Antony Gormley - Contemporary Art Part I New York Thursday, May 13, 2010 | Phillips

Create your first list.

Select an existing list or create a new list to share and manage lots you follow.

  • Provenance


    Private Collection, Moscow; Gary Tatintsian Gallery, Moscow; Galerie Nordenhake, Berlin

  • Exhibited


    Berlin, Galerie Nordenhake, Antony Gormley: Clearing, September 3 – October 9, 2004; Moscow, Gary Tatintsian Gallery, Inc., We Can Do It, January – May 20, 2005

  • Literature

    E. van der Heeg, “We Can Do It,” Herald of Europe, London, March 2006, p. 4

  • Catalogue Essay


    Since the very beginning of his artistic career, Antony Gormley has concentrated on the long focused subject of art history: human form. As a sculptor, Gormley has used his own body for casting purpose throughout different periods of his artistic career, and by using body as an agent, Gormley intertwines many themes such as life and death, mind-body relationship, interaction between figure and ground/space and spirituality. The recent Sublimate series explores the emphasis of inner randomness and the occupation of the inner space. Gormley uses the body as an occupied space, the body is pixilated, decomposed and then reconstructed. The present lot is a figure of architecture as well as sculpture, Gormley calculated a space taken scale, vertical/horizontal relativity and surface into account, in many fundamental ways, concerns both architecture and figure sculpture.
    In recent years Gormley has somewhat broadened his aesthetic scope. Many of his latest works do not focus on the phenomenological, so much as the perceptual aspects of the body. No question is not how a body places itself in an outer physical space, but rather in the inner space of the viewer. His Sublimate [series] is instructive in that regard. Nobody has been broken up, deconstructed into a system of rectilinear solid steel blocks in various sizes. What we see is a representation where the viewer has to recompose the shape in his own mind in order to make it appear as an image. Here are obvious parallels to how a computer breaks down an image into pixels, or even to Gestalten psychology, but Gormley’s sculptures have wider implications. His works do not merely require analysis in the gaze of the beholder; they also reveal what qualities are demanded of an object in order for it to appear as a work of art.
    E. van der Heeg, “We Can Do It,” Herald of Europe, London, March 2006, p. 4

109

Sublimate II

2004

Bright mild welded steel blocks.

76 3/8 x 20 7/8 x 11 3/4 in. (194 x 53 x 30 cm).

Estimate
$350,000 - 450,000 

Sold for $554,500

Contemporary Art Part I

13 May 2010
New York