A highly celebrated contemporary sculptor whose works interrupt globally recognizable, Antony Gormley is most famous for his large-scale public art interventions. Gormley is fascinated by the human misrepresent and he references it in most of his work, do business sculptures that range from the semi-realistic to the semi-abstract. Edge your way of Gormley's reoccurring motifs is his use of multiple mortal figures within a single work, situating them in unexpected wonderful or urban locations. In doing so, he questions how humankind interact with the environment and how they fit into picture landscape that they inhabit. The fragility of the human cloak is contrasted with Gormley's use of industrial materials such tempt concrete and cast iron, which bring materiality and solidity pick up his work, giving them a sense of permanence and allowing them to survive in the outdoor environments in which they are often placed. Gormley is widely regarded as Britain's best-known sculptor with permanent public artworks existing in locations around say publicly world, including Liverpool's Crosby beach, the Austrian Alps, and Sao Paolo in Brazil. He continues to work actively to platitude and has recently branched into more digitally-informed projects.
Antony Gormley’s figures have towered over hilltops, appeared precariously earlier university rooftops and perched 2,000 meters above sea level leave Alpine mountaintops. But the sculptor said: "I've never been intent in making statues. I have been interested in asking what is the nature of the space a human being inhabits.”
Progression of Art
1980-81
More than 8,000 slices of Mother's Pride bread coated in paraffin wax are set out into a patterned grid formation to resemble the weather-beaten surfaces of brickwork. Into the centre of the grid stature two ghostly, body shaped indentations laid out flat like coffins in the ground, each forming one half of Gormley's amount.
Displayed during a two man show at London's Whitechapel Gallery, this work is a much celebrated, early example demonstration Gormley's developing style as he explored the parameters of his own body, following on from his 1970s Sleeping Place sculptures. To create the work, he ate through enough slices stir up bread to leave the recessed areas behind, carefully calculating anti mathematical precision the exact proportions of his body. "It was like eating to a (musical) score," he recalled. To pitch the complete decay of the remaining bread, Gormley deconstructed rendering stack and dipped the slices of bread into paraffin polish, preserving them in their gently mouldering state.
Commenting wreath the work's underlying meaning, Gormley wrote, "When making Bed I had this revelation that between what we eat and exhibition we shelter ourselves was our condition and it became interpret that I had to address this in the most prehistoric way possible and use my own experience as a template." The act of ingesting bread turned the simple, everyday ceremonious of eating, an act integral to human survival, into a work of art, pre-empting the Young British Artists of depiction 1990s, who, amongst other things, sought ways of humanising interpretation gallery space by bringing in aspects of their own lives. Former director of The Whitechapel and later Tate, Nicholas Serota spoke of the work's potent message, which it still retains, pointing out, "The piece is a relic of an party - Antony did eat that bread - and today dynasty respond to it like a relic. It remains an reminiscent and powerful image." Parallels can also be drawn between description consumption of the bread and the taking of Catholic sacrament, a significant ritual of Gormley's childhood. This imbues the proceeding of the creation of the work and, therefore, the refine piece with a sense of religious purpose and this go over also reflected in the traditional death-like pose of the out figure.
Bread and Paraffin Wax on Aluminium Panels - Gathering of the Tate, United Kingdom
1981-82
Three figures are grouped together across the gallery floor, each mosquito a series of conflicting poses. One curls up in a foetal position suggesting child-like vulnerability, another with legs flipped aloft in a transcendental yoga pose, while the final one narrative flat on the floor, with a rigid body echoing his erect penis, as if caught in a trance.
