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- Bed, 1980-81. Bed was one of the first works Antony Gormley made after graduating from the Slade, and it was shown soon afterwards in his first solo exhibition at London’s Whitechapel Gallery.
- Three Ways: Mould, Hole and Passage, 1981-82. As an art student, Gormley had been influenced by an earlier generation of American sculptors – Minimalists like Carl Andre and Donald Judd, who used found objects or industrial materials, and Land Artists like Robert Smithson, who took sculpture out of the gallery and into the natural world.
- Another Place, 1997. By the late 1990s, Gormley had developed his body-case technique, and had begun to cast solid figures in iron. The first step was to wrap himself in clingfilm and then have his body wrapped in plaster soaked in scrim– holding his pose for well over an hour as the plaster set.
- Angel of the North, 1998. Standing 20 metres tall and with the wingspan of a Jumbo jet, Angel of the North towers over the A1 motorway near Gateshead.
Nov 4, 2011 · The compositional balance between track 1 and track 2 in Wald 3 exposes Richter’s trust in his materials and intuitive craftsmanship. With Wald 3, we can see the squeegee technique Richter employs on a grand scale. The marks (or exposed under-painting) presented in the smaller scale squeegee paintings are now larger, more deeply exposed and ...
Andy Warhol is known for his bright, colourful paintings and prints of subjects ranging from celebrities including Marilyn Monroe and Mohammed Ali, to everyday products such as cans of soup and Brillo pads. But behind these iconic images are some surprising approaches and ideas.
- Childhood
- Early Training and Work
- Mature Period
- Late Period
- The Legacy of Antony Gormley
Antony Gormley was born in London in 1950 to a German mother and Irish father. A wealthy family, Gormley's father owned a pharmaceuticals company which was famously the first to work with Alexander Fleming to commercially produce penicillin. Gormley grew up in the family home his father had built in Hampstead Garden Suburb, where they had a chauffe...
Although Gormley had his sights set on art school, his parents pushed him towards academia; he recalls their attitude towards education, "The most important thing was that you had to have a job and not be a burden either on your parents or the state." His first degree was in archaeology, anthropology and history of art at Trinity College, Cambridge...
Gormley's breakthrough came in 1981 with Bed (1980-81), in which 8,640 slices of bread were stacked to create the size of a double bed, while Gormley ate out a section in the centre to match the proportions of his body. Nicholas Serota was the director of the Whitechapel Gallery at the time, and he chose to display Gormley's Bedin a two person show...
Following his Turner Prize win Gormley was commissioned to create The Angel of the North, begun in 1994 and completed four years later. As Britain's largest, and perhaps most famous public artwork, it stands at the site of a disused collier and has become a powerful symbol of stability and endurance. On a recent visit to the site he observed, "... ...
Given the introspective, meditative quality of his art, Gormley has tended to be a somewhat lone figure who has not been associated with any one specific art movement. He rose to prominence, however, during a vibrant time as the Young British Artists (YBAs) brought the British art scene to international attention in the 1990s. Although the YBAs are...
Jun 21, 2023 · Here are some seriously interesting artivists promoting the use of recycled materials in their creations. From scrap metal, recycled floppy discs, old cassettes, plastic collected from the oceans and post-consumption textiles, and even toys.
He often listened to hip-hop music whilst working and painted rhythmic lines to express the movement and energy, which is recognisable in so many of his works. He painted on vinyl tarpaulin, a material often laid on the street and used by break dancers as a surface for their performances.
McQueen's exploration of polarities – man versus machine, or nature versus technology – was a recurring theme in his work. His collections often featured fashions that took their forms and raw materials from the natural world, such as the Mussel Shell Bodice from VOSS (Spring/Summer 2001), or the Bird's Nest headdress developed by Mcqueen's ...
