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100 Artists See God Paperback – April 2, 2004

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Product Details

  • Paperback: 128 pages
  • Publisher: Independent Curators International, New York (April 2, 2004)
  • Language: English
  • ISBN-10: 0916365689
  • ISBN-13: 978-0916365684
  • Product Dimensions: 11 x 8.4 x 0.4 inches
  • Shipping Weight: 1.4 pounds
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #2,229,679 in Books (See Top 100 in Books)

More About the Author

Liam Gillick is an artist based in London and New York.

Solo exhibitions include The Wood Way, Whitechapel Gallery, London, 2002; A short text on the possibility of creating an economy of equivalence, Palais de Tokyo, 2005 and the retrospective project Three Perspectives and a short scenario, Witte de With, Rotterdam, Kunsthalle Zurich and MCA Chicago 2008-2010. He was nominated for the Turner Prize in 2002 and the Vincent Award at the Stedelijk Museum in Amsterdam in 2008. Many public commissions and projects include the Home Office in London (2005) and the Dynamica Building in Guadalajara, Mexico (2009). In 2006 he was a co-founder of the free art school project unitednationsplaza in Berlin that travelled to Mexico City. Liam Gillick has published a number of texts that function in parallel to his artwork. Proxemics (Selected writing 1988-2006) JRP-Ringier was published in 2007 alongside the monograph Factories in the Snow by Lilian Haberer, JRP-Ringier. A critical reader titled Meaning Liam Gillick, was published by MIT Press (2009). An anthology of his artistic writing titled Allbooks was also published by Book Works, London (2009). In addition he has contributed to many art magazines and journals including Parkett, Frieze, Art Monthly, October and Art Forum. Liam Gillick was selected to represent Germany for the 53rd Venice Biennale in 2009. The last stage of his retrospective opens at the Museum of Contemporary Art in Chicago in October 2009. A major exhibition of his work opens at the Kunst und Ausstellungshalle der Bundesrepublik Deutschland in April 2010. He has taught at Columbia University in New York since 1997.

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4 of 4 people found the following review helpful By Rhiannon R. Aarons on December 1, 2006
Format: Paperback
In response to the sole review for this book, having been at the exhibit I have to say that both the catalogue and the show did very well in sharing honest and intimate perspectives about personal relationships with divinity. While more political venues consistantly discuss God solely in relationship to religion, church, and state, _100 Artists See God_ serves both as a breath of fresh air and a reminder that the human relationship with the divine is individual and personal, transcending faith and political alignment.
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1 of 1 people found the following review helpful By Ellen Mueller on September 28, 2011
Format: Paperback
I thought this would be a compelling collection of works that examine the idea of God from a variety of vantage points. Instead, it seems to be collection of the curators' friends' work that is smashed into categories that they really don't fit into, even if we stretch our conceptual minds. The curatorial idea is good. The sub-categories are good. I just wish the majority of the art in the book actually seemed related to any of that.
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4 of 10 people found the following review helpful By Lawrence on July 27, 2005
Format: Paperback Verified Purchase
Art more than any other discipline has the ability to break open new intellectual and emotional ground. It an be a powerful tool. Governments and religions have tried to guide and or control artists since artists began translating their world view’s onto the pictorial and sculptural plane.

Religion has universally been a major control element in the sociology of artists, and the depiction of god is a major taboo in both the Christian and the Muslim world. Between religion and art is a fertile ground for the imagination, it is a ground that is still potentially loaded, a fertile ground for the artist to shock, or stimulate an audience.

You would think that a subject such as the depiction of god (given the military industrial religious complex which is currently so dominant) would engender more than a very light weight response from artists.

Sadly this is not the case. There are no compelling images of faith and devotion nor any compelling criticisms of god and religion, no overt discussion of the grotesque coupling of government and church, and so I can only say that this is a very disappointing book.

It is potentially an interesting project and the curator really ought to be dismissed for their lack of vision and inclusion. So many artists to choose from but they really have filled the book with mediocre works. Sadly evident in the bulk of the work displayed in the book is a lack of insight into the subject and a lackluster commitment to aesthetics.
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