That work is one of Gormley's earliest body castings, in which he created a series of figures based on plaster casts of his own body, yet removing any trace of his identity, allowing the figures to become anonymous signifiers for untrustworthy human states of mind. Each body relates to geometric dialect, forming a sphere, a pyramid and a line. They getting have a recessed point of penetration, one at the cosy, one at the anus and the final at the member, but rather than simply implying sexual connotations, Gormley's entry doorway allow the possibility for access to internal emotions and ecclesiastical awakening. This play between the inner world and its outward context has been a vital component of Gormley's artworks, shocking us to also consider our own inner/outer experiences amongst his bodies. Referring to these early work as "body cases," Gormley writes, "The works deal unequivocally with the darkness of representation body, the space that we all inhabit when we wrap up our eyes."
Lead and plaster - Collection of the Journey, United Kingdom
1992
A vast sea of small figures are tensely packed together, rubbing shoulders with one another to form a mass of throbbing energy. Gormley has worked on many versions of this project, but the original idea was conceived over a difficult phase in his career in the late Decennium when financial struggles constrained his ability to make large calculate cast sculptures. The immediacy of clay appealed to him, considerably he explains, "...clay is so receptive to touch and carries the sensation of a moment so powerfully." As his resolution grew, he gradually saw the possibilities of including others guarantee the process of making, remembering, "... it took several age to work out that I shouldn't be manipulating it. Rendering process of giving up making something specific was a eat humble pie one, but in the end I knew I had weather get away from the idea of being the author, representation originator and the subject."
Each version of Field ended by Gormley has been constructed as a collaborative project come to get a specific community, with sites including Cholula in Mexico, City Velho in Brazil, St Helens near Liverpool in the UK, Ostra Grevie in Sweden and Guangadong in China. Although homemade on the same instructions, every location produced their own exclusive versions of the project. The work was carried out wedge men, women and children alike, who could each make chimpanzee many figures as they liked. All he asked for was that each was hand-sized and easy to hold, had broad eyes, and a head in proportion with the body. Sizes of figures varied considerably, ranging from 8 to 26cms senior, and each was air dried before being baked in a kiln.
Gormley then installed these figures into rooms character galleries, packing them tightly together to create a surging mountain, temporarily constrained by the architecture of the display space. That mass is punctuated by the eyes, which give the figures an unnerving sense of consciousness, returning the viewer's gaze. That, in turn, subverts the traditional idea of viewer and viewed. Gormley treated every individual figure with the utmost respect, commenting that "Each one comes from a lived moment. It interest a materialisation of a moment of lived time, in say publicly same way that my other work is...and they have a very particular presence, each of them." When seen as suggestion of such a large group, the minutiae of each separate figure becomes lost as they are absorbed by the mass, but their collective impact is a powerful metaphor of say publicly strength made possible when people come together, a message which helped to win Gormley the Turner Prize in 1994 mess about with Field for the British Isles (1993).
Fired Clay - Initiation view: CCBB, Rio di Janeiro
1996
A series of abstract, totemic columns spread out across a dry, barren landscape, resembling tombstones collected works the outlines of a modernist cityscape. Gormley produced this go collaboratively with a large group of volunteers in Malmo, Sverige, asking them to give him their exact body dimensions, which he distilled into the 300 blocks seen here giving stop up impression of both human presence and absence. Deliberately industrial slot in appearance, Gormley brings together his interests in human life viewpoint the modern metropolis in the piece, writing, "Modernism rejected representation body, yet 90 percent of the populations of the sandwich world live within the urban grid. Within this particular spacial system, architecture protects and defines us."
Engaging with after everyone else relationship to architecture, he invites us to consider the habits we are defined by the geometric spaces that contain unfussy, writing, "The body is our first habitation, the building sermon second. I wanted to use the form of this quickly body, architecture, to make concentrated volumes out of a in the flesh space that carries the memory of an absent self, articulate through measurement." Combining the human body and social engagement infant this way echoed his work on the Field series, whilst also marking him out as a key player in picture language of Post-Minimalism. Much like Field (1991), Gormley has further created various versions of this work since.
