Massive Content Update

Posted on 3 Feb 2006 In: Forums

Lombi asked this question on the artcone forums: Just wanted to let all of you guys know that ArtWorld recieved a heavy boost of new content today in the form of expert articles.

All in all there are around 300 new articles in 12 categories going from Creativity to Web Design.

Be sure to check them out!

Leader Of The Pack

Posted on 29 Jun 2005 In: Forums

Stasha asked this question on the artcone forums: Antony Gormley decided to pursue art after studying anthropology and nearly becoming a Buddhist monk while travelling in India. The human body, his own in particular, has been his subject in sculpture that explores humanity, space and community
For anyone with even a fleeting knowledge of Antony Gormley’s work, meeting the artist provides interest beyond the immediate personal encounter. Throughout his career Gormley’s work has been intimately concerned with the human body in general and his own in particular. He is a trim 6’4″ tall and in his new, purpose-built King’s Cross studio, he is surrounded by dozens of similarly sized versions of himself. There are heavy casts of his body in various poses, pixelated versions comprised of hundreds of blocks of metal and violent swirls of steel rods, at the heart of which is a body-shaped void.
But while it is undoubtedly arresting to see the real Gormley mirrored in these ways, he is at pains to explain that these works are not sculptures in the normal sense of being a representation of the subject. “I’ve never been interested in making statues,” he says. “But I have been interested in asking what is the nature of the space a human being inhabits. What I try to show is the space where the body was, not to represent the body itself.”

Over the years Gormley has expanded into casting other people and large community projects. He has been recognised with the 1994 Turner Prize and an OBE and works such as Field, with its thousands of tiny clay figures staring so affectingly at the viewer, and his monumental Angel of the North have become some of the best-known contemporary art of the last few decades.

Tate director Sir Nicholas Serota staged Gormley’s first public gallery show, alongside the work of another young sculptor, Tony Cragg, at the Whitechapel in 1981. “I think even then both artists showed that they had the capacity to be stayers,” says Serota. “There was a very strong conceptual base underpinning their work which gave me the sense that these people had thought very deeply about the nature of sculpture and had something to say in the three-dimensional form about wider issues than simply the making of objects.”

One of the works exhibited then, Bed, is now on show at Tate Britain. The double-bed shape is made up of 8,640 slices of Mother’s Pride bread, minus those Gormley ate to make two impressions of his own body as if lying in it. Looking at viewers responding to the work today Serota says: “It seems to have retained its power. The piece is a relic of an action – Antony did eat that bread – and today people respond to it like a relic. It remains an evocative and powerful image.”

Richard Noble, lecturer and writer on art, is publishing a book about Gormley’s work later this year. He says that while Gormley has been influenced by the postminimalist work of artists such as Richard Serra and the land art of others like Robert Smithson and Walter de Maria, he has never fitted easily into any school. “He is interested in artists who investigate the relationship between sculpture and space,” says Noble. “He came up with an interesting generation of sculptors such as Richard Deacon, Bill Woodrow, Tony Cragg and Anish Kapoor and like them he has had his own trajectory. Since the early 1980s he has been engaged in an ongoing project that has proved to be extraordinarily fertile. In the visual arts a lot of people get their 15 minutes, but it is not so easy to sustain a reputation. Gormley’s achievement in continuing to move forward is really quite considerable.”

Gormley’s latest work to be shown in the UK, Another Place, again draws on his own body for the 100 cast-iron figures, made from 17 slightly different moulds, that will face the open sea for 3km either side of the tideline on Crosby Beach on Merseyside. The work deals with the theme of migration as the figures look out at a new horizon, but the complex administrative arrangements in staging it – he has had to come to an accommodation with a “horrendous variety of authorities”, including the coastguards, the RSPB and various local government agencies – has also raised interesting questions.

“It has illustrated that no landscape is innocent, no landscape is uncontrolled,” he explains. “Every landscape has a hidden social dimension to do with both its natural usage and the politics of territory. And I do like the idea that attempting to ask questions about the place of art in our lives reveals these complex human and social matrices.” The work will be in place for 18 months and forms part of Sefton Council’s contributions to Liverpool’s European Capital of Culture celebrations in 2008 and the 4th Liverpool Biennial in 2006.

