Artists
Who Resided at the Braender
Gillian Jagger
Multimedia Sculptor and Installation Artist
1986
Who Resided at the Braender
Gillian Jagger
Multimedia Sculptor and Installation Artist
1986
Gillian Jagger (born 1930, United Kingdom) is a multimedia sculptor and installation artist based in the Hudson Valley. She is known for her plaster castings of manhole covers on the streets of New York City in the 1960s, during which time she was “erroneously being identified as a Pop artist.” In her work Jagger “[appropriates] materials from nature,” and incorporates tracings, rubbings, and castings of found objects in both urban and rural environments.
Personal life
Gillian Jagger was born in the United Kingdom in 1930. Her father, sculptor Charles Sergeant Jagger, was known for his war memorials, most notably the Royal Artillery Memorial at Hyde Park Corner in London. Jagger’s maternal grandmother was also a sculptor. After the death of her father Jagger’s mother remarried, when she was aged 7, to an American coal industrialist and the family relocated to Buffalo, New York.
The artist has worked and resided in a converted "five-barn" dairy farm in Kerhonkson, New York with her partner Consuelo (Connie) Mander since 1978.
Early career
In 1953 Jagger received her BFA in painting at Carnegie Tech (now Carnegie Mellon University), where artist Andy Warhol was also an alumnus. Although Jagger and Warhol were contemporaries and “friends,” Jagger disaffiliated herself from the Pop Art movement associated with Warhol’s Factory.
She writes:
“…the
worst for me was that I was identified on all those news programmes and
newspapers as a Pop artist. I was certain that I wasn’t. I didn’t know
much about Pop Art – but I knew I did not like beer cans or pieces of
pie under plastic covers.”
Jagger later studied under Vaclav Vytlacil at the Colorado Springs Fine Arts Center, Colorado; and completed further studies at the University of Buffalo, New York and Columbia University. She received a Masters of Art from New York University in 1960. In 1968 Jagger joined the faculty of Pratt Institute in Brooklyn, where she taught for 40 years. She has also held teaching positions at New York University, Post University, and New Rochelle Academy.
Work
Gillian Jagger has worked in large-scale plaster, stone, cast cement, and sheet lead; as well as found biogenic substances such as animal carcasses and sections of fallen tree trunks. Often the artist casts readymade materials from nature, including her own body. “An interest in time, tracks, imprints and shadows has long dominated my work,” she writes.
In her early work Jagger cast automobile tracks, footprints, and various infrastructural elements of the urban built environment.
Her castings of manhole covers on the streets of New York City attracted attention from local and national news media during the early 1960s. At the time Jagger was being misidentified as a Pop artist. She explains, however, that this epithet was “a distortion of what [she] was actually trying to achieve.”
“That wasn’t what I was going for,” she said, “I was trying to make a
statement about what would be here when we were all gone.” Jagger later
said of the period: “I was casting facts because I couldn’t believe in
the metaphors.”
HUDSON ART WALK, Columbia County, NEW YORK
http://clarehenry-artjournal.blogspot.com/2013/10/hudson-art-walk-columbia-county-new.html
Following Gillian
Casting Faith: A Portrait of Gillian Jagger
56 min 2011 NR
A film about Gillian Jagger by Barbara Gordon and Richard Schlesinger
Gillian Jagger, noted artist, Ulster County resident and juror of the “Recent Work” exhibit at WAAM, will be present at the screening of “Casting Faith” (a one-hour PBS documentary by Barbara Gordon and Richard Schlesinger). Jagger and Gordon will take part in a Q&A following the film.
Casting Faith follows Jagger through the woods on her property, where she finds both the mammoth trees and animal remains that become the material for her art. We see her work with this material discovering hidden vibrant structures – life among inevitable loss and decay. “Casting Faith” is about a woman immersed in a very private struggle with enormous social implications. It is a portrait of an artist working to define her art and its relation to her life and to the life of the society in which she lives.
Barbara Gordon, an artist and WAAM member, is also an award-winning filmmaker. Her documentary work has been broadcast on CBS, NBC, ABC, PBS, The Discovery Channel and A&E and screened at The Museum of Modern Art.
