Still Standing: Antony Gormley

Still Standing: Antony Gormley

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作者: Margaret Iversen 著 , Dimitri Ozerkov 著 , Anna Trofimova 著

出版社: Fontanka

出版时间: 2011-12

ISBN: 9781906257095

定价: 438.40

装帧: 平装

页数: 128页

正文语种: 英语

分类: 外文古旧书>英文书>童书

The book is made up of 10 classical sculptures from the Hermitage Museum (mostly Roman and one or two Greek), removed from their plinths and repositioned to share a raised floor with the viewer; and 17 highly abstracted body-forms by Antony Gormley. The idea is to juxtapose ancient, idealized statues with Gormleys more disinterested sculptures and see whether, in Gormleys work, the abstract language of Euclidean geometry can make a shelter for feeling, and whether, in the case of the classical works, demounting and putting the viewer on the same level as their original makers can re-establish them as made things. The interaction of the public, captured in documentary photographs, is key to a project that aims to show how classical marbles, Gormleys own sculptures and the living human visitors inhabit the same space and can converse with each other. All Gormleys body works are the residue of an action or event of a real body that is absent translated into an abstract architectural language (which in the Hermitage is in acute contrast to the ornate interiors). His work takes the body as a found object, something already made, as a reflexive object that engages the viewer less as a representation than an acknowledgement of its opposite: the lost subject. Margaret Iversen is Professor of Art History at the University of Essex and one of the leading international authorities in the field of art theory and contemporary art; her main focus of study is psychoanalytic art theory. In 2007 she publishedBeyond Ple
内容简介:
The book is made up of 10 classical sculptures from the Hermitage Museum (mostly Roman and one or two Greek), removed from their plinths and repositioned to share a raised floor with the viewer; and 17 highly abstracted body-forms by Antony Gormley. The idea is to juxtapose ancient, idealized statues with Gormleys more disinterested sculptures and see whether, in Gormleys work, the abstract language of Euclidean geometry can make a shelter for feeling, and whether, in the case of the classical works, demounting and putting the viewer on the same level as their original makers can re-establish them as made things. The interaction of the public, captured in documentary photographs, is key to a project that aims to show how classical marbles, Gormleys own sculptures and the living human visitors inhabit the same space and can converse with each other. All Gormleys body works are the residue of an action or event of a real body that is absent translated into an abstract architectural language (which in the Hermitage is in acute contrast to the ornate interiors). His work takes the body as a found object, something already made, as a reflexive object that engages the viewer less as a representation than an acknowledgement of its opposite: the lost subject.
作者简介:
Margaret Iversen is Professor of Art History at the University of Essex and one of the leading international authorities in the field of art theory and contemporary art; her main focus of study is psychoanalytic art theory. In 2007 she publishedBeyond Ple

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