Gormley is used to high-profile public commissions – his work was on show at the Millennium Dome in 2000 – as well as collaborating with government agencies as part of wider projects. He also works with artists from other disciplines and from July 8-16, a piece undertaken with dancers Akram Khan and Sidi Larbi Cherkaoui and composer Nitin Sawhney will be staged at Sadler’s Wells.

He also appears to exert a particular fascination for writers, with Simon Armitage writing a poem to mark the unveiling of his sculpture Planets at the British Library, and Will Self, AS Byatt and Maggie Gee all publicly engaging with his work. Gee described Angel of the North as “a brave and optimistic emblem of what could happen when you mix unlikely elements together – man and machine, sculpture and nature, high art and mass audience”.

But Gormley’s standing in the art world and with the general public has also perplexed and angered some. Critic Tom Lubbock compared him to Henry Moore in that he “is now Mr British Sculpture. He represents the acceptable and responsible face of contemporary art to an audience who aren’t happy with the rude stuff or the funny stuff, but would dearly like to like something.” More dramatically, Jonathan Jones in the Guardian, referring to Gormley using his own bodily fluids for some of his drawings in an exhibition at the British Museum, complained that “I knew Gormley was powerful, that he dominates and squats on British art like a lead toad, that he is promoted, commissioned and collected everywhere . . . but now we know the worst. Antony Gormley can wank on a piece of paper and get it exhibited at the British Museum.”

Noble acknowledges that Gormley’s “popularity with the public has occasionally counted against him. People complain that the work doesn’t put up enough resistance and is not difficult enough. But surely the fact that the public are able to use his work in a variety of ways is a good thing. A lot of people in the art world are slightly stunned by its success in recent years and are trying to make sense of it. There is a lot of talk about the democratisation of the experience of art. Gormley having been successful with the general public for quite a long time is an example of this democratisation. But that makes some people uneasy.”

Gormley declares himself amazed and delighted by the booming interest in contemporary art. “If you think of the history of Britain post-Reformation, it has been very resistant to visual expression as a sign of continental excess typified by Alfred Munning’s attitude to modernism that it was a ’nasty, foreign trend carried on by the likes of Mr Picasso’. But those ideas have been supplanted by something very, very much more positive and openminded and participatory. Five million people a year now visit the Tate, in part, to discover who they are. If you had to make an argument for the value of art, that is it: art is an instrument we use to find, through an object, a marker in space and time that helps us locate ourselves.”

Gormley was born in London in 1950, the youngest of seven children, to a German mother and devout Catholic Irish father, who ran the first pharmaceutical company to sign a contract with Alexander Fleming for the commercial production of penicillin. The family was wealthy, there was a cook and a chauffeur at the Hampstead Garden Suburb home overlooking the golf course, and Gormley’s father was an art lover. “My dad loved painting more than sculpture and I think he once got Kenneth Clark to come and lecture his workers,” Gormley recalls. “And Sundays would always be church followed quite swiftly by visits to the British Museum or National Gallery.”

Gormley has vivid childhood memories of seeing the vast head of Ramses II in the British Museum – “so enormous and strange and filled with wonder” – and the excavations of the Roman Villa at Fishbourne, outside Chichester. “That was such a revelation. All those intricate and brilliant mosaics of dolphins and lions emerging out of the earth. I always loved looking at things that were hidden and then revealed.”

Gormley was closest to his two immediately elder brothers, Michael, a doctor, and Brendan, chief executive of the Disasters Emergency Committee, which coordinated the British charities’ work after last year’s Boxing Day tsunami. Michael says Antony’s response to these family artistic outings was far more intense than his siblings’. “He can even remember the colours and textures of the blankets and materials of his cot. They figure in his memory bank, which is extraordinary and indicative of something.”

