Antony Gormley

From Wikipedia the free encyclopedia

Sir
Antony Gormley
OBE RA
Gormley in his studio
Born
Antony Mark David Gormley

(1950-08-30) 30 August 1950 (age 73)
Hampstead, London, England
Education
Known forSculpture, Installation Art, Public Artworks
Spouse
​
(m. 1980)​
Children3
Awards
Websitewww.antonygormley.com
Another Place (1997) where 100 cast-iron figures face out to sea on Crosby Beach, near Liverpool
Iron: Man (1993), in Victoria Square, Birmingham
Antony Gormley and David Chipperfield's Sculpture for an objective experience of architecture (2008), Kivik Art Centre, Sweden
Exposure (2010), in Lelystad, the Netherlands
Land at Lowsonford, 2015
Untitled (for Francis) 1985 at the Tate Modern
Clasp at Newcastle University, 2018.

Sir Antony Mark David Gormley OBE RA (born 30 August 1950) is a British sculptor.[1] His works include the Angel of the North, a public sculpture in Gateshead in the north of England, commissioned in 1994 and erected in February 1998; Another Place on Crosby Beach near Liverpool; and Event Horizon, a multipart site installation which premiered in London in 2007, then subsequently in Madison Square in New York City (2010), São Paulo, Brazil (2012), and Hong Kong (2015–16).

Early life[edit]

Gormley was born in Hampstead, London, the youngest of seven children, to a German mother (maiden name Brauninger) and a father of Irish descent.[2][3][4] His paternal grandfather was an Irish Catholic from Derry who settled in Walsall in Staffordshire.[5] The ancestral homeland of the Gormley Clan (Irish: Ó Goirmleadhaigh) in Ulster was east County Donegal and west County Tyrone,[6] with most people in both Derry and Strabane being of County Donegal origin. Gormley has stated that his parents chose his initials, "AMDG", to have the inference Ad maiorem Dei gloriam – "to the greater glory of God".[7]

Gormley grew up in a Roman Catholic[8] family living in Hampstead Garden Suburb. The family was wealthy, with a cook and a chauffeur, with a home overlooking the golf course; Gormley's father was an art lover.[4] He attended Ampleforth College, a Benedictine boarding school in Yorkshire,[4] before reading archaeology, anthropology, and the history of art at Trinity College, Cambridge, from 1968 to 1971.[4] He travelled to India and the Dominion of Ceylon / Sri Lanka to learn more about Buddhism between 1971 and 1974.[4] When Gormley returned to England, and inspired by his time in India, he made one of his first artworks, Sleeping Place, by laying a plaster-soaked sheet over a friend. Its hollow plaster shell hinted at the form of a body and recalled the people Gormley saw asleep in India wrapped in saris or dhotis.[9]

After attending Saint Martin's School of Art and Goldsmiths in London from 1974, he completed his studies with a postgraduate course in sculpture at the Slade School of Fine Art, between 1977 and 1979.[citation needed] Gormley's work as a student used natural materials such as stone and wood.[10]

Career[edit]

Pair of figures separated by plate glass, Regent's Place, London
One of 31 actual-sized figures on London's skyline in Event Horizon

Gormley's career began with a solo exhibition at the Whitechapel Gallery in 1981. In this exhibition, Gormley showed a series of works that were concerned with surfaces, skins and inner structures, such as Natural Selection, a ten metre row of objects, including tools, fruits, weapons and vegetables, encased in lead, and Room, an enclosure reminiscent of a barbed-wire fence made from a set of the artist's clothes.

Gormley then turned his attention to the human body, creating moulds of his own body in plaster that he would then encase in lead. These works, such as the three-part sculptures Three Ways: Mould Hole and Passage and Land Sea and Air II, as well as the single body-case works Plateau, Night and Peer, attempt to investigate the body as a space. In Gormley's words, "How to make bodies into vessels that both contain and occupy space? The early three-piece lead works are the first works in which I used my own body. I was trying to map out the phenomenology of the body and to find a new way of evoking it as being less a thing, more a place; a site of transformation, and an axis of physical and spatial experience."[11] Throughout the 1980s, Gormley's lead body-cases were extended, suspended, sealed, pierced and also doubled into two joined forms.

