‘Art for all’ is the belief that underpins Gilbert & George’s art.
Gilbert & George began creating art together in 1967 when they met at St Martins School of Art, and from the beginning, in their films and ‘LIVING SCULPTURE’ they appeared as figures in their own art. The artists believe that everything is potential subject matter for their art, and they have always addressed social issues, taboos and artistic conventions. Implicit in their art is the idea that an artist’s sacrifice and personal investment is a necessary condition of art. They have depicted themselves as naked figures in their own pictures, recasting the male nude as something vulnerable and fragile rather than as a potent figure of strength. The backdrop and inspiration for much of their art is the East End of London where Gilbert & George have lived and created art for nearly 50 years. From street signs to Ginkgo trees, from chewing gum stains on the pavements to vistas of urban grandeur and decay, their work is both an ongoing portrait of a city and a reflection on the human condition. Gilbert & George have confronted many of the fundamental issues of existence: sex, religion, corruption, violence, hope, fear, racial tension, patriotism, addiction and death.
‘Our subject matter is the world. It is pain. Pain. Just to hear the world turning is pain, isn’t it? Totally, every day, every second. Our inspiration is all those people alive today on the planet, the desert, the jungle, the cities. We are interested in the human person, the complexity of life.’
Gilbert & George
Gilbert was born in the Dolomites, Italy in 1943 and George was born in Devon, UK in 1942. Gilbert & George live and work in London. Solo exhibitions include their touring retrospective exhibition currently at Schirn Kunsthalle, Frankfurt (2021) and previously at Kunsthalle Zurich, Switzerland (2020), Moderna Museet, Stockholm (2019), Astrup Fearnley Museum, Oslo (2019), and LUMA, Arles, France (2018). Other solo exhibitions include Casa Rusca Museum, Locarno (2020); Fondation Louis Vuitton, Paris (2019); Helsinki Art Museum, Finland (2018); Museum of Old and New Art, Hobart, Australia (2015); The Museum of Modern Art, New York (2015); Centro de Arte Contemporáneo Málaga, Spain touring to Museum of Contemporary Art, Zagreb (2010); Philadelphia Museum of Art, Pennsylvania (2008); Tate Modern, London touring to Haus der Kunst, Munich; Castello di Rivoli, Turin, Italy; De Young Museum, San Francisco, California; Brooklyn Museum of Art, New York and Milwaukee Art Museum, Wisconsin (2007–08); Serpentine Gallery, London (2002); Stedelijk Museum, Amsterdam (1996); Milwaukee Art Museum, Wisconsin touring to The Solomon R. Guggenheim Museum, New York (1985); and Whitechapel Gallery, London touring to Stedelijk Museum, Amsterdam and Kunstverein Düsseldorf (1971). They have participated in numerous group exhibitions including ICA, Miami (2018); HangarBicocca, Milan (2017); The Museum of Modern Art, New York (2011); Barbican Art Gallery, London (2007); 51st Venice Biennale (2005); 5th Biennale de Lyon, France (2000); Carnegie International, Pittsburgh (1985); and Turner Prize, Tate Gallery, London (1984).
2 March – 1 May 2021
We plan to open this exhibition to the public on Tuesday 13 April, subject to UK government guidelines. Advance tickets can be booked HERE.
View the online exhibition, featuring a video walkthrough HERE.
CONTACT US for sales enquiries or to organise a virtual viewing.
White Cube is pleased to present the NEW NORMAL PICTURES by Gilbert & George at Mason’s Yard. This exhibition brings together 26 pictures from a new series they have been working on for over two years.
Since meeting as students in the late summer of 1967, Gilbert & George have been travelling together on a visionary and moral journey that they liken to John Bunyan’s The Pilgrim’s Progress. Their journey is made on foot, along the endless streets of London; occasionally by bus to the city’s eastern edges. It encompasses new-build developments on reclaimed and reworked land; excursions into a not-too-distant future, as disquietingly mild as it is lowering.MORE DETAILS