Michael also notes that the three brothers, whether in practical or intellectual terms, all deal with big issues of life and death in their work. “The overriding ethos at home was that we should succeed and our father was very keen that we got the best possible education and made the best use of our talents,” says Michael. “But we were also all quite sensitive to suffering and caring for other people, which is a Christian thing. I also think we found careers that might help deal with and heal our own woundedness. That is certainly true of my doctoring and I think it is true of Antony and Brendan as well. My doctoring is not just about helping other people, it has certainly helped me as well.”

Gormley attended a local prep school followed by a crammer where “a former Gurkha officer sorted me out”. He then followed his brothers to the Benedictine boarding school Ampleforth in Yorkshire. “My feeling about home was that it was a very loving but relatively restricted realm. At school there seemed to be freedom to do things and to make things. Carpentry was wonderful. Being given a two-inch-thick plank of English oak and being asked to make a bench or table. And being guided by someone who really cared was such a privilege and a pleasure.”

Father Dominic Milroy, who was at school with Gormley’s late eldest brother, John, was a master and remembers Antony arriving at the school “already very formed as a person. All the brothers combined a solidity of coming from a happy and stable family with their own eccentricities. For Antony there was already this very single-minded involvement in his art, and while his mannerisms weren’t eccentric, he was never a conformist. As with his brothers there was a sense of him ’going somewhere’.”

Gormley, unsurprisingly, won the school’s art prize twice and was asked to paint a mural. “That was a huge reinforcement. To make something that was part of the fabric of the building.” He was taught for a time by the sculptor and engraver John Bunting, who introduced him to the work of Epstein, Moore and Eric Gill, as well as literature by Eliot and Pound. “By the time I left Ampleforth I had done quite a lot of art and thought about it a lot.”

He went up to Trinity College, Cambridge, in 1968 to read archaeology, anthropology and the history of art. Although an “extremely devout” Catholic as a schoolboy, at university he lost his faith and says he is now “quite conflicted about it. I think that Catholicism uses divine orders of heaven and hell as a basis to control children and I think it is done in a way that is really abusive. Having said that, the monastic ideals of a life based on physical labour and prayer and contemplation with some sort of creative work – whether it is the illumination of manuscript as part of a community – I still think that is a pretty good balance. And I still feel a huge debt of gratitude to the school.”

At Cambridge he first came into contact with artists-in-residence such as Michael Craig-Martin and Barry Flanagan. “It was a very good introduction to the contemporary art world and the course itself suited me down to the ground, as reading all the classic social anthropology texts was extremely useful in learning about the social structures in society.”

He was involved in student protests but never joined a political party. “But we all had our little red books because they were a nice thing to have. And,” he half laughs, “I might even still think Maoist notions such as fat-cat lawyers spending some time planting rice could be applied quite effectively today.”

Although he had little notion of an artistic career, he was soon earning money from painting murals for May balls for which he was paid five shillings per square foot. “You could have psychedelic, tropical or apocalyptic. And of course the bigger the better.”

After graduating in 1971 he continued to paint murals for night clubs and parties and in three months had earned enough money to set off for India on the hippie trail. He was gone for the best part of three years, contracted typhoid, studied meditation with a Burmese guru and considered becoming a Buddhist monk. And it was also in India that he decided to make a serious attempt at life as an artist.

Michael Gormley says the family was worried about him. “He went through this phase of smoking a lot of dope and sending letters home. My mother would say how poetic and creative he was, not knowing this was the effect of marijuana on his writing style. It was tough for him for a while but he has always been very spiritual and he thinks on that sort of level. Then he began to paint in Darjeeling and he was very happy. And my parents, who were originally set against him going to art school, were so very keen that he should come home that they relented.”

Gormley returned home and in 1974 took up a place at the Central School of Art in London before moving to Goldsmiths and then the Slade. He was instrumental in instigating a programme of visiting artists, critics and gallery owners; he also met painter Vicken Parsons, who for most of his early career would make the casts of him for his work. They married in 1980 and have three children, Ivo, Guy and Paloma.

Gormley left the Slade in 1979 and his first major show was at Serota’s Whitechapel Gallery in 1981. “One of the things that was so striking about the work was that he was self-consciously exposing the processes by which the work itself was made and relating it very closely to his own body and his own existence,” recalls Serota. Gormley says the notion of using his body came as a breakthrough. “When making Bed I had this revelation that between what we eat and how we shelter ourselves was our condition and it became obvious that I had to address this in the most direct way possible and use my own experience as a template.”