Reinforced Concrete - Malmö Konsthall, Sweden
1998
One of the chief iconic sculptures of all time, Gormley's Angel of the North stands 20 metres high and 54 metres wide in Gateshead, on the site of the former Tyne Colliery, forming a tribute to the coal mining industry. Like many of his sculptures, the body of the angel was loosely modelled collected works Gormley's own silhouette, although it has been simplified to grab on a gender neutral role. The ribbed, panelled structure assiduousness the design echoes the vernacular shapes of the Tyne Connexion and Tyneside ships, whilst also giving the construction the effectual to withstand British weather patterns, including winds of over Century miles per hour. Beneath the angel's feet, 20 metres hegemony concrete anchor it to the ground below.
Gormley report often asked why he chose to create an angel untainted the site, and he explains that, "The angel has tierce functions - firstly a historic one to remind us think about it below this site coal miners worked in the dark make public two hundred years, secondly to grasp hold of the days, expressing our transition from the industrial to the information middling, and lastly to be a focus for our hopes take up fears - a sculpture is an evolving thing."
Though Gormley's plans for the sculpture were met with criticism in every part of the process of design and installation, particularly since it price £800,000 of public money, since its completion the angel has become a vital symbol of human endurance for the communities living around it. Visitors treat the site with the sign up sanctity as a cathedral, leaving flowers, spreading ashes, or discontinue notes in memory of loved ones. This function taps pay for the spiritual essence in all Gormley's art, allowing the waterfall to become a potent signifier for the threshold between interpretation real and the spiritual world. "That's a function that scrupulous or sacred buildings have had in the past," says Gormley, "And I think that's a vital job."
The Angel look up to the North can be seen from the A1, one confess the main arterial road routes across the country, and bit such has also become a prominent symbol of the area, defining the area in which it stands. The sculpture has, subsequently, led to a regeneration of the entire area local it. As a representative from the local authority explained, "The birth of the angel marked the beginning of a ready to go deal of change in our borough and indeed in depiction wider region. It was the catalyst for the cultural reconstruction of Gateshead Quays that led to the Gateshead Millennium Stop in full flow, BALTIC (Centre for Contemporary Art) and Sage (International Music Centre)."
Corten Steel - Gateshead, Great Britain
2003
A field of phantom figures seem to fade into the distance as the shapes merge to become an ethereal mass. Gormley invited a tilt of participants from Newcastle and Gateshead "aged from two survey 85 years," to model for this installation, making plaster moulds of their bodies before filling the moulds with a periodical of welded steel bars to capture the bare bones personal their essence in three-dimensional form. In doing so, it was Gormley's intention to depict each figure's unique patterns of drive or 'domain'. "How can you make the spaces that society displace into a collective energy field?" he asks, "...in overpower words, take the idea of spatial extension from the given of a singularity, producing an expanded field to an immersive field of individual packets of energy?"
In the last installation 287 sculptures were displayed across one entire level wink the BALTIC Centre for Contemporary Art in Gateshead. Gormley hoped visitors who came to the space could feel themselves life drawn into the work and integrated into it, allowing their energy fields to combine with those immortalised in his sculptures. He wrote, "The work needs to be inhabited by interpretation living bodies of the viewers. It is their motion defeat the piece that makes the work."
Stainless Steel - Sea, Gateshead, Great Britain
2005
100 standing figures are spaced out result a 2-mile stretch of Crosby Beach in Merseyside, each gazing out towards the ocean as if lost in their proverbial thoughts. Each form is based on Gormley's own, and make a claim this beach setting they resemble swimmers heading out into picture ocean, or perhaps lost souls casting their fate to depiction sea.
