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| | | | Antony Gormley: ModelText by Michael Newman.
 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.
Featured image, of "Cotch VII" (2012), is reproduced from Antony Gormley: Model. |
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FORMAT: Hbk, 9.5 x 13 in. / 328 pgs / 350 color.
LIST PRICE: U.S. $75.00
LIST PRICE: CANADA $90
ISBN: 9781906072773
PUBLISHER: White Cube
AVAILABLE: 8/31/2013
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of print
AVAILABILITY: Not available
TERRITORY: NA LA ASIA AU/NZ ME | D.A.P. CATALOG: FALL 2013 Page 124 | PRESS INQUIRIES
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| Antony Gormley: Model Published by White Cube.
Text by Michael Newman. 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.
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