  About the Artwork
  
  
  Gilbert and George met at London's St. Martin's School of Art in 1967 and have been inseparable ever since. In the 1970s Gilbert and George put on metallic make-up and became "living sculptures." Standing atop a table, they would sing a popular ditty, accompanied by an old-fashioned gramophone.
Urban creatures by choice, Gilbert and George have sought to identify with nature by portraying themselves, respectfully suited, against the backdrop of London's Kew Gardens. Their poses are a tongue-in-cheek allusion to British poets' search, in centuries past, for sustenance and renewal from nature. Parked collapses the two meanings of the word "park" into one as it shows the "living sculptures," stiffly seated one behind the other, to create a receding perspective that draws our eye to a tree in bloom.
  
  
  Title
  Parked
  
  
  Artwork Date
  1987
  
  Artist
  Gilbert and George
  
  
  
  Life Dates
  established 1967
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  English
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Gelatin-silver print with pochoir
  
  
  Dimensions
  Overall: 119 × 139 inches (302.3 cm × 3 m 53.1 cm)
  
  
  Classification
  Paintings
  
  
  Department
  Contemporary Art after 1950
  
  
  Credit
  Founders Society Purchase with funds from Founders Junior Council and the Friends of Modern Art, in memory of Samuel J. Wagstaff, Jr.
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  1988.11
  
  
  Copyright
  Copyright Not Evaluated
