Post War & Contemporary Art 
13 November 2024
Gillian Wearing, A Woman Called Theresa - Image 1 of 9
Gillian Wearing, A Woman Called Theresa - Image 2 of 9
Gillian Wearing, A Woman Called Theresa - Image 3 of 9
Gillian Wearing, A Woman Called Theresa - Image 4 of 9
Gillian Wearing, A Woman Called Theresa - Image 5 of 9
Gillian Wearing, A Woman Called Theresa - Image 6 of 9
Gillian Wearing, A Woman Called Theresa - Image 7 of 9
Gillian Wearing, A Woman Called Theresa - Image 8 of 9
Gillian Wearing, A Woman Called Theresa - Image 9 of 9
Post War & Contemporary Art 
Gillian Wearing, A Woman Called Theresa - Image 1 of 9
Gillian Wearing, A Woman Called Theresa - Image 2 of 9
Gillian Wearing, A Woman Called Theresa - Image 3 of 9
Gillian Wearing, A Woman Called Theresa - Image 4 of 9
Gillian Wearing, A Woman Called Theresa - Image 5 of 9
Gillian Wearing, A Woman Called Theresa - Image 6 of 9
Gillian Wearing, A Woman Called Theresa - Image 7 of 9
Gillian Wearing, A Woman Called Theresa - Image 8 of 9
Gillian Wearing, A Woman Called Theresa - Image 9 of 9
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Gillian Wearing b.1963

A Woman Called Theresa

1998
fourteen C-prints, displayed as seven diptychs 20 h × 20 w in (51 × 51 cm)
estimate: $10,000–15,000
result: $11,970
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Work is comprised of fourteen C-prints displayed as seven diptychs and includes the following: Theresa and Ali, Theresa and Ben, Theresa and Chris, Theresa and George, Theresa and Gerry, Theresa and Mick and Theresa and Seamus. This work is an artist's proof apart from the edition of 5.
provenance: Gorney Bravin + Lee, New York | Mitchell-Innes & Nash, New York | Private Collection, New York
exhibited: Drunk, 2000, Gorney Bravin + Lee, New York | Days Inn, 2014, Mitchell-Innes & Nash, New York
literature: Gillian Wearing, Ferguson, ppg. 90-94

This work will ship from Lambertville, New Jersey.

print

A Woman Called Theresa

Gillian Wearing's Complicated Portrait

In 1997, Gillian Wearing received the Turner Prize following the release of her video installation Drunk, in which the artist worked with a group of street drinkers who congregated near her home in South London. Among them was Theresa (who does not appear in Drunk), a woman who had no steady job or fixed address and whose addiction to alcohol kept her reliant on various men. Theresa granted Wearing permission to photograph her in these men's company, but declined to offer personal statements accompanying the images. This refusal led Wearing to solicit handwritten statements from each of the men instead, presented alongside the artist's photo in the final work. What emerges is a complicated, fragmented glimpse of Theresa and her mode of navigating a life in many ways defined by addiction, dependence, and poverty. 

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