Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"The unity of Gormley's work is such tat one cannot separate sculptures devised for a gallery, museum or art centre from those that are temporarily or permanently installed in a public space or a landscape. It is true that the monumental works made for the city, teh countryside, the sea coast, the mountains or even the desert frequently have a celebratory dimension that is not as manifest in the sculptures shown in the white cube of the gallery. But the underlying questions that inform Gormley's art remain the same, wherever it is." Pierre Tillet, excerpted from Sentinels in For the Time Being.
Published by Galerie Thaddaeus Ropac. Edited by Alessandra Bellavita, Rosalind Horne. Text by William Forsythe, et al. Interview by Hans Ulrich Obrist.
This catalogue accompanies the exhibition Second Body, by Antony Gormley (born 1950), at the Galerie Thaddaeus Ropac in Paris. Consisting of four large-scale installations, the show continues the artist's ongoing investigation of the human body as an architectural space.
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.
Published by Galerie Thaddaeus Ropac. Edited by Arne Ehmann, Rosalind Horne. Text by Martin Caiger-Smith.
In Meter, British sculptor Antony Gormley (born 1950) continues to explore the human body and its relation to space. The new minimalist works featured in this catalogue reference the formal language of architecture and are documented in situ at the Galerie Thaddaeus Ropac in Salzburg.
Fabricated from 100 tons of weathering sheet steel, Antony Gormley’s “Model” is both sculpture and building--human in form but at no point visible as a total figure. Installed at White Cube Bermondsey, London, the work can be entered through a ‘foot,’ from which visitors then journey through its interconnected internal chambers, the sculpture demanding that we adjust our pace and bend our bodies to its awkward geometry. Also included in the exhibition are new sculptures built of solid iron blocks, whose uncompromising orthogonals belie their emotional punch. Propping up the architecture, articulating a corner or lying flat on the ground, these dark works test the bounding condition of the space. A selection of Gormley’s working models, installed on a series of tables, complete the volume. Together, these works powerfully extend Gormley’s exploration of the body as a site of transformation.
Published by Kunsthaus Bregenz. Text by Martin Seel, Beat Wyss.
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.
Published by Galerie Thaddaeus Ropac. Edited by Jill van Coenegrachts, Alessandra Bellavita. Text by Pierre Tillet.
Antony Gormley (born 1950) is famed for the monumentality of his sculptures, the most famous example of which is the “Angel of the North,” built in 1998 in Gateshead, England. For his exhibition at Galerie Thaddaeus Ropac in Paris, Gormley presents both large-scale sculptures and works that are comparatively lighter and less declarative of mass and presence. Published for this exhibition, Antony Gormley: For the Time Being examines recent works exploring this tension, such as the Construct series, which range from a standing male figure with his hands at his sides and his head turned, to a cluster of vertical blocks that could be described as post-Constructivist, and recent public commissions such as “Exposure” (2010, executed for a site in the Netherlands) and “Habitat” (2010, erected in Anchorage, Alaska), which also demonstrate this tension of mass in space versus constellated nodes in space.
Published by Kunsthaus Bregenz. Text by Antonio Damasio, Markus Steinweg.
Antony Gormley has renewed figurative sculpture by pitching works based on his own body against a variety of scales to articulate a sense of embodied "awe" and spatial expansiveness for the human body. This volume accompanies Gormley's 2009 show in Bregenz.
Published by Galerie Thaddaeus Ropac Salzburg/Paris. Text by Fernando Huici March.
1994 Turner-Prize winner Antony Gormley has spent the last three decades investigating the human body, endeavoring to bring new energy to figurative sculpture. This beautifully produced volume accompanies a 2008-2009 European traveling exhibition. Major works are documented alongside details, essays and an interview.
Published by Hayward Gallery Publishing. Text by W.J.T. Mitchell, Susan Stewart, Anthony Vidler. Interview by Ralph Rugoff, Jacky Klein.
Over the past 25 years, Antony Gormley, perhaps Britain's best-known living sculptor, has revitalized the human image in sculpture. He won the 1994 Turner Prize and has had solo exhibitions at the Whitechapel, Tate, and Hayward galleries, White Cube and The British Museum, and internationally at the Corcoran Gallery, Documenta and the Venice Biennale. His radical investigations of the body as a place of memory and transformation use his own corpus as subject, tool and material. Conflating figure and ground, inside and outside, the physical and the psychological, Gormley explores complex relationships between the city, its architecture and its people. This richly illustrated catalogue is filled with new, never-before-seen sculptural works--a series of figures in light-infused webs of steel, and the monumental steel-block "Space Station," 20 feet high. Photographer Gautier Deblonde also chronicles a major new public project, "Event Horizon," which sites some 30 sculptures on buildings across central London, dramatically altering the city skyline. An in-depth interview with Gormley explores the development of his new work, as well as his relationship to the artists who have inspired him and to his contemporaries in the field of figurative sculpture.
Published by Galerie Thaddaeus Ropac. Essays by Norman Rosenthal and Eckhard Schneider. Foreword by Thaddaeus Ropac.
In Standing Matter, British sculptor Antony Gormley presents new works of sculpture cast primarily in lead and from his own body. Though they are welded together in such a way as to suggest having been derived from drawings--Gormley is a master draftsman--that is never the case.
Published by Kerber. Edited by Hans-Werner Schmidt. Interview by Klaus Theweleit and 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.