Gormley describes his work as "an attempt to materialise the place at the other side of appearance where we all live."[12] His work attempts to treat the body not as an object, but as a place and in making works that enclose the space of a particular body to identify a condition common to all human beings. The work is not symbolic but indexical – a trace of a real event of a real body in time.

In the 1990s, the hollow body-cases became solid, with Gormley casting the work in iron to create masses that displace space. One of these works, Critical Mass II, was installed in an old tram storage station in Vienna. Comprising 60 life-size sculptures, all presented in a variety of positions and poses, the work has been described by Gormley as "an anti-monument to the victims of the 20th century".[13] This work has since been exhibited in a variety of countries and contexts, each time reconfigured in response to its environment. Notable presentations include the Royal Academy of Arts in London, Art Changsha in China and Forte di Belvedere in Florence.

Collaboration is also central to Gormley's practice. The 2006 Sydney Biennale featured Gormley's Asian Field, an installation of approximately 200,000 small clay figurines crafted by around 300 Chinese villagers in five days from 100 tons of red clay.[14] Use of others' works attracted minor comment. Some figurines were stolen.[citation needed] Also in 2006, the burning of Gormley's 25-m high The Waste Man formed the zenith of the Margate Exodus.[citation needed] Other collaborative projects include Clay and the Collective Body, Inside Australia, Domain Field and Gormley's ongoing Field works, including Asian Field, Amazonian Field, American Field, Field for the Art Gallery of New South Wales and Field for the British Isles.

In 2007, Gormley's Event Horizon, consisting of 31 life-sized and anatomically correct casts of his body, four in cast iron and 27 in fiberglass, was installed on top of prominent buildings along London's South Bank, and installed in locations around New York City's Madison Square in 2010. Gormley said of the New York site, "Within the condensed environment of Manhattan's topography, the level of tension between the palpable, the perceivable, and the imaginable is heightened because of the density and scale of the buildings" and that in this context, the project should "activate the skyline in order to encourage people to look around. In this process of looking and finding, or looking and seeking, one perhaps re-assess one's own position in the world and becomes aware of one's status of embedment."[15] Critic Howard Halle said that "Using distance and attendant shifts of scale within the very fabric of the city, [Event Horizon] creates a metaphor for urban life and all the contradictory associations – alienation, ambition, anonymity, fame – it entails."[15]

In July 2009, Gormley presented One & Other, a Fourth Plinth commission, an invitation for members of the public, chosen by lot, to spend one hour on the vacant plinth in Trafalgar Square in London.[16] This "living art" happening initially attracted much media attention. It even became a topic of discussion on the long-running BBC radio drama series The Archers, where Gormley made an appearance as himself.[17]

Throughout the 2000s, Gormley has interrogated the relationship between the human body and architecture, notably in his series of steel and iron "Blockworks". In these works, Gormley replaces anatomy with architectural blocks that recall the built environment. As these works have evolved, the blocks have become larger and heavier, and the sculptures themselves more abstract. Large-scale sculptures like Model and Cave have transformed the body into an enterable building, inviting visitors into spaces that ask viewers to sense their way around dark environments. Other works, like Gormley's Extended Strapworks, use rusted ribbon steel to extend beyond the space of the body and out towards the rooms that house them. For Gormley, these works question "where the body begins and ends and to what extent we, having made the world, are then made by it."[18]

In March 2014, Gormley appeared in the BBC Four series What Do Artists Do All Day? in an episode that followed his team and him in their Kings Cross studio, preparing a new work – a group of 60 enormous steel figures – called Expansion Field. The work was shown at the Zentrum Paul Klee in Bern.[19]

In May 2015 five life-sized sculptures, Land, were placed near the centre and at four compass points of the UK in a commission by the Landmark Trust to celebrate its 50th anniversary. They are at Lowsonford (Warwickshire), Lundy (Bristol Channel), Saddell Bay (Scotland), the Martello Tower (Aldeburgh, Suffolk), and Clavell Tower (Kimmeridge Bay, Dorset).[20][21] The Dorset sculpture was knocked over into Kimmeridge Bay by a storm in September 2015.[22]

On 6 September 2015, Another Place marked the 10th anniversary of its installation at Crosby Beach in Merseyside. Gormley commented:

