Board_Advisors_etc 3..5

1989 Bilderstreit: contradiction, unity and fragmentation in
art since 1960; Ludwig Museum; Cologne, Germany
1983 Photography in Contemporary Art; National Museum
of Modern Art; Tokyo, Japan
TrendsinPostWarAmericanandEuropeanArt; Solomon
R. Guggenheim Museum; New York, New York
1982 Aspects of British Art Today; Metropolitan Art
Museum; Tokyo, Japan
Documenta 7; Kassel, Germany
1981 British Sculpture in the Twentieth Century; Whitecha-
pel Art Gallery; London, England
1980 Kunst in Europa na ‘68; Museum voor Hedendaagse
Kunst; Ghent, Belgium
Explorations in the 70’s; Pittsburgh Plan for Art; Pitts-
burgh, Pennsylvania
1978 Made By Sculptors; Stedelijk Museum; Amsterdam,
The Netherlands
38 thBiennale; Venice, Italy
1977 Photography as an Art Form; John and Marble Ringl-
ing Museum of Art; Saratoga, Florida
Documenta 6; Kassel, Germany
Europe in the 70’s; Art Institute of Chicago; Chicago,
Illinois
1973 From Henry Moore to Gilbert & George; Palais des
Beaux Arts; Brussels, Belgium
1972 Documenta 5; Kassel, Germany
1971 The British Avant-Garde; Cultural Center; New York,
New York
1970 Information; Museum of Modern Art; New York,
New York
Conceptual Art, Arte Povera, Land Art; Civic Gallery
of Modern Art; Turin, Italy
1969 Conception;StadtischesMuseum;Leverkusen,Germany
1968 Snow Show; St. Martin’s School of Art; London, England

Selected Works

The Singing Sculpture, from 1970
Gin and Tonic, 1973

Smashed, 1973

Cherry Blossom(series), 1974

Waiting, 1980

Coming, 1983

We Are, 1985

Bloody People, 1997

Further Reading

Bickers, Patricia. ‘‘La Sculpture britannique: generations et

tradition.’’Artpress202 (May 1995) 31–39.

Bracewell, Michael. ‘‘Like what you see? Then call Gilbert

& George (they’re in the phone book).’’The Independent

on Sunday Culture, May 27 2001, 5.

Dannatt, Adrian. ‘‘Gilbert & George: We Do Pictures.’’

Flash ArtVol. XXVII, no. 178 (October 1994) 63–67.

Farson, Daniel.Gilbert & George: A Portrait. London:

HarperCollins, 1999.

Farson, Daniel.With Gilbert & George in Moscow.London:

Bloomsbury, 1991.

Jahn, Wolf.The Art of Gilbert & George, or, An Aesthetic of

Existence. London: Thames and Hudson, 1989.

Parent, Be ́atrice, Bernard Marcade ́, Wolf Jahn, Rudi

Fuchs, Martin Gayford, and Gilbert & George.Gilbert

and George. Paris: Muse ́e d’Art Moderne de la Ville de

Paris, 1997.

Ratcliff, Carter, and Robert Rosenblum.Gilbert and George:

The Singing Sculpture. New York: A. McCall, 1993.

Ratcliff, Carter.Gilbert and George 1968 to 1980. Eindho-

ven: Van Abbemuseum, 1980.

Ratcliff, Carter.Gilbert and George: The Complete Pictures,

1971–1985. New York: A. McCall, 1986.

Richardson, Brenda.Gilbert and George. Baltimore: Balti-

more Museum of Art, 1984.

Violette, Robert, ed.The Words of Gilbert and George.

London: Violette Editons, 1998.

Wechsler, Max. ‘‘Gilbert & George.’’Kunstforum(April/

May 1990) 150–155.

LAURA GILPIN

American

Laura Gilpin biographer Martha Sandweiss des-
cribed her as ‘‘a consummate landscape photogra-
pher,’’ while Ansel Adams called her ‘‘one of the
most important photographers of our time.’’ Espe-
cially noted for her images of the Navajo people
and portraits and panoramic landscapes that
emphasize the quality of light, Gilpin was also a
pioneering female photographer. As noted by her
biographer, while Gilpin had a keen sense of design

and composition, her interest in the cultural signif-

icance of the landscape was equally as important,

and it is this quality that has assured her work a

lasting place in the history of photography.

Sandweiss argues that Gilpin’s ‘‘interest in land-

scape distinguishes her from other women photo-

graphers and her approach distinguishes her from

other male photographers.’’ Whereas anthropolo-

gist and photographer John Collier Jr. described

the ‘‘challenges’’ presented by the terrain, Gilpin

sought an ‘‘accommodation’’ with the landscape.

GILBERT & GEORGE