In “Shaping the World: Sculpture from Prehistory to Now,” the issue crying out to be addressed is: where will sculpture go next?
This exhibition, Antony Gormley returns repeatedly to the motif of the artist’s own body to explore the significance of differences in scale and the negative space around an artwork.
Is there something self-aggrandizing about Gormley’s career-long obsession with making casts of his own body?
British artist Antony Gormley is the first to present new works on the island, a UNESCO world heritage monument and important site in Greek mythology, since was inhabited.
Antony Gormley has consistently plied a practice that’s about articulations and permutations of the human body, often fabricating his forms in materials that can withstand the vicissitudes of the natural environmental.
Last December, after cultural preservationists in England realized that many of the nation’s postwar public sculpture have disappeared from the landscape over a number of decades, they issued a public call to attempt to trace or even recover them.
On this week’s art crime blotter: a trucker took down an Antony Gormley statue, vandals hammered a shiny public sculpture, and a Swiss dealer got in trouble for selling stolen Picassos to a Russian billionaire.
All flags bear the stain of conquest.
When Antony Gormley’s “Event Horizon,” a series of 30 life-size fiberglass sculptures cast from the artist’s body, were first installed on rooftops around the city of London in 2007, people mistook them for suicide jumpers and called the police. Now, a presentation of “Event Horizon” in Hong Kong has been canceled because of a real suicide, The Art Newspaper reported.
BERKELEY, California — At Haines Gallery in San Francisco’s Financial District, I finally got to see Ai Weiwei’s notorious “Kui Hua Zi” (Sunflower Seeds). There has been much hype around Ai Weiwei and this particular installation, and seeing it caught me by surprise. The Haines Gallery installation was smaller than I expected and much calmer than the media surrounding it. Yet as I looked on, the piece and its maker’s history withdrew into the background, while its powerful implications and art historical relevance grew. It is a truly remarkable piece.
One of the definitions given by the OED for sculpture is, “as a type of silence or absence of movement of feeling.” After 700 hours of sitting ‘still as a statue’ and silently engaging a series of 1400+ visitors at MoMA, Abramović has completed what is being hailed the longest work of performance art.
At its best, modern art begs the question, “Is this art?” There is a death wish that threads modernity – death of God, death of the author, death of history, even the death of the modernity itself (the post-modern) but perhaps most insistently of all, is the existential interrogation that is modern art.