I'm just delighted by the barnacles!
Every time I'm there, just like any other visitor, you're encouraged to linger a bit longer seeing the tide come in and how many of them disappear. And then you're encouraged to linger further until they're revealed again.[23]

In September 2015, Gormley had his first sculpture installed in New Zealand. Stay is a group of identical cast-iron human form sculptures, with the first installed in the Avon River / Ōtākaro in Christchurch's central city, and the other sculpture installed in the nearby Arts Centre in early 2016.[24]

At the Forte di Belvedere in Florence, Gormley presented a group of cast iron works that acted as points of ″acupuncture″ throughout the historical fortress. In Gormley's words, "The concept behind the exhibition is to open up the Forte through sculptural acupuncture: the works are widely dispersed to catalyse the inherent masses, constrictions and panoramas that the site affords. In finding the right places to make these confrontations and allusions, I want to create stumbling blocks that stop the viewer in their tracks. I want to encourage the viewer to think again about who they are and how they negotiate the spaces around them."[25] Gormley returned to Florence in 2018 with the exhibition Essere at the Uffizi Gallery. The exhibition featured both historical and recent work, notably Room from 1980, Sense from 1991 and Passage from 2016. Two sculptures were placed in the historical collection and a further work, Event Horizon, overlooked Florence from the gallery's terrace. Gormley's sculpture Present is now part of the gallery's permanent collection.

Gormley is a patron of Paintings in Hospitals, a charity that provides art for health and social care in England, Wales, and Northern Ireland.[26]

In 2017, Gormley curated Inside, an exhibition at the Southbank Centre, London, presented by Koestler Trust showing artworks by prisoners, detainees, and ex-offenders. In addition, he judged their annual category prize, also on the theme "inside".[27]

Gormley then held the first solo exhibition at the newly remodelled Kettle's Yard in Cambridge, England. He activated the new spaces with a site-specific work titled Co-ordinate IV. Made of two taut steel lines, the work shot through the different spaces, breaching their entrances and exits as well as intersecting at head height. Two new bodies of work, known as Rooters and Polyhedra Works, were shown that year at White Cube in Hong Kong and Thaddaeus Ropac in Salzburg, respectively.

On 21 April 2018, Gormley released a limited edition vinyl album of ambient sounds from his studio for Record Store Day titled Sounds of the Studio. It consisted of two tracks (one on each side) titled Sounds of the Studio (Part 1) and Sounds of the Studio (Part 2). It came with an inner with a monochrome print of his studio on one side and text by the artist with a photo on the other.[28]

In 2019, Gormley repopulated the island of Delos with iron "bodyforms" with the unprecedented site-specific exhibition Sight. Organised and commissioned by the NEON Organization and presented in collaboration with the Ephorate of Antiquities of Cyclades, this project marked the first time that an artist took over the archaeological site of Delos since the island was inhabited over 5,000 years ago, and is the first time a contemporary art installation has been unanimously approved by the Greek Archaeological Council of the Ministry of Culture to take place in Delos, a UNESCO World Heritage Site.[29][30] Talking about this exhibition, Antony Gormley stated, "I treat the body as a place encouraging empathic occupation of that which lies the other side of appearance: what it feels like".[31] He installed 29 sculptures made during the last 20 years, including five new works specially commissioned by the NEON Organization, both at the periphery and integrated amongst Delos's archaeological site and museum animating the geological and archaeological features of the island.[32]

Also in 2019, the Royal Academy held an exhibition filling its 13 main galleries with Gormley's works, including some new (designed to fit the space), some remade for the gallery, and some of his early sculptures, with two rooms of his drawings and sketchbooks.[33]

In 2020, Gormley was confirmed to be "lending" a sculpture to Kirklees College to sit atop its new building at Pioneer House in Dewsbury, as part of a major redevelopment in the town.

In 2022, a Gormley sculpture called Alert was installed on the main campus of Imperial College London. The installation raised objections from the student body due to its perceived "phallic" interpretation.[34]

That year, Gormley also held exhibitions at the Lehmbruck Museum in Duisburg, Germany and Museum Voorlinden in Wassenaar, the Netherlands. In Duisburg, his work was placed in dialogue with Wilhelm Lehmbruck's expressionistic, elongated sculptures. Gormley's Reflection II has remained on display at the museum.

