486.html>.

Gillian Wearing.  Wikipedia. 13 August 2010.  2 October 2010. <http://en.wikipedia.org/wiki/Gillian_Wearing>.

“Biography.” Guggenheim Collection. 2 October 2010.  <http://www.guggenheimcollection.org/site/artist_bio_230.html>.

Stonard, John-Paul. “Gillian Wearing.” Tate.  10 December 2001. 2 October 2010. <http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=2648&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio>.