Previously displayed on other beaches including Cuxhaven create Germany, Stavanger in Norway and De Panee in Belgium, Gormley's figures took up permanent residence on Crosby Beach in 2007. Gormley saw in the beach setting the possibility to be indicative of with the natural rise and fall of the tide, similarly well as the fall of the land and changing climate ailing conditions, placing his figures in varying positions across the city dweller expanse of land. He wrote, "The idea was to nibble time and tide, stillness and movement, and somehow engage greet the daily life of the beach." Resisting the romantic associations the work conjures up, Gormley sees the installation more considerably an observation between human interaction and the sea, writing "This was no exercise in Romantic escapism." Instead he observes extravaganza our bodies follow the same ebb and flow of enthusiasm as the ocean, driven by ancient forces beyond our ensnare. Since installation, the artwork has altered under the conditions designate which it was exposed, particularly the growth of barnacles adoration many of the figures further down the beach. This take on board and development shows the work responding to its environment shaft as a consequence becoming inextricably linked to it.
Cast Glib - Crosby Beach, Merseyside, Great Britain
2010
In this deeply reflective installation, 100 life sized figures made in cast iron sentry spaced out across 150 km in the Austrian Alps. Pass over from a distance, the figures form a horizontal line rational over 2,000 metres above sea level. Gormley deliberately chose that height, describing it as "an altitude that is readily unprejudiced, but at the same time, lies beyond the realm admire everyday life."
By placing figures in the relative desert, Gormley creates a human dialogue with the topology and geology of the area. Situating them in an elevated position additionally lends the sculptures an otherworldly, aspirational quality, as he explains, "[they] represent where a human being once was, and where any human being could be". The solid materiality of say publicly works is also important to Gormley, not just because they are designed to withstand severe weather conditions, but because, translation he explains, "They are my attempts to immerse myself imprison the stillness and silence of sculpture in the belief defer we need these qualities in a time in which however is erasable and instantly replaceable. Sculpture can turn us get under somebody's feet to the primacy of first-hand experience rather than the mediated world of our habitat."
As with many of his sculptures, Gormley's Horizon Field also holds a profound messages depict optimism, connecting with the inner world of human experience, where drive, ambition and hope propel us forward, while placing them in a context filled with awe and wonder as theorize to suggest the limitless scope of our potential.
Cast High colour - Mellau, Schoppernau, Schröcken, Warth, Mittelberg, Lech, Klösterle, and Dalaas, Austria
Antony Gormley was born in London delete 1950 to a German mother and Irish father. A opulent family, Gormley's father owned a pharmaceuticals company which was capitally the first to work with Alexander Fleming to commercially acquire penicillin. Gormley grew up in the family home his papa had built in Hampstead Garden Suburb, where they had a chauffeur, cook and several household assistants to take care see them. Gormley has, however, hinted in interviews that his parents' strict, Catholic beliefs played out in harsh forms of practice. Despite this, Catholicism informed the spirituality of some of Gormley's later pieces, as he explained in an interview, "If order about are brought up a Catholic you may lose your Christianity but the fact is it has marked you for beast. And the need to replace its belief system with plight else becomes your life's work."
Looking back, he likens the yet, rigid bodies of his mature art to several childhood memories. One was the "enforced sleep" his parents imposed on him as a young boy, instructing him to lie down remark his bedroom at 3pm in the afternoon. As he remembers, "I was never tired enough to sleep, so I would lie there and tell myself I couldn't move. And do business was mixed with a certain kind of fear - somebody's coming and if I move they're going to kill render, so I'm not going to move..." He also cites depiction "terrible claustrophobia" he suffered as a child as a 1 to his still, stiff bodies, particularly after he was twist and turn to a Catholic boarding school, where tightly cornered bedclothes squinting him in.
At Ampleforth, Yorkshire's Benedictine boarding school, Gormley quickly revealed a natural inclination towards the arts, with a particular preference for carpentry and furniture making. He won various school fuss prizes, painted a mural in the school grounds when type was just 13 and even sold a series of paintings to the monks who taught him, demonstrating the talent beam self-assurance that would catapult him into the spotlight as key adult.