In 2023, Gormley opened a number of large-scale exhibitions, including Living Time at TAG Art Museum in Qingdao, China, and Critical Mass at Musée Rodin in Paris, France, which marked the first time that a living artist has been invited to exhibit in all areas of the museum, including the Hôtel Biron. As part of the exhibition, Gormley showed his major artwork Critical Mass II, a sculpture comprising 60 cast iron bodies, in and around the museum and its grounds. Inside the Hôtel Biron, Gormley placed four sculptures in dialogue with Rodin's own work and also selected a number of his working models to be seen alongside Rodin's plaster maquettes. Later in the year, Gormley opened Body Politic at White Cube in London, a solo exhibition of new sculptures responding to themes of movement and containment, as well as the topic of migration.

In 2024, Time Horizon, an installation of 100 cast iron sculptures, opened at Houghton Hall in Norfolk. The installation responded to the specific landscape of the parkland and the history of the Hall. Gormley also unveiled True, for Alan Turing at King's College, Cambridge. This sculpture, made from slabs of Corten steel, celebrates the life and enduring influence of mathematician and computer scientist Alan Turing. Speaking on the sculpture, Gormley stated "Alan Turing unlocked the door between the industrial and the information ages. I wanted to make the best sculpture I could to honour a man who was pivotal in changing the course of all our lives. It is not about the memorialisation of a death, but about a celebration of the opportunities that a life allowed".[35]

Recognition[edit]

Gormley won the Turner Prize in 1994 with Field for the British Isles.

Gormley has been a Royal Academician since 2003, and was a trustee of the British Museum from 2007 to 2015. He is an honorary fellow of the Royal Society of Arts and the Royal Institute of British Architects, honorary doctor of the universities of Teesside, Liverpool, University College London, and Cambridge, and a fellow of Trinity and Jesus Colleges, Cambridge. In October 2010, along with 100 other leading artists, he signed an open letter to Culture Minister Jeremy Hunt protesting cutbacks in the arts.[36]

On 13 March 2011, Gormley was awarded the Laurence Olivier Award for Outstanding Achievement in Dance for the set design for Babel (Words) at Sadler's Wells in collaboration with Sidi Larbi Cherkaoui and Damien Jalet.[37] He was the recipient of the Obayashi Prize in 2012 and is the 2013 Praemium Imperiale laureate for sculpture. Gormley was knighted in the 2014 New Year Honours for services to the arts, having previously been appointed OBE in 1998.[38][39]

For Room, he received the 2015 Marsh Award for Excellence in Public Sculpture.[40]

In 2008, The Daily Telegraph ranked Gormley number four in their list of the "100 most powerful people in British culture".[41]

Collections[edit]

Gormley's work is held in major public and private collections around the world, including the Arts Council of England; Tate, London; British Museum, London; British Council, England; National Galleries of Scotland, Edinburgh; Royal Academy of Arts, London; Victoria and Albert Museum, London; Wellcome Collection, London; Art Gallery of New South Wales, Sydney; National Gallery of Australia, Canberra; Middelheim Museum, Antwerp; Louisiana Museum of Modern Art, Humblebaek; Centre Georges Pompidou, Paris; Lehmbruck Museum, Duisburg; SCHAUWERK Sindelfingen, Sindelfingen; M+, Hong Kong; Irish Museum of Modern Art, Dublin; Uffizi Gallery, Florence; National Museum of Modern Art, Tokyo; Museum Voorlinden, Wassenaar; State Hermitage Museum, St. Petersburg; Malmo Konsthall, Malmo; Pinchuk Art Centre, Kiev; MIT List Visual Arts Center, Cambridge, Massachusetts; Museum of Contemporary Art, Los Angeles; Phillips Collection, Washington D.C.; San Francisco Museum of Modern Art, San Francisco; Walker Art Center, Minneapolis, Minnesota; and Yale Center for British Art, New Haven, Connecticut.[42]

Art market[edit]

Gormley's auction record is £3,401,250 for a maquette of the Angel of the North, set at Christie's, London, on 14 October 2011.[43]

Personal life[edit]

While at the Slade School of Fine Art, Gormley met Vicken Parsons, who was to become his assistant, and in 1980, his wife, as well as a successful artist in her own right.[7][44] Gormley said of her:[7]

For the first 15 years she was my primary assistant. She did all of the body moulding... I think there are a lot of myths that art is made by, usually, lone men... I just feel so lucky and so blessed really, that I have such a strong supporter, and lover, and fellow artist.

