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Nouveau Musée Nationa...
Gilbert & George: Art Exhibition

June 14 – November 2, 2014

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Gilbert & George

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Gilbert & George to create gallery in London's East End The Guardian

June 5 2016

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Video Exclusive: Gilbert & George's F**kosophy ARTINFO

December 30 2015

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The Genius of Gilbert & George's Pictures at MONA Tasmania ARTINFO

December 12 2015

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Seeing red: Gilbert & George still fired up after more than 40 years of making art Sydney Morning Herald

November 27 2015

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My London: Gilbert & George Christie's

October 15 2015

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Daily Life as Art in Gilbert & George's Early Works Hyperallergic

July 24 2015

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The Wall Street Journal

September 5, 2014

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Artforum

August 1, 2014

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Hyperallergic

July 30, 2014

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Time Out New York

July 10-16, 2014

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Gilbert & George: Art Exhibition Nouveau Musée National de Monaco - Villa Paloma, Monaco

June 14-November 2, 2014

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The New York TImes

July 18, 2013

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Gallerist NY

July 18, 2013

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Whitewall

Winter 2013

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ARTnews

October 2012

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Art Unlimited 2012 at Art | 43 | Basel Gilbert & George: A LONDON PICTURE

14-17 June 2012

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New York Magazine

May 14, 2012

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Huffington Post

May 8, 2012

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V Magazine

May 3, 2012

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Art in America

May 1, 2012

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Artspace

April 30, 2012

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LONDON PICTURES Book Signing Gilbert & George

April 28, 2012, 1-3 PM

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Wall Street Journal

April 28, 2012

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Artinfo

April 27, 2012

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New York Observer: Gallerist NY

April 24, 2012

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The Guardian

March 2, 2012

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The Economist

March 1, 2012

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The Talks

September 7, 2011

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Artinfo

March 3, 2011

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The Independent

January 27, 2011

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London Evening Standard

January 7, 2011

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Art In America

July 16, 2010

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New York Times Provocative Duo, Naked and Natty

October 3, 2008

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Art In America The Human Theater of Gilbert & George

September 30, 2008

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New York Times Style Magazine

December 1, 2007

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Modern Painters

May 1, 2007

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Art + Auction

July 1, 2005

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Modern Painters

June 1, 2005

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Artforum

March 1, 2005

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ARTnews

February 22, 2005

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Art in America

February 1, 2005

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New York Times

December 3, 2004

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ArtReview

July 1, 2004

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Art in America

October 1, 1997

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Paper

June 1, 1997

ARTnews

October 2012

 

Reviews: New York: Gilbert & George
By Trent Morse

Now in their fifth decade as a duo, the self-described “living sculptures" Gilbert & George are as rebellious as ever. For their substantial project ”London Pictures,” the pair stalked the streets of London to steal more than 3,700 posters bearing manic newspaper headlines. They assembled the posters into multi panel works categorized by repeating keywords like "Dead," "Addicts," "Hanged," or "Playboy" -- as in "Playboy Faces Life for Murder." Almost every headline screams sex, violence, or money.  The resulting computer-generated images are mostly black and white with the keywords highlighted in red, the color scheme of Britain’s notorious tabloids. With the recent closing of the News of the World following the phone-hacking scandal, the timing of this show was impeccable.

Psychedelic photographs of Gilbert & George appear in the background of each picture. The characteristically well-dressed men linger among the shiny cars, brick walls, and cobblestone roads of London and stare out at the viewer with expressions of mock intimidation. Their eyes have been given stark-white sclera with dark pools for irises, seeming to dehumanize and perhaps demonize the artists. They assume the role of Big Brother-watching us from behind the headlines as we read, daring us to react. As if giving the works the royal seal of approval, the Queens visage, extracted from various scuffed coins, always appears on the lower right.

Gilbert & George have made a lucrative career out of inserting their own likenesses into Pop art compositions- whether it be painting, drawing, performance, photography or film-and the “London Pictures” demonstrate that the duo has no intention of slowing down. ln fact, the hugeness of this project would suggest that they are in a highly productive mode. Spanning three galleries in New York (Lehmann Maupin’s two spaces and Sonnabend), the pictures were best experienced all in one day to gorge on the hyperbolic phrases as a whole. Together, the pieces formed a grim vision of larceny
lust, treachery and death in the British capital.