Early body castings called Three Ways saw him curled into a ball, bending over and lying down with holes at the mouth, anus and penis respectively – “the primary portals from the body to the world”. In Land, Sea and Air II (1982), the figures are standing, kneeling and crouching with eyes, nose and ears open. He says that these and other works from the early and mid-1980s “in a very determined and analytic way, looked at the syntax of the human condition of embodiment. I was obsessed by them, but nobody else seemed that interested.”

He talks about the practical difficulties for a young sculptor. “You need a lot of space and materials. And it is expensive.” He taught two days a week at art schools in Maidstone, then Brighton, until 1987 but it wasn’t until 1993, when he teamed up with Jay Jopling’s White Cube Gallery, that he could stop worrying about making ends meet. Until then he had avoided being connected to a gallery and Michael Gormley says one reason his career was comparatively slow to take off was that Antony didn’t really want it to. “My reading of it was that he was antipathetic to having a marketing man controlling what work he should do next because it would sell. He could have gone about his career very differently but he was quite adamant that he wanted to be his own master and in doing so he was uncommercial.”

Serota says: “Antony was self-consciously trying to make work that addressed issues he felt the public would wish to be engaged in, rather than [appealing to] a collector or the marketplace. He was much more interested in showing in public galleries than in commercial galleries and he has been consistent in this and in his concern to make objects that have an evocative presence and which connect very directly with an audience.”

By the late 1980s this stance, and his obsession with body casts, had led his work into commercial hardship and artistic crisis. “But Field came out of this crisis,” he explains. “I was becoming desperate to find a way of working that was more immediate. I had experimented with clay in a 1986 show at the Riverside Studios because clay is so receptive to touch and carries the sensation of a moment so powerfully. But it took several years to work out that I shouldn’t be manipulating it. The process of giving up making something specific was a long one, but in the end I knew I had to get away from the idea of being the author, the originator and the subject.”

Gormley invited people to his studio and asked them to form a lump of clay into a rudimentary head, and then, with a pencil, “give it eyes to make it conscious. The extraordinary thing was that everyone found their own way of doing that and also how the clay held the feeling and took on personal mannerisms.” The eventual work, rooms packed with tens of thousands of these astonishing beings, had an almost instant impact on the public and critics and culminated in his winning the 1994 Turner Prize.

He has recreated it all over the world using groups of up to 150 people at a time. And he has adopted this collaborative approach in other work. Allotment (1996) saw 300 life-size blocks derived from the dimensions of volunteers in Malmö. Domain Field (2003) at the Baltic Centre for Contemporary Art in Gateshead comprised sculptures of people made from short steel bars so that they look like humanoid wintry trees, Inside Australia (2003) involved the inhabitants of Menzies, Western Australia, creating models placed on 20km of culturally significant ancient lands.

Noble sees a strong democratic and utopian impulse to the collaborative works. “Field had a profound effect on him because before then he had worked pretty much just with his wife. Initially it was him as the artist giving instructions to people. But gradually he gave people more control over the process. There is a move from the very contemplative single body, which is about how we inhabit a space, to the larger pieces, which ask how we occupy a social space. The body remains a continuity, but he moved from the individual to the collective body. Field was pivotal in that respect as it raised questions of our own individuality in relation to the group. Then with works such as Domain Field or Inside Australia you move among the work and become part of the collective body.”

The anthropologist and filmmaker Hugh Brody worked with Gormley and made a film of the Inside Australia project. “There is a coming-together of art and anthropology in Antony,” says Brody. “He has an intense engagement with anthropological and archaeological issues, is fascinated by the human condition, is very engaged with cultural questions and very alert to the relationship between art and society. The aboriginal people responded very enthusiastically and warmly to him and white people did as well. These people were hugely different and fiercely opposed to one another on things like questions of aboriginal rights and title, but he managed to make everyone feel comfortable with him. He was very good at explaining what he was doing and he drew them into the project.”

