FAD Magazine

FAD Magazine is a daily news website covering: Fashion, Art and Design.

Antony Gormley at the Royal Academy of Arts

‘Antony Gormley’, Royal Academy of Arts, London, 21st September to 3rd December 2019 © the Artist. Photo: David Parry / © Royal Academy of Arts
‘Antony Gormley’, Royal Academy of Arts, London, 21st September to 3rd December 2019 © the Artist. Photo: David Parry / © Royal Academy of Arts

Sculpture is a physical measure, a form of corporeal thinking that can fabricate feeling. A form that can help us to think and feel in ways that we had not thought possible, as does the act of making the form. It has a bodily dimension, it is an acknowledgement to the story of its own making, while having a dialogue with viewers and the audience.

During the fall of 2019 Antony Gormley transforms the Royal Academy’s main galleries into a sequence of experiences that challenge and entices the viewer. Six tons of steel mesh, eight kilometres of coiled tubing, a gallery flooded with seawater and a body that can be walked through. Gormley is extensively praised for his sculptures, installations and public artworks that explore and examine the relationship of the human body to space. His work has developed the future opened up by sculpture since the 1960s through critical engagement with both his own body and those of others in a way that challenges important questions of where human beings stand in affiliation with nature and the cosmos.


Antony Gormley, Mother’s Pride V, 2019. Bread and wax, 306 x 209.5 x 2 cm. Installation view, ‘Antony Gormley’, Royal Academy of Arts, London, 21st September to 3rd December 2019 © the Artist. Photo: David Parry / © Royal Academy of Arts

Mother’s Pride (1982) made of bread and Land, Sea and Air (1977-1979) made of lead manifest a respectful disrespect towards minimalism. These works underline Gormley’s interest in the expressive potential of materials. He uses the materials in these works because they embody or invoke specific meanings. Clearing VII is a three-dimensional drawing in space/time that completely destroys the determination of the quadratic coordinates of a room. The viewer makes his own trajectory through the field in which there is no determined point of view. In Lost Horizon I (2008) which is a significant figurative piece in the show, forms venture at right angles and outlooks to one another from the ground, ceiling and the walls.

Antony Gormley, Clearing VII, 2019. Approximately 8 km of 12.7 mm square section 16 swg aluminium tube, dimensions variable. Installation view, ‘Antony Gormley’, Royal Academy of Arts, London, 21st September to 3rd December 2019 © the Artist. Photo: David Parry / © Royal Academy of Arts
Antony Gormley, Clearing VII, 2019. Approximately 8 km of 12.7 mm square section 16 swg aluminium tube, dimensions variable. Installation view, ‘Antony Gormley’, Royal Academy of Arts, London, 21st September to 3rd December 2019 © the Artist. Photo: David Parry / © Royal Academy of Arts

Making sculpture stems from a need to leave a trace of presence, but there is an even greater need to challenge and defy itself with silent objects that look back at us and question our materiality with their own.

‘Antony Gormley at the Royal Academy’ is curated by Martin Caiger-Smith with Sarah Lea, curator at the RA. The exhibition continues till December 3rd 2019.

Antony Gormley, Lost Horizon I, 2008. 24 cast iron bodyforms, each 189 x 53 x 29 cm. Installation view, ‘Antony Gormley’, Royal Academy of Arts, London, 21st September to 3rd December 2019. PinchukArtCentre, Kiev, Ukraine © the Artist. Photo: David Parry / © Royal Academy of Arts
Antony Gormley, Lost Horizon I, 2008. 24 cast iron bodyforms, each 189 x 53 x 29 cm. Installation view, ‘Antony Gormley’, Royal Academy of Arts, London, 21st September to 3rd December 2019. PinchukArtCentre, Kiev, Ukraine © the Artist. Photo: David Parry / © Royal Academy of Arts

Categories

Tags

Related Posts

Review: The Box, Plymouth

Plymouth has just opened it’s new arts and heritage complex and a lot was riding on it. There’s the £47m budget and the fact that it’s coinciding with the 400th anniversary of the launch of the Mayflower from Plymouth — the ship carrying English settlers to North America. Plus, much like everything else in art and the wider world, the launch was delayed due to the pandemic.

100 Royal Academicians have joined forces to produce an historic portfolio to support the Royal Academy of Arts

For the first time in the history of the Royal Academy of Arts, 100 Royal Academicians have joined forces to produce a historic portfolio, Varnishing Day: A Moment in Time, which includes new artwork from artists and architects such as Chantal Joffe RA, Grayson Perry RA, Fiona Rae RA, Stephen Cox RA, Wolfgang Tillmans RA, Antony Gormley RA, Farshid Moussavi RA, Olywn Bowey RA, Alan Stanton RA, Anish Kapoor RA, Richard Long RA, Ed Ruscha RA and Michael Craig Martin RA.

FAD magazine Migrate Art_Scorched Earth_Anish Kapoor_

Migrate Art announces ‘Scorched Earth’

Migrate Art presents ‘Scorched Earth’ a charity auction and exhibition of new works by leading artists, organised in direct response to the widespread deliberate destruction of crop fields in Iraq. The participating artists have created new works using paint pigmented with ash collected by Migrate Art from land scorched by these fires.

Francis Bacon, Head VI, 1949 Oil on canvas, 91.4 x 76.2 cm Arts Council Collection, London © The Estate of Francis Bacon. All rights reserved, DACS/Artimage 2020. Photo: Prudence Cuming Associates Ltd FAD magazine

Francis Bacon: Man and Beast

In January 2021, the Royal Academy of Arts will present Francis Bacon: Man and Beast, the first exhibition to chart the development of the artist’s work through the lens of his fascination with animals and its impact on his treatment of the human figure.

Trending Articles

Submit Your Work

Submit your work to be featured on FAD