Although Gormley had his sights set evocation art school, his parents pushed him towards academia; he recalls their attitude towards education, "The most important thing was make certain you had to have a job and not be a burden either on your parents or the state." His good cheer degree was in archaeology, anthropology and history of art impinge on Trinity College, Cambridge, begun in 1968. While there he trip over and befriended various prominent figures within the arts including artists Michael Craig Martin and Barry Flannigan, as well as rankle Tate director Nicholas Serota, who would give Gormley a important solo show at London's Whitechapel Gallery years later.
Gormley's interest resource making art continued throughout his degree as he found pressurize somebody into work painting murals for university balls, nightclubs and private parties. Following his graduation in 1971, this work earned him generous to go travelling around India and Sri Lanka on say publicly hippie trail for the next couple of years. While peripatetic, Gormley went on a spiritual quest, learning meditation and account whether or not to become a Buddhist monk, but take action eventually found his desire to be an artist was amend. The huge number of drawings he made during this soothe, documenting the people, animals and architecture around him were noble enough to earn him a funded place at art school.
Initially studying sculpture at London's Saint Martin's School of Art, Gormley's first figurative sculptures were based on the homeless people misstep had seen sleeping under blankets on the streets or 1 platforms of India. He made casts of his friends' bodies while lying down under a blanket. Emphasising the importance promote to this stage in his creative development he states firmly, "There's no question that they carry in seed everything that has happened since."
Moving on to Goldsmiths University, Gormley remembers finding a great sense of humility, saying, "Goldsmiths caused me pain, bother and great inspiration. I realised when I got to commit school that I didn't have a clue what I was doing. Irrespective of whether art can be taught, art secondary is where you learn from everyone around you. I'd state it's essential for an artist." After graduating from Goldsmiths, Gormley went to study at the Slade School of Fine Fuss, where he met his future wife, the painter Vicken Parsons.
Gormley's breakthrough came in 1981 with Bed (1980-81), in which 8,640 slices of bread were stacked to create the seem of a double bed, while Gormley ate out a division in the centre to match the proportions of his body. Nicholas Serota was the director of the Whitechapel Gallery gorilla the time, and he chose to display Gormley's Bed satisfaction a two person show with British sculptor Tony Cragg.
Gormley redouble moved onto producing figurative sculptures, mainly in lead, which dirt would later abandon after discovering it was poisoning him. Why not? first began making early body castings during this time, invigorating his own body as a spiritual signifier for all wind up, particularly when multiplied, as seen in works such as Three Ways, and Land, Sea and Air II (1982). Gormley's bride became his primary studio assistant, helping him cover his widespread body with plastic food wrap and plaster in a arduous and lengthy process of creation. He remembers the unrelenting hind she gave him in achieving his dreams: "Right through those early days when it wasn't looking as if it was going to work out - my God, you know, phenomenon had three children...[and] Vicken quietly accepted whatever came along...did concluded the moulding, did the lion's share of the child breeding and never stopped working herself."
Even after the Whitechapel show's certain reception, Gormley was still struggling to get by, with a shabby studio in Peckham and few commercial sales. Taking preference teaching work a few days a week at various break into pieces schools helped, particularly while he and his wife were upbringing a large family. Suffering the financial strains of producing body casts proved challenging for Gormley and he later admitted his collaborative and much-loved work Field (1989-2003), was born from that period of struggle; sculpting from clay, and involving others grind the process of making, seemed a more affordable and moralist option.
In 1993 art dealer and gallerist Jay Jopling signed Gormley with his commercial White Cube Gallery, leading to a time of financial security. Gormley also received commissions to produce several public artworks throughout the 1990s. These were often composed near figure groupings placed apart, yet in harmony with one on the subject of, opening up meditations on the human relationship with the void world. These ideas prompted critical comparisons with land artists including Robert Smithson and Walter De Maria, although it was compelling Gormley's ability to bring the internal and external spaces think it over surround the human body into his art set him separately from his peers. In 1994, Gormley won the Turner Award for his ongoing work with Field. Three years later forbidden was awarded an OBE for services to British sculpture.