Richard Schlesinger, a writer and filmmaker whose work has been published in major periodicals, has taught writing and literature at the City College of New York and Touro College in New York City.
https://waamblog.wordpress.com/2011/02/17/gillian-jagger-film-casting-faith/
This film explores Gillian Jagger's work, the relationship of that work to her life, and the role of art in society.
https://www.amazon.com/Casting-Faith-Portrait-Gillian-Jagger/dp/B004VXAAUM
Gillian Jagger
Jagger on a lifetime of art, philosophy and teaching
http://www.bluestonepress.net/stories/on-newsstands-gillian-jagger,20421
Gillian Jagger’s lead forms - marvels of raw, proliferating texture - hang like flayed carcasses or sit like creatures freshly mutated from the earth. Yet none of these metaphors are adequate to the horrendous physicality of Jagger’s sculptural objects. Speaking of the derivation of her work from natural surface, Jagger remarks: “All things in nature... resemble each other in their folding, tearing, cracking, wrinkling kind of way, and in this way humans and animals resemble trees and rocks.” The crumbling of our skin, in other words, reminds us of our kinship with nature, asserts its eternal, primordial rule over us. Jagger has in effect captured spontaneous flow—petrified magma, without losing the sense that it is fresh from a recent eruption. Death and Eros blend indistinguishably in one grand sculptural gesture.
— Donald Kuspit
Gillian Jagger: In Between
One of the old lions of the art world, Gillian Jagger, got a high five from John Perreault’s Artopia this week. She IS amazing.
Can an artist be too original, too ambitious? Gillian Jagger, in my book, is truly an original, one of the most original artists I have ever come across. Her work is bigger than life in its homage to both beasts and geology, and her use of space. The problem is that she is difficult to classify: critics, curators and collectors want examples of categories, not precedent-breaking, back-breaking, space-claiming, raw sculptures.
Jagger makes casts of what appear to be heavily trafficked pastures, the mud around wilderness watering holes and the unsung trails of migrating herds. And these great chunks of plaster and latex are deployed within specific exhibition sites to exploit the drama and the grandeur of her themes.
http://www.slowmuse.com/2008/10/22/gillian-jagger-in-between
56 min 2011 NR
A film about Gillian Jagger by Barbara Gordon and Richard Schlesinger
Gillian Jagger, noted artist, Ulster County resident and juror of the “Recent Work” exhibit at WAAM, will be present at the screening of “Casting Faith” (a one-hour PBS documentary by Barbara Gordon and Richard Schlesinger). Jagger and Gordon will take part in a Q&A following the film.
Casting Faith follows Jagger through the woods on her property, where she finds both the mammoth trees and animal remains that become the material for her art. We see her work with this material discovering hidden vibrant structures – life among inevitable loss and decay. “Casting Faith” is about a woman immersed in a very private struggle with enormous social implications. It is a portrait of an artist working to define her art and its relation to her life and to the life of the society in which she lives.
Barbara Gordon, an artist and WAAM member, is also an award-winning filmmaker. Her documentary work has been broadcast on CBS, NBC, ABC, PBS, The Discovery Channel and A&E and screened at The Museum of Modern Art.
Richard Schlesinger, a writer and filmmaker whose work has been published in major periodicals, has taught writing and literature at the City College of New York and Touro College in New York City.
https://waamblog.wordpress.com/2011/02/17/gillian-jagger-film-casting-faith/
This film explores Gillian Jagger's work, the relationship of that work to her life, and the role of art in society.
https://www.amazon.com/Casting-Faith-Portrait-Gillian-Jagger/dp/B004VXAAUM
Jagger on a lifetime of art, philosophy and teaching
http://www.bluestonepress.net/stories/on-newsstands-gillian-jagger,20421
Gillian Jagger’s lead forms - marvels of raw, proliferating texture - hang like flayed carcasses or sit like creatures freshly mutated from the earth. Yet none of these metaphors are adequate to the horrendous physicality of Jagger’s sculptural objects. Speaking of the derivation of her work from natural surface, Jagger remarks: “All things in nature... resemble each other in their folding, tearing, cracking, wrinkling kind of way, and in this way humans and animals resemble trees and rocks.” The crumbling of our skin, in other words, reminds us of our kinship with nature, asserts its eternal, primordial rule over us. Jagger has in effect captured spontaneous flow—petrified magma, without losing the sense that it is fresh from a recent eruption. Death and Eros blend indistinguishably in one grand sculptural gesture.
— Donald Kuspit
One of the old lions of the art world, Gillian Jagger, got a high five from John Perreault’s Artopia this week. She IS amazing.
Can an artist be too original, too ambitious? Gillian Jagger, in my book, is truly an original, one of the most original artists I have ever come across. Her work is bigger than life in its homage to both beasts and geology, and her use of space. The problem is that she is difficult to classify: critics, curators and collectors want examples of categories, not precedent-breaking, back-breaking, space-claiming, raw sculptures.
Jagger makes casts of what appear to be heavily trafficked pastures, the mud around wilderness watering holes and the unsung trails of migrating herds. And these great chunks of plaster and latex are deployed within specific exhibition sites to exploit the drama and the grandeur of her themes.
http://www.slowmuse.com/2008/10/22/gillian-jagger-in-between
Artist - Gillian Jagger
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