Since winning the Turner, Gormley has played an important role in the art world. In the late 1990s he served on the Arts Council and then-chairman Gerry Robinson remembers him as “brilliant and inspirational but I think the administrative side drove him up the wall. He spoke his mind in a very fresh way and brought us back to the fact that this was about art which, strange as it might sound, is something that can be easily lost. And he was a wonderful test of the arts community. If Antony was onside, it would probably work.”

Serota notes Gormley’s articulacy in the cause of the arts. “He believes that society should sustain good artists and that artists should then reflect that back in addressing issues of general concern.” Gormley complains about government arts funding but acknowledges that there has been a “sea-change” in the state’s relationship to art over the past 20 years. “My friends in the north-east were absolute agenda setters in this. Gateshead Council had an integrated sculptural commissioning policy from the mid-1980s. The commissioning of Angel was a very high-profile example, but the process had been in place for 15 years by then.”

He talks about art providing “transitional objects to help people bridge the change from a social matrix based on labour and hardship that forged the strong sense of community to one based on pleasure and the shared experience of potential and possibility. That sounds utopian, but I think it is real when you engage with the audience, say, at the Baltic.”

The re-exhibiting of Bed at the Tate has given Gormley an opportunity to reassess his work. “It sounds narcissistic, but I loved looking again. It’s very good to revisit points of origin and seeing Bed shows that the primary motivations in the work are still there in that it addresses the tension between being and nothingness and the idea that all culture is trying to do is to inscribe, in whatever pathetic way, some trace of human presence in a changing world. In a way it could seem a total irrelevance in this age of cosmology where the human presence is a total irrelevance. But when you think of us as just another life form it allows the luxury of re-looking at our own institutions and seeing whether they are any different from the basic fight-or-flight or the unconscious survival mechanisms of any other pack or shoal or herd.”

Another Place picks up related themes. It was first staged in 1997 at Cuxhaven, Germany, which was one of the major ports for emigration to America in the middle of the last century. “And in one sense it takes on utopia,” he says – “the human need to imagine another life in another place and the founding of a better life on better principles. But in today’s scientific, rational and globalised world we know there is no better place. In some way we have to deal with the here and now and so in a way the work measures the distance between the shore and the horizon through repeated human forms. The persistence of the human form in art is an attempt to deal with that question. Sculpture may now have come down from its plinth and where it belongs is perhaps not very clear. And I’ve tried to deal with that in a number of ways because I ultimately want to deal with the question of where we fit in the scheme of things.”

Everyone needs an angel

Posted on 24 Nov 2006 In: Gallery
Everyone needs an angel submitted in ArtCone gallery by TheDrewster
yeah……i’m back …….woooooo! lmao

By the way that is me in the picture

2070 Everyone needs an angel

Sculpture Breaks Day-old Modern-art Price Record

Posted on 10 Nov 2005 In: Forums

spllogics asked this question on the artcone forums: NEW YORK (Reuters) – A red-hot contemporary-art market notched another new price record Wednesday, when a sculpture by David Smith sold at auction for $23.8 million and broke a mark for postwar art set just 24 hours earlier.

The American artist’s large stainless-steel sculpture “Cubi XXVIII” was billed as the highlight of Sotheby’s post-war and contemporary-art auction, but it surpassed expectations when bidders drove the price to $23.8 million, including commission.

That was nearly twice the high-end estimate. The sale broke the record for a single piece of post-World War Two or contemporary art, set Tuesday when Mark Rothko’s painting “Homage to Matisse” sold at Christie’s for $22.4 million.

The previous record had held firm since 1989.

The price for the Smith sculpture contributed to the sale’s total take of $114.5 million, which exceeded the high estimate of $108 million.

“It was the best contemporary-art sale we’ve ever had,” said Tobias Meyer, Sotheby’s head of contemporary art and the evening’s auctioneer. He cited the “depth of bidding” and “global buying” as factors contributing to the strong prices.

The price for the Smith sculpture was nearly five times the artist’s previous record, also set just a day earlier. Smith died in 1965 shortly after he completed the work, which evokes a gate or an arch.

