Antony Gormley

Published on the occasion of the exhibition Antony Gormley: critical mass at the Royal Academy of Arts, London, 27 May - 27 September 1998.

Critical Mass

Judith Nesbitt

Malmö konsthall

Exhibition held at Malmö Konsthall, Malmö, 18 September to 31 October 1993; Tate Gallery Liverpool, 20 November 1993 to 6 February 1994; and the Irish Museum of Modern Art, Dublin, 14 April to 19 June 1994.

Malmö Konsthall, Tate Gallery Liverpool, Irish Museum of Modern Art

Over a period of 100 days from July to October 2009, 2,400 people stood on the fourth plinth in Trafalgar Square for one hour. They were free to do as they chose during this period in the spotlight. Nobody could predict what would happen or the scale of the response. Many thousands applied for the 2,400 slots and candidates were selected randomly. Millions watched the events as they were all filmed and available online. Hundreds of thousands continued to turn to the website long after the project itself was finished. The event was a phenomenon, which we are grappling to understand. The entire enterprise was the conceived by Antony Gormley, and can be seen as a further example of the artist's ability to tap into the public consciousness.The book will contain studio portraits of all the 'plinthers' prior to their appearance. Photographs will be drawn from innumerable sources, especially from those donated by the 'plinthers' themselves. The whole event has been remarkably photographed by Clare Richardson and the final edit will be drawn from a selection of 600 of her pictures of 'plinthers and public by day and night. Lee Hall will be writing a text about the importance of the square itself as a location. Essays will be included from Richard Sennett and Hans Ulrich Obrist, the art historian, as well as by both an anthropologist and a psychoanalyst. All the 'plinthers' were subject to extensive interviews set up by an oral history expert and their voices will contribute to the creation of a book that is more than a document. The aim is to capture the emotional intensity and the personally transformative effect that was created by one of the most extraordinary works of public art in our time.

One and Other

Anthony Gormley

Making an Angel

Jeanette Winterson

In celebration of its 50th anniversary, the Landmark Trust commissioned an installation from Antony Gormley. LAND was the result: this book records its places and explores their meanings. Author Jeanette Winterson and photographer Clare Richardson travelled to five Landmark sites in remote parts of the British Isles: Saddell Bay, Mull of Kintyre; South West Point, Lundy; Clavell Tower, Kimmeridge Bay; Martello Tower, Aldeburgh and Lengthsman's Cottage, Lowsonford to see Gormley's life-size cast iron sculptures. Winterson has written a meditation in response to the works and landscapes she has encountered. This celebratory text is accompanied by Richardson's photographs of the varied seascapes and waterways - and weather conditions - that the sculptures inhabit.

An Exploration of What It Means to Be Human in Remote Places Across the British Isles

Land

One of the most exciting sculptors of our time, Antony Gormley is the creator of breathtaking public installations. Even casual fans will recognize Event Horizon, a collection of thirty-one life-size casts of the artist’s body that have been installed atop buildings in places like London’s South Bank and New York’s Madison Square, and Field, formed by tens of thousands of standing clay figurines overflowing across a room’s floor. Projects like these demonstrate Gormley’s ongoing interest in exploring the human form and its relationships with the rest of the material world, and in Antony Gormley on Sculpture, he shares valuable insight into his work and the history of sculpture itself. Combining commentary on his own works with discussions of other artists and the Eastern religious traditions that have inspired him, Gormley offers wisdom on topics such as the body in space, how to approach an environment when conceiving an installation, bringing mindfulness and internal balance to sculpture, and much more. Lavishly illustrated, this book will be of interest to not only art lovers, curators, and critics, but also artists and art students. Dynamic and thought-provoking, Antony Gormley on Sculpture is essential reading for anyone fascinated by sculpture and its long and complex history as a medium.

Antony Gormley on Sculpture

Antony Gormley über Skulptur

Zentrum Paul Klee

In his sculptures and installations, British artist Antony Gormley (born 1950) addresses the relationship between the human body and space. This publication centers on Gormley's most recent work, "Expansion Field," consisting of 60 steel sculptures derived from different postures of the artist's body.

