Biography of anthony gormley prints

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Text by Antony Gormley.

  • Witness: Early Lead Works, White Cube, London.

    biography of anthony gormley prints

    Text by Antony Gormley.

  • Formation, Kodoji Press / Archivorum, Baden. And it was mixed with a certain kind of fear - somebody's coming and if I move they're going to kill me, so I'm not going to move..." He also cites the "terrible claustrophobia" he suffered as a child as a precursor to his still, stiff bodies, particularly after he was sent to a Catholic boarding school, where tightly cornered bedclothes closed him in.

    At Ampleforth, Yorkshire's Benedictine boarding school, Gormley quickly discovered a natural inclination towards the arts, with a particular liking for carpentry and furniture making.

    Conversation between Antony Gormley and Tobias Haberl.

  • Antony Gormley: Lost Subject, Free Object, Gli Ori / Galleria Continua, Pondetera. Texts by Sandy Nairne and Jacquiline Cresswell.

    • 2019

    • Objects Of Wonder: British Sculpture From The Tate Collection 1950s -Present. Deutsche Bank AG, Frankfurt, Germany
    • A Cool Breeze. Galerie Rudolfinum, Prague, Czech Republic.

      While there he met and befriended various prominent figures within the arts including artists Michael Craig Martin and Barry Flannigan, as well as former Tate director Nicholas Serota, who would give Gormley a major solo show at London's Whitechapel Gallery years later.

      Gormley's interest in making art continued throughout his degree as he found paid work painting murals for university balls, nightclubs and private parties.

      Texts by Martin Caiger-Smith, Priyamvada Natarajan, Michael Newman, Jeanette Winterson. They are recognizably human, particularly from a distance, but on close inspection their humanity is less apparent. It was the catalyst for the cultural regeneration of Gateshead Quays that led to the Gateshead Millennium Bridge, BALTIC (Centre for Contemporary Art) and Sage (International Music Centre)."

      Corten Steel - Gateshead, Great Britain

    2003

    Domain Field

    A field of spectral figures seem to fade into the distance as the shapes merge to become an ethereal mass.

    Eugene Tan and Antony Gormley in conversation. This mass is punctuated by the eyes, which give the figures an unnerving sense of consciousness, returning the viewer's gaze. Gormley invited a series of participants from Newcastle and Gateshead "aged from two to 85 years," to model for this installation, making plaster moulds of their bodies before filling the moulds with a series of welded steel bars to capture the bare bones of their essence in three-dimensional form.

    Texts by Söke Dinkla, Ronja Friedrichs, Jon Wood. Text by Hugh Brody, Antony Gormley interviewed by Catherine Lampert

    2017

    • Antony Gormley, Rizzoli International Editions, New York, USA. Text by Martin Caiger-Smith
    • Living Room, Xavier Hufkens, Brussels, Belgium. Texts by Carlos Basualdo, Thomas Nail and Amanda Gluibizzi.

      When you've invested an enormous amount of physical and emotional energy in a piece of work, it can be difficult to judge it objectively. Texts by Patrice Maniglier et al.

    • Connect, BTS, Si-Hyuk Bank, Seoul.

      Displayed during a two man show at London's Whitechapel Gallery, this work is a much celebrated, early example of Gormley's developing style as he explored the parameters of his own body, following on from his 1970s Sleeping Place sculptures.

      Texts by Simon Martin and Louise Weller.

    • Diversity United, Wienand Verlag, Cologne.