Liam Gillick

In 2019, Gillick and New Order (band) released a new live album. The album, titled "?(No,12k,Lg,17Mif)", was recorded live at the 2017 Manchester International Festival. It features new renditions of New Order (band) classics, as well as rarities that the band had not performed in years.

Together with Damien Hirst, Sarah Lucas, Angela Bulloch and Henry Bond, he was "the earliest of the YBAs"—the Young British Artists who dominated British art during the 1990s.

On 1 October 2010, in an open letter to the British Government's culture secretary Jeremy Hunt—co-signed by a further 27 previous Turner Prize nominees, and 19 winners—Gillick opposed any future cuts in public funding for the arts. In the letter the cosignatories described the arts in Britain as a "remarkable and fertile landscape of culture and creativity."

In October 2010, Gillick contributed a recipe for a vodka and lime juice-based cocktail as his participation in the Ryan Gander art project "Ryan's Bar". The beverage titled "Maybe it would be better if we worked in groups of two and a half," was sold for £50 per serving. In 2010, Gillick composed a score of "zingy electronica" for the artists' film Beijing, made by his ex-wife Sarah Morris.

Central to Gillick's practice are the publications that function in parallel to his artworks. An anthology of these "Allbooks" was published by Book Works, in 2009.

In 2008, Gillick was short-listed for the Vincent Award of the Stedelijk Museum Amsterdam. In 2009, Gillick represented Germany in the Giardini Pavilions of the Venice Biennale.

In 2002, Gillick was selected to produce artworks for the canopy, the glass facade, the kiosks, the entrance ikon, and the vitrines, of the then-recently completed Home Office building, a United Kingdom government department, at Marsham Street, London. In 2002, Gillick was nominated for the annual British Turner Prize. In the Winter 2006 edition of October (No. 115) Gillick's response to Claire Bishop's October article "Antagonism and Relational Aesthetics," was published as "Contingent Factors: A Response to Claire Bishop's 'Antagonism and Relational Aesthetics'." Gillick has also contributed written articles to fine art journals Frieze and Artforum.

Major solo exhibitions include Liam Gillick: Annlee You Proposes at Tate Modern, London, 2001-2002; The Wood Way at Whitechapel Gallery in London 2002; Projects 79: Liam Gillick, Literally at the Museum of Modern Art, New York, 2003; A short text on the possibility of creating an economy of equivalence at Palais de Tokyo, Paris, 2005; and the retrospective project Liam Gillick: Three perspectives and a short scenario 2008-2010, which toured the Kunsthalle Zürich, the Witte de With in Rotterdam, Kunstverein München, and the Museum of Contemporary Art, Chicago. The U.S. presentation of the exhibition was the most comprehensive of Gillick's work in an American museum. Accompanying his solo exhibition at the MCA was the show The one hundred and sixty-third floor: Liam Gillick Curates the Collection, curated by Gillick from the MCA collection. In 2016, Gillick presented a solo exhibition, titled Campaign at Serralves Museum of Contemporary Art, Porto.

Gillick is cousin to British artists James Gillick and Theodore Gillick. He was married to fellow artist Sarah Morris, in 1998 at a ceremony in Miami. They divorced in 2012. Family relatives include the sculptor Ernest Gillick, the medallionist Mary Gillick, and the anti-abortion activist Victoria Gillick.

Alongside Ingrid Schaffner, Tirdad Zolghadr and others, Gillick is a member of the Graduate Committee of the Center for Curatorial Studies and Art in Contemporary Culture at Bard College, Annandale-on-Hudson, New York. He has been on the faculty of Columbia University School of the Arts in New York City since 1997. Since 2017, he has been a founding member of The American Friends of the ICA, a support group for the Institute of Contemporary Arts (ICA).

Gillick was included in the 1996 exhibition Traffic, curated by Nicholas Bourriaud, which first introduced the term Relational Aesthetics.

In the early 1990s Gillick was a member of the band Soho and is credited with providing samples during their live performances.

Between 1990 and 1994, Gillick collaborated with artist Henry Bond on their Documents Series, a group of 83 fine art works which appropriated the modus operandi of a news gathering team, in order to produce relational art. In order to make the work, the duo posed as a news reporting team—i.e., a photographer and a journalist—often attending events scheduled in the Press Association's Gazette—a list of potentially newsworthy events in London. Bond worked as if a typical photojournalist, joining the other press photographers present; whilst Gillick operated as the journalist, first collecting the ubiquitous press kit before preparing his audio recording device. The series was first shown commercially in 1991, at Karsten Schubert Limited and then, in 1992, at Maureen Paley's Interim Art —two of the galleries that were pioneers in the development of the YBA art movement. The series was subsequently exhibited at Tate Modern in the show Century City held in 2001, and at the Hayward Gallery in the exhibition How to Improve the World, in 2006.

Liam Gillick graduated from Goldsmiths College in 1987 with a degree in fine art. In 1989 he mounted his first solo gallery exhibition, 84 Diagrams, through Karsten Schubert in London. Gillick has exhibited in galleries and institutions in Europe and the United States, many of which have been collaborative projects with other artists, architects, designers and writers. In 1991, together with art collector, and co-publisher of Art Monthly, Jack Wendler, Gillick founded the limited editions and publishing company G-W Press. The company produced limited editions by artists including Jeremy Deller and Anya Gallaccio.

Gillick is also on the board of Artists Space, which is a non-profit arts organization, founded in 1972 in downtown Manhattan, New York.

Liam Gillick (born 1964, Aylesbury, UK) is a British artist who lives and works in New York City. Gillick deploys multiple forms to make visible the aesthetics of the constructed world and examine the ideological control systems that have emerged along with globalization and neoliberalism. He utilizes materials that resemble everyday built environments, transforming them into minimalist abstractions that deliver commentaries on social constructs, while also exploring notions of modernism.