Gillian Mann

Gillian Mann (11 May 1939 – 29 December 2007[1]), English/Australian artist who won the Blake Prize for Religious Art with the woodcut print on paper titled The Chest in 1990. She was born in Derby, England and moved to Canberra, Australia in 1971 and retired to the small town of Binalong, New South Wales in the 1990s.

Gillian Mann
Born(1939-05-11)May 11, 1939
Derby, England
DiedDecember 29, 2007(2007-12-29) (aged 68)
Canberra, Australia
NationalityBritish-Australian
EducationLancaster College of Art, Leicester College of Art
Known forPrintmaking
Spouse(s)Kashmirilal Mohanlal Shah, Alistair Geoffrey Hay

She was a printmaking lecturer at the Canberra School of Art. She specialised in printmaking techniques and changed to digital art in the late 1990s. Other bodies of work included glass sculptures.

She died in 2007 from pancreatic cancer and is survived by her only son, Julian Mann.[2]

Art

The art of Gillian Mann is primarily concerned with the different visual languages used throughout Western history. Her use of iconography and mediums is informed by an awareness of the meanings they hold within art history and the 'collective memory' of the West. Her practice has been imbued with a social conscience, moulded by a childhood in post-war England, and the social activism of the 1960s. Feminism in the 1970s informed her deconstruction of gender and power in the West and has shaped her practice ever since. Immigrating to Australia in 1971 gave her a perspective on the culture she knew, allowing her to perceive other possibilities.[3]

Notes
  1. "Gillian Mann 1939-2007". Retrieved 20 June 2017.
  2. http://www.artistmann.com
  3. Anthea Gunn (2004). The art of Gillian Mann, Introduction p.6
gollark: It has taken me an *embarrasingly* long time to realize this but this is actually just taking the section of a list between two tokens and moving them to something else.
gollark: Now to watch all the tests fail.
gollark: You know what, I'll ignore this ENTIRELY for now muahahahaha.
gollark: This is in a 130 line function which *kind of* explains what it's doing, but apiaristically.
gollark: It *seemed* like it was just inserting things, but it may also be moving everything after this into the children of the other thingy?

References
  • Anthea Gunn (2004). The art of Gillian Mann
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