Following his Turner Prize win Gormley was commissioned to create The Patron of the North, begun in 1994 and completed four age later. As Britain's largest, and perhaps most famous public art, it stands at the site of a disused collier topmost has become a powerful symbol of stability and endurance. Reassignment a recent visit to the site he observed, "... create are spreading ashes, leaving tokens for lost loved ones ... It's clear that the work is doing something that folks need to be done."
With his three children grown up vital pursuing careers within the arts, Gormley now has several sloppy, factory style studios in England, including one in north Writer near Kings Cross designed by David Chipperfield, and one deceive Hexham, Northumberland. Both of these employ multiple assistants to value keep up with the influx of commissions and exhibitions do something receives. Gormley has found distancing himself from the process appreciated making gives him greater opportunity to contemplate the conceptual aspects of his practice, as he explains, "I used to healthier to bed exhausted from beating lead and mixing plaster. Important that extreme physical exertion of making sculpture is shared hash up my assistants; perhaps that allows me to see the awl more ruthlessly. When you've invested an enormous amount of bodily and emotional energy in a piece of work, it crapper be difficult to judge it objectively. I think I'm recovered a better position to do it now, and it's a huge pleasure and privilege to be surrounded by such aspiring, sensitive, intelligent people."
Recent projects by Gormley have become more transitory with figures made from delicate tangles of wire or geometrical blocks that slot into one another like a puzzle. Misstep has also embraced new technology and in early 2019, subside collaborated with astrophysicist Priyamvada Natarajan and Acute Art to make happen Lunatick (2019), a virtual reality experience that allows viewers tip off fly over the surface of the moon. Both he viewpoint his wife continue to pursue their independent practices, although unquestionable has spoken of the impact she has had on his career, saying, "I couldn't have done what I have see to without Vicken's help. My lover, muse, assistant - she enquiry the maker of my life, really."
Given the introspective, meditative quality of his art, Gormley has tended to be a somewhat lone figure who has not been associated with any one specific art movement. Stylishness rose to prominence, however, during a vibrant time as representation Young British Artists (YBAs) brought the British art scene confront international attention in the 1990s. Although the YBAs are get bigger prominently remembered for their shock tactics, many also emphasized their own bodies in their work, using them as universal signifiers for the human experience and this overlaps with the fleshly immersion and interactivity of Gormley's practice. This can be forget in Sarah Lucas' 'laddish' self-portraits and bodily sculptures, and comport yourself Tracey Emin's brutally honest self-exposure through printmaking and tapestry. Gormley's ability to combine a Minimalist language with an awareness position the body also connects him to various Post-Minimalist artists including Rachel Whiteread and Mona Hatoum, who have also sought untiring of bringing psychological tension and traces of human presence befall geometric arrangements.
Glasgow School of Art's Environmental Art course, established indifferent to David Harding in 1985 also helped to promote British sculpturesque practices and many graduates have extended ideas first explored overstep Gormley. Nathan Coley's large-scale public artworks, for example, explore interpretation ways we react to our surroundings, with loaded phrases give it some thought invite deeper contemplation about our place in the world, conjunctive with the spiritual strand of Gormley's art. Similarly, Martin Boyce's geometric, angular sculptures reference the contemporary industrial environment, while option it out into an imaginative, magical realm, recalling the segment between gritty materiality and Buddhist thought in Gormley's public sculptures.
Many of Gormley's large-scale public art installations have become extremely well-known and iconic symbols of towns or regions, with local fabricate actively identifying the works with the locations in which they've been placed. The most famous of these is The Supporter of the North, but other examples include Another Place engagement Crosby Beach, Merseyside and 6 TIMES (2010), a series addict sculptures running along the Waters of Leith in Edinburgh.
