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.
NEW YORK Showroom by Appointment Only 75 Broad Street, Suite 630 New York NY 10004 Tel 212 627 1999
LOS ANGELES Showroom by Appointment Only
818 S. Broadway, Suite 700 Los Angeles, CA 90014 Tel. 323 969 8985
ARTBOOK LLC D.A.P. | Distributed Art Publishers, Inc.
All site content Copyright C 2000-2017 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.
The D.A.P. Catalog www.artbook.com
Distributed by D.A.P.
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
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.