Expansion Field

Ernst Hans Gombrich

W. J. T. Mitchell

William J. Mitchell

John Hutchinson

Gormley Antony

Lela B. Njatin

An appreciation of the British artist who revitalized the human figure in sculpture.

Since the 1980s, when the English sculptor Antony Gormley (born 1950) first began casting figures from his own body in lead and iron, his principal concern has been opening up new artistic and social venues for the display of his work. In realizing his latest work, "Horizon Field," in Austria, the artist has installed 100 figures at an elevation of nearly 7,000 feet; the figures face every direction but never towards one another. The mountain landscape, with its beguiling mix of natural beauty, urbanity and the sociality of old valley communities, provides an ideal experimental field for Gormley's investigations into the relationship between nature and culture. Of this project, the artist said: "It asks basic questions: who are we, what are we, where do we come from and to where are we headed?" Photographs of the landscape installation are contextualized with images of the artist's previous works.00Exhibition: Royal Academy of Arts, London, UK (21.09.-03.12.2019).

Susan Stewart

William John Thomas Mitchell

Anthony Vidler

Anthony Gormley is widely recognised as one of the most imaginative and original artists working in the UK today. This illustrated book accompanies the exhibition Anthony Gormley: Blind Light at The Hayward, the artist's first major showing in London in over 25 years. Since the 1980s Gormley has focused consistently on the human figure, often using his own body as the starting point for works that explore our perception of space, architecture, and bodily presence. Alongside specially commissioned photography of Gormley's major new projects, the book includes an original visual essay by the artist that elaborates his aesthetic preoccupations with images selected from his own photographic archive. Essays from leading writers and scholars Anthony Vidler, Susan Stewart and W. J. T. Mitchell provide a context in which to understand Gormley's new work, while an in-depth interview with The Hayward Director Ralph Rugoff and co-curator Jacky Klein reconsiders Gormley's place within contemporary culture and the history of art.

Blind Light

a conversation with Klaus Theweleit and Monika Theweleit-Kubale

Klaus Theweleit

Monika Theweleit-Kubale

This extensive interview of British sculptural and installation artist Antony Gormley also documents two important exhibitions of the artist's work that took place in Germany during the late 1990s. Gormley, well-known for his figurative casts, has been the subject of exhibitions throughout the world since the early 1980s.

host, field, another place ; ein Gespräch mit Klaus Theweleit und Monika Theweleit-Kubale ; [erschienen anläßlich der Ausstellung Antony Gormley, Our House, Schleswig-Holsteinischer Kunstverein, Kunsthalle zu Kiel der Christian-Albrechts-Universität]

Thomas Keneally

Schindler's Ark

Timothy Wilcox

James Tower (1919 - 1988) is widely regarded as one of the most distinctive figures in post-war British ceramics. This is the first single publication to be devoted to his work and will reveal to a new audience the extraordinary range and quality of his achievement. Tower's career was unusual in inhabiting the worlds of fine art and ceramics, and his output encompassed sculptural pieces in plaster and bronze as well as glazed ceramic forms. This book provides a comprehensive visual document of Tower's work, incorporating a complete illustrated catalogue, and is set to be the standard source of reference on the artist.

The Ceramic Art of James Tower

Martin Gayford

Sculpture is the universal art. It has been practised by every culture throughout the world and stretches back into the distant past. The first surviving shaped stones may even predate the advent of language. The drive to form stone, clay, wood and metal into shapes evidently runs deep in our psyche and biology. This links the question 'What is sculpture?' to the question 'What is humanity?' 0 In this wide-ranging book, two complementary voices - one belonging to an artist who looks to Asian and Buddhist traditions as much as to Western sculptural history, the other to a critic and historian - consider how sculpture has been central to the evolution of our potential for thinking and feeling. Sculpture cannot be seen in isolation as an aesthetic pursuit; it is related to humankind's compelling urge to make its mark on the landscape, build, make pictures, practise religion and develop philosophical thought. 0 Drawing on examples from thousands of years bce to now, and from around the globe, the authors treat sculpture as a transnational art form with its own compelling history. They take into account materials and techniques, and consider overarching themes such as space, light and darkness. Above all, they discuss their view of sculpture as a form of physical thinking capable of altering the way people feel and of inviting them to look at sculpture they encounter and more broadly the world around them in a completely different way.

Antony Gormley

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