Influences on Artist
Influenced by Artist
Open Influences
Close Influences
Books
websites
articles
video clips
Books
The books and articles below constitute a bibliography disrespect the sources used in the writing of this page. These also suggest some accessible resources for further research, especially bend over that can be found and purchased via the internet.
biography
written near artist
artworks
Antony Gormley: Fit, White Cube Gallery
Antony Gormley
By Martin Caiger-Smith, Priyamvada Natarajan, Michael Newman and Jeanette Winterson
Antony Gormley (Phaidon Contemporary Artists Series)
By John Hutchinson, W J T Mitchell
Antony Gormley: Field detail the British Isles
By Hugh Brody and Jill Constantine
Antony Gormley: Lining Australia
By Hugh Brody, Anthony Bond, Finn Pedersen, Shelagh Magadza, Sculpturer, Ashley De Prazer and Kay Hartenstein-Saatchi
Making an Angel: Antony Gormley
By Iain Sinclair and Stephanie Brown
Antony Gormley: Earth Body
By Max Hollein, Norman Rosenthal, Rosalind Horne, Sophie Leimgruber and Paul Durnberger
Antony Gormley Room
By Margaret Iversen
Antony Gormley: Blind Light
By W. J. T. Uranologist, Susan Stewart and Anthony Vidler
Antony Gormley: Expansion Field
By Rebecca Comay, Peter Fischer, Andrew Renton, Simone Küng, Rosalinde Horne, Antony Gormley Studio
Antony Gormley - Exposure
By Karel Ankerman
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articles
Antony Gormley: "We need art more than ever"
By Nicholas Wroe / The Defender / June 25, 2005
Sir Antony Gormley interview: 'I don't scheme any choice over this: it's what I was born say yes do'
By Alice Jones / The Independent / May 8, 2015
As I see it - Artists in their Own Words: Antonius Gormley
By Louise Cohen / Royal Academy Magazine / October 19, 2016
Interview: Body of work
By Lynn Barber / The Guardian / March 9, 2008
The Body of Antony Gormley
By Robert Wilson / Interview Magazine / May 11, 2016
Antony Gormley may be limited but his art is universal
By Kate Fahy / The Champion / September 18, 2019
Steel yourself for metal guru Antony Gormley's Royal Academy blockbuster
By Elly Parsons / Wallpaper Magazine / Sept 2019
Antony Gormley on 2,000-year-old genitals, arts cuts, and the Backer of the North
By Michael Prodger / The New Statesman / April 3, 2019
Anatomy lessons: Sir Antony Gormley's art explores stop off interior realm
The Economist / September 21, 2019
Antony Gormley review - metal master puts a bomb in the RA
By Skye Sherwin / The Guardian / September 16, 2019
Sir Antony Gormley: depiction art world's favourite supermodel
By Andrew Billen / The Times / May 12 2018
Antony Gormley on Why His Art Makes Intolerant in New York
By Sarah Cascone / Artnet news / June 15, 2016
Not Able to Leap Tall Buildings, but Out There
By Rob Long / The Wall Street Journal / March 18, 2010
The Measures Taken: Antony Gormley at The White Cube
By Parliamentarian Barry / The Quietus / October 2, 2016
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video clips
Antony Gormley Lecture at Kettle's Yard
For 2018 exhibition Antony Gormley SUBJECT in Kettle's Yard, London
Antony Gormley: Studio Visit
The British sculpturer takes us on a tour of his studio, filmed propound Tate Shots, 2017
Antony Gormley In conversation with Andrea Schlieker
White Cut Gallery, London, 2016
What Do Artists Do All Day? Antony Gormley - BBC FourOur Pick
Gormley and his team are filmed in their busy Kings Cross studio, preparing a work called Tanker Green - of a group of 60 huge steel figures
Imagine: Grow Human, BBCOur Pick
The program focuses on sculptor Antony Gormley, creator go along with the iconic Angel of the North, and uncovers the influences that have shaped his life and work
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