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Teacher Resource Suitable for Teaching KS3–5 and FE Introduction Royal Academy of Arts Contents roy.ac/teachers 21 September – Introduction Email studentgroups@ 3 December 2019 Illustrated key works with royalacademy.org.uk information, questions, key or call 020 7300 5995 to words and links to other artists book your visit Classroom activities Teacher Resource Suitable for teaching KS3–5 and FE Introduction Angel of the North, which stands 20 to sculpture, he resists realistic Left: Portrait of Antony Gormley. metres high and is located just outside representation, preferring instead to Photo by Benjamin McMahon Gateshead in the north of England. construct environments that focus on Below: Field for the British Isles, 1993. the experience of the viewer. As he Terracotta. Variable size: approx. 40,000 elements, each 8-26 cm tall. Arts Council Collection, Southbank Born in London, Gormley was explains, ‘What I hope I’ve done is to Centre, London © the Artist. Installation view, Irish educated at a Catholic boarding school completely remove the problem of the Museum of Modern Art, Dublin, Ireland. Arts Council in North Yorkshire. After completing his subject.’ Collection, England degree in archaeology, anthropology This Turner Prize winning work consisting of and history of art at Trinity College, approximately 40,000 clay figures of various heights from 8–26 cm was created by a community of 100 Cambridge, he spent three years in people from St Helens, Merseyside. The makers were India. During this time, he studied given the following instruction: ‘Take a hand-sized vipassana, an ancient Buddhist ball of clay, form it between the hands, into a body- surrogate as quickly as possible. Place it at arm’s meditation technique that focuses on length in front of you and give it eyes.’ the connection between body and mind. Moving back to London in 1974, Gormley studied at Goldsmiths’ College before completing a two-year post- Antony Gormley (b. 1950) is a graduate degree at the Slade School British sculptor. His work explores of Fine Art. In 1981 he was offered the relationship of the human body his first solo show at the Whitechapel to time and space. Best known for Gallery, London. Around this time he his ‘bodyform’ sculptures, Gormley began to make the human body the challenges and interrogates traditional primary focus of his work. notions of the presentation of the human figure in the history of Western Many of Gormley’s interests in the art. Rather than monumentalising his 1970s and 1980s are still present in subjects, he explores the body as a his work today. Throughout his career container for human experience, and to date, he has been intrigued by the the involvement of the viewer is integral dark space inside the body; the human to the meaning of the work. Ranging experience of life, death, growth and from small-scale to larger installations, reproduction; and the relationship his projects are realised both inside between the natural and built worlds. and outside the gallery space. In 1994, Gormley’s inventive approach to Gormley was awarded the Turner Prize different materials and processes for Field for the British Isles and in 1998 remains essential to the meaning of his he completed his best-known work, work. Defying conventional approaches Antony Gormley, Angel of the North, 1998. Steel, 20 x 54 x 2.2 m. Permanent installation, Gateshead, Tyne and Wear, UK. © the Artist. Photo: Edifice / Bridgeman Images GalleryGallery 5 5 Gallery 6 Gallery 3 Central Hall Lecture Room Gallery 2 Gallery 2 Land, Sea and Air I and for which he has become so well Key words Questions for students known (see Land, Sea and Air II). The process of concealing the object to Is it possible to guess which of the three remove it from view was a revelation conceal objects contains the original stone? to Gormley and pre-empted his elements exploration of the dark interior of the Why do you think Gormley gave this work the human body. encase title Land, Sea and Air I? entomb Experimenting with different materials By referring to land, sea and air in the title, is at the core of Gormley’s practice. granite stone Gormley suggests a landscape. Many of his In this work, the primary elements Land Sea and Air I, 1977–79. irreducible other works depict the human body. Suggest Lead, stone, water and air. Three elements; of earth, air and water are wrapped ways in which the human body could become a 20 x 31 20 cm © the Artist. Photo: Stephen White in lead, a permanent and irreducible lead landscape. & Co. substance. At once, Gormley both plumber’s solder preserves and entombs nature. Describe your own inner landscape. What preserve shape would it have? What colours? What In 1979, Land, Sea and Air I was pre-empt