The auction capped two weeks of successful sales at Sotheby’s and rival Christie’s, which dominate the top echelons of the auction world. Most of the auctions topped their high-end pre-sale estimates, something that has not occurred in recent memory.

Works by other artists, including Andy Warhol and Cy Twombly also sold well, with the record for Twombly broken twice, first by the painting “Untitled (Rome)” which sold for $7.97 million, then by “Untitled (New York City)” which fetched $8.7 million, far above the old mark of $5.6 million.

Warhol’s “Jackie Frieze,” a series of 13 silkscreens of presidential widow Jacqueline Kennedy in mourning, rendered in white or varying shades of blue, sold for $9.2 million. Another iconic image, 1964’s “Flowers,” sold for $6.7 million, beating the high estimate.

Other artists whose work broke records included Hiroshi Sugimoto, Francis Alys, Vija Celmins and Louise Bourgeois, whose “Spider” sculpture sold for just over $3 million, doubling her record.

Damien Hirst also set a record for a painting, while Warhol’s mark for sculpture was broken as well.

source: [url=;_ylt=Am0iONIa0Z9eEsOFO4pwKSQSH9EA;_ylu=X3oDMTBiMW04NW9mBHNlYwMlJVRPUCUl]…HNlYwMlJVRPUCUl[/url]


tell me about art as carrier.?

Posted on 15 Jul 2007 In: Forums

Kevin asked this question on the artcone forums: i am very much interested in drawing and painting how can i explore my talent ?i want to choose my carrier as an artist.
is it possible for me to conduct an exibition of my paintings.also i want to know about frames.

We Suck Young Blood

Posted on 16 Jan 2007 In: Gallery
We Suck Young Blood submitted in ArtCone gallery by AT
Olympus FE-140, Photoshop CS2
2214 We Suck Young Blood

Combining Burning/dodging To Obtain A Glow?

Posted on 5 Dec 2005 In: Forums

Notavegan asked this question on the artcone forums: I’m very new to photography… in fact i’m taking an intro to photo class in highschool and we’ve just learned about dodging and burning…

well i was wondering if you could make a normal 4×6 black and white exposure…
and then take a piece of tracing paper over the exposure and gently shade with a pencil where you want your glow to be… some constructive criticism would be helpful

Mock Turner Prize contest 2005

Posted on 20 Oct 2005 In: Forums

Feathers asked this question on the artcone forums: Next week four finalists will attempt to show the public why they should win the UK’s most prestigious contemporary art competition, the Turner Prize.
The Turner Prize exhibition has been unveiled at the Tate Britain gallery, featuring works by Darren Almond, Gillian Carnegie, Jim Lambie and Simon Starling.

Last year’s £40,000 prize was won by Jeremy Deller, for a film about US President George Bush’s home town in Texas.

The prize has caused controversy in the past – with Charles Saatchi condemning one year’s shortlist as “pseudo-controversial claptrap”.

Last year we held a mock Turner Prize competition to see what BBC News website users could come up with.

We whittled the entries down to 10, and you voted Chris Jordan’s Bi-polar – drawn with a sparkler and photographed using a single long exposure – the winner.

See last year’s entries


Could you beat that? This year, we are running the competition again, and would like to receive digital photos of your entries.

Once again, we will be compiling the best images in a picture gallery, so please send us your name, your nearest town or city, and some brief details about the picture you have sent.

Although the Turner Prize is famed for being controversial, please bear in mind that we will not accept offensive images and that there is no prize on offer.

E-mail them to


Posted on 29 Mar 2006 In: Gallery
puss submitted in ArtCone gallery by jsi
The image was given a lot o contrast to darken the cats, and burn off the background. Additional brushing of the fur with black to darken more and white to for highlighting. The eye colour was saturated.
1076 puss

what is the building near to sears tower?

Posted on 24 Jun 2007 In: Forums

Artist asked this question on the artcone forums: i am doing a presentation about post modernism

i found a picture, but i just know that the left building is Sears tower from the picture.

i want more details about this two building such as when was them created, by whom.

here the piceture:



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