The couple have a daughter and two sons.[45][46]

In June 2022 Gormley said that he had applied for German citizenship, to which he is entitled through his German mother, after describing Brexit as "a practical disaster" and a "betrayal".[1]

Major works[edit]

Asian Field at M+, 2021

Gormley's website includes images of nearly all of his works and exhibitions up to 2024. The most notable include:

See also[edit]

References[edit]

  1. ^ a b Boztas, Senay (4 June 2022). "Antony Gormley to become German citizen due to 'tragedy' of Brexit". The Guardian. Retrieved 5 June 2022.
  2. ^ Heathcote, Edwin (9 September 2016). "Antony Gormley on the role of architecture in his new work". Financial Times.
  3. ^ "Antony Gormley Biography, Life & Quotes".
  4. ^ a b c d e Wroe, Nicholas (25 June 2005). "Leader of the pack". The Guardian. Retrieved 6 August 2009.
  5. ^ Aidan Dunne, The Irish Times, Wednesday, 6 January 2016.
  6. ^ Robert Bell, The Book of Ulster Surnames, pps. 80–81. The Blackstaff Press, Belfast, 2003.
  7. ^ a b c "Antony Gormley: Being Human". Imagine. Autumn 2015. BBC. Retrieved 3 November 2015.
  8. ^ "Interview with Antony Gormley". BBC. Retrieved 1 February 2012.
  9. ^ "First Plaster Works – Sculpture Series – Antony Gormley". www.antonygormley.com.
  10. ^ "Early Tree Works – Sculpture Series – Antony Gormley". www.antonygormley.com.
  11. ^ "Three Part Lead Bodycase Works – Sculpture Series – Antony Gormley". www.antonygormley.com.
  12. ^ Antony Gormley: Making Space, Beeban Kidron documentary, 2007, shown on Channel 4 UK, November 2009; Channel4.com
  13. ^ https://ocula.com/magazine/conversations/antony-gormley/. {{cite web}}: Missing or empty |title= (help)
  14. ^ "Asian Field Tour 2003–2004". Antony Gormley.
  15. ^ a b Event Horizon: Mad. Sq. Art.: Antony Gormley Madison Square installation guide
  16. ^ a b "One & Other — official website" Archived 7 January 2010 at the Wayback Machine, OneAndOther.co.uk. Retrieved 6 August 2009.
  17. ^ Nikkhah, Roya; "Antony Gormley to star in The Archers", The Daily Telegraph, 28 June 2009. Retrieved 6 August 2009.
  18. ^ "Antony Gormley | Umwelt". Thaddaeus Ropac.
  19. ^ "Four – Watch Live". BBC. 1 January 1970. Retrieved 26 March 2014.
  20. ^ "Land – An art installation for all to mark Landmark's 50th year". Landmark Trust. Archived from the original on 2 July 2015. Retrieved 8 July 2015.
  21. ^ "Sir Antony Gormley sculptures placed at five UK beauty spots". BBC. 12 May 2015. Retrieved 8 July 2015.
  22. ^ "Sir Antony Gormley Kimmeridge Bay statue topples into sea". BBC. 20 September 2015. Retrieved 22 September 2015.
  23. ^ Jones, Catherine (28 June 2015). "Antony Gormley talks about Another Place". liverpoolecho. Retrieved 3 February 2016.
  24. ^ a b Campbell, Georgina (30 September 2015). "First Gormley statue put in place". The Press. p. A3. Retrieved 30 September 2015.
  25. ^ "Human – Exhibitions – Antony Gormley". www.antonygormley.com.
  26. ^ Wrathall, Claire (13 October 2017). "Exploring the palliative power of art". Financial Times. Retrieved 18 December 2018.[permanent dead link]
  27. ^ Bankes, Ariane (8 January 2018). "Why we need to free art by prisoners from behind bars". Apollo. Retrieved 31 January 2019.
  28. ^ Antony Gormley – Sounds Of The Studio (2018, Vinyl), 21 April 2018, retrieved 5 January 2022