textures? exhibited as part of Gormley’s In the summer of 1977, Gormley postgraduate sculpture show at the welding How has Gormley changed our perception of visited Ireland. While in Connemara, Slade School of Art, where it was the stone, air and water by concealing them? displayed alongside other works he on the west coast, he picked up a had made from stone, wood and bread. By concealing an object we could protect, granite stone and took it home. Back In the Royal Academy exhibition, the preserve and even extend its life. Give in London, he encased the stone in work is shown in Gallery 2 in a similar examples of preservation of both natural and lead, welding the pieces together using context. man-made things. plumber’s solder. A year later, Gormley opened the wrapped stone. He went How do titles of artworks, such as Land, Sea on to encase it in lead twice more. He and Air l, help us to relate to the objects we left one of the lead cases empty, filled are looking at? What is the role of the title in another with water, and left the third revealing the mystery encased in the lead? case with the original stone inside. Suggest an alternative title for this artwork. Grouped together, these three rounded shapes form Land, Sea and Air I. How does this work compare in its use of materials to another work in this exhibition, Gormley still sees this work as ‘the Host? foundation of everything [he is] trying to do’. His lead-encased objects were a precursor to the bodyforms he started to experiment with in the early 1980s, Related themes and Link Extension for KS4/KS5 curriculum links Art & Design Land Sea and Air II, 1982. Giuseppe Penone | Arte Povera Lead and fibreglass, 45 × 103 × 50 cm (crouching), 191 × 50 × 32 cm (standing), 118 × 69 × 52 cm Arte Povera was a radical Italian art Explore connections with art (kneeling). West Wittering Beach, West Sussex, 1982 movement from the late 1960s into the © the Artist movements such as Arte Povera, early 1970s. Artists who formed part of the Minimalism and Land Art. movement were interested in exploring unconventional methods and using a wide Design-Technology and Science range of non-traditional materials such as earth, rocks, clothing, paper and rope. Discuss the properties of materials The term Arte Povera means ‘poor art’ and such as lead and techniques such as was coined in 1967 by Italian art critic and welding. curator Germano Celant. Giuseppe Penone, a leading Arte Povera Consider the process of encasing artist, shares Gormley’s interest in exploring objects. Land Sea and Air ll Both works are titled Land, Sea and Air the nature of skin as a container of and each one includes three pieces. the body. Penone’s Breath sculptures In 1982, Gormley returned to a What other similarities do they share? investigate the mark-making potential of similar format, constructing another Gormley used lead for both works, the sculptor’s hand on their work. The large, sculpture in three pieces, exploring stating ‘lead is a wonderful insulator, pot-like forms bear the imprint of the artist’s Related art exam topics the connection between the body and against liquid or sound leakage, against body on the clay, from his open mouth at the top all the way down to his legs. the elements of earth, water and air. In radioactivity.’ Lead is long-lasting Land, Sea and Air II, the three pieces and offers protection to the fragile the elements The series of drawings titled Breath of Clay are not stones but bodies, placed on a substances inside the cases. How document the thinking process behind connections beach. The first is crouching, listening does Gormley make us think about the sculptures, as Penone imagined the to the ground; the second is standing, radioactivity and the environment? form his exhaled breath would take and spaces looking out to sea; and the third is transformed it into a kind of clay container wrap kneeling with its nostrils open as if In Land, Sea and Air ll, Gormley for his body. inhaling the sky. placed the figures outdoors, facing Consider using easily available materials the elements. Do we relate to works such as stones, mud or clay to explore differently when we see them outdoors the possibilities of mark-making that rather than in a gallery space? Can are unique to yourself and related to the you think of an example where you way you experience materials through your senses (touch, smell, etc.). Create a encountered an artwork outdoors? Describe your experience. visual diary of your thinking and making processes, documenting your attempts and explorations with drawings or photographs. Classroom activity us to understand the concerns, ideas Further Research Useful links Containers and concepts he would like to share with a viewer.
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