  29. ^ Smith, Helena (4 May 2019). "Antony Gormley is the new kid on the block in ancient Greece". The Guardian. ISSN 0261-3077. Retrieved 13 June 2019.
  30. ^ "Delos". UNESCO World Heritage Centre. Retrieved 13 June 2019.
  31. ^ a b "Sight | Antony Gormley on the Island of Delos". NEON. Retrieved 13 June 2019.
  32. ^ "Visit Greece | Sight exhibition on Delos Island". www.visitgreece.gr. Retrieved 13 June 2019.
  33. ^ "Antony Gormley | 21 September – 3 December 2019". Royal Academy of Arts. Retrieved 22 November 2019.
  34. ^ Khomami, Nadia; Arts, Nadia Khomami; correspondent, culture (3 August 2022). "Antony Gormley's 'phallic' statue may damage our reputation, say students". The Guardian. ISSN 0261-3077. Retrieved 28 April 2023.
  35. ^ "New sculpture celebrates the legacy of Alan Turing". King's College Cambridge.
  36. ^ Walker, Peter, "Turner Prize winners lead protest against arts cutbacks", The Guardian, 1 October 2010.
  37. ^ "Outstanding Achievement in Dance" Archived 13 January 2012 at archive.today on the Olivier Awards website
  38. ^ "No. 60728". The London Gazette (Supplement). 31 December 2013. p. 1.
  39. ^ United Kingdom list: "No. 54993". The London Gazette (1st supplement). 30 December 1997. pp. 1–28.
  40. ^ "Marsh Award for Excellence in Public Sculpture". Marsh Christian Trust. Retrieved 2 April 2019.
  41. ^ "The 100 most powerful people in British culture". The Daily Telegraph. 9 November 2016.
  42. ^ "Antony Gormley". Thaddaeus Ropac.
  43. ^ "Antony Gormley (b. 1950)".
  44. ^ a b Phillips, Sarah (6 February 2012). "How we made: Vicken Parsons and Antony Gormley on Bed". The Guardian. Retrieved 9 January 2016.
  45. ^ "Never again, says Antony Gormley's wife after they create first joint artwork". Evening Standard. 20 March 2012. Retrieved 9 January 2016.
  46. ^ Jones, Alice (8 May 2015). "Sir Antony Gormley interview: 'I don't have any choice over this: it's what I was born to do'". The Independent. Archived from the original on 7 May 2022. Retrieved 9 January 2016.
  47. ^ "Another Place" Archived 8 May 2012 at the Wayback Machine on Antony Gormley's official website
  48. ^ Karlsen, Gar. "Broken Column"
  49. ^ Preece, R. J. (2003). "Antony Gormley: Planets at British Library, London", Sculpture / artdesigncafe. Retrieved 1 September 2011.
  50. ^ Time Horizon Archived 10 January 2007 at the Wayback Machine, Archaeological Park of Scolacium
  51. ^ Higgins, Hannah B. The Grid Book Cambridge, Massachusetts: MIT Press, 2009. pp. 273–74 ISBN 978-0-262-51240-4
  52. ^ "Antony Gormley – Galerie Thaddaeus Ropac". Ropac.net. Archived from the original on 16 February 2012. Retrieved 26 March 2014.
  53. ^ "Mothership with Standing Matter by Antony Gormley". Archived from the original on 15 February 2017. Retrieved 22 June 2012.
  54. ^ "The British Library unveils new Antony Gormley sculpture to commemorate English PEN's 90th anniversary". Pressandpolicy.bl.uk. 13 December 2011. Retrieved 16 April 2015.
  55. ^ "True, for Alan Turing, a work by Antony Gormley". kingscollege.shorthandstories.com. Retrieved 23 January 2024.

External links[edit]

Wikimedia Commons has media related to Antony Gormley.
External videos
video icon Antony Gormley – The Art Fund on YouTube, ArtFund UK
Library resources about
Antony Gormley
By Antony Gormley
Retrieved from "https://en.wikipedia.org/w/index.php?title=Antony_Gormley&oldid=1220866389"