Gormley-Sculpture-Unveiled-In-Christchurch

Total Page:16

File Type:pdf, Size:1020Kb

Gormley-Sculpture-Unveiled-In-Christchurch http://www.stuff.co.nz/the-press/christchurch-life/art-and-stage/visual-art/84860935/new- gormley-sculpture-unveiled-in-christchurch The second part of Sir Antony Gormley's Stay, installed at the Christchurch Arts Centre. A twin to a controversial Christchurch statue has received an "overwhelmingly positive reaction" to its new home in the Arts Centre. The second part of Sir Antony Gormley's Stay, a work comprising twin humanoid cast-iron statues, was unveiled on Saturday. The first statue was installed in the Avon River last year. The new statue has been placed in an outdoor corridor at the neo-gothic Arts Centre, which has undergone major repairs after sustaining earthquake damage. http://www.stuff.co.nz/the-press/christchurch-life/art-and-stage/visual-art/84860935/new- gormley-sculpture-unveiled-in-christchurch It is identical to the sculpture installed in the Avon River last year. Its installation was delayed for about a year due to the repairs. Scape marketing and communications manager Carolyne Grant said there had been a constant stream of commentary over Gormley's first sculpture, but Saturday's unveiling to the public attracted an "overwhelmingly positive reaction". About 570 people were counted in the quad over a half hour period. http://www.stuff.co.nz/the-press/christchurch-life/art-and-stage/visual-art/84860935/new- gormley-sculpture-unveiled-in-christchurch "It was really important that the opening was to the public, so it wasn't a grand opening with senior officials . it was very much what we wanted it to be." Unlike its river-dwelling twin, visitors can walk up to the Arts Centre sculpture. A campaign encourages them to take a selfie with it. Both statues were made to Gormley's own physical dimensions, and feature a notably hunched demeanour. The commission of Stay had been a three-year process, which was now complete, Scape Public Art director Deborah McCormick said. "He [Gormley] doesn't want the work to be a memorial, but he does want it to speak to the physical condition and human condition of Christchurch following the earthquakes." The twin statues were intended to represent two sides of post-earthquake Christchurch – one in the natural, largely untouched river and the other in an enclosed, quake-damaged space. The decision to wait for repairs at the Arts Centre had been worth it, McCormick said. http://www.stuff.co.nz/the-press/christchurch-life/art-and-stage/visual-art/84860935/new- gormley-sculpture-unveiled-in-christchurch "We did consider putting it in at other sites, because there's obviously been a delay, but to be true to the concept we decided to wait until the Arts Centre is complete." Stay was provided by the artist at a discounted rate. The Christchurch City Council contributed $500,000 to its cost. It was called exorbitant by some critics, who felt the money was better spent elsewhere. Stay forms the centrepiece of this year's Scape Public Art exhibition, titled Presence. It includes 12 public artworks linked by a 30-minute walk through the city. Managing curator Heather Galbraith said Stay had been a "massive coup" for the city. It was a good launching point for the other art works in the public art festival, which would now happen every year. "It's a great opportunity to be drawn back into the city," she said. "There's already been strong interest and curiosity about what works have been selected and what sites are being used." Other works include Diminish and Ascend by Auckland artist David McCracken, a 13-metre staircase installed in Kiosk Lake at the Botanical Gardens, and Mark Catley's Sign O' the Times at Re:Start mall. .
Recommended publications
  • The Mw 6.3 Christchurch, New Zealand Earthquake of 22 February 2011
    THE MW 6.3 CHRISTCHURCH, NEW ZEALAND EARTHQUAKE OF 22 FEBRUARY 2011 A FIELD REPORT BY EEFIT THE CHRISTCHURCH, NEW ZEALAND EARTHQUAKE OF 22 FEBRUARY 2011 A FIELD REPORT BY EEFIT Sean Wilkinson Matthew Free Damian Grant David Boon Sarah Paganoni Anna Mason Elizabeth Williams Stuart Fraser Jenny Haskell Earthquake Field Investigation Team Institution of Structural Engineers 47 - 58 Bastwick Street London EC1V 3PS Tel 0207235 4535 Fax 0207235 4294 Email: [email protected] June 2011 The Mw 6.2 Christchurch Earthquake of 22 February 2011 1 CONTENTS ACKNOWLEDGEMENTS 3 1. INTRODUCTION 4 2. REGIONAL TECTONIC AND GEOLOGICAL SETTING 6 3. SEISMOLOGICAL ASPECTS 12 4. NEW ZEALAND BUILDING STOCK AND DESIGN PRACTICE 25 5. PERFORMANCE OF BUILDINGS 32 6. PERFORMANCE OF LIFELINES 53 7. GEOTECHNICAL ASPECTS 62 8. DISASTER MANAGEMENT 96 9. ECONOMIC LOSSES AND INSURANCE 108 10. CONCLUSIONS 110 11. REFERENCES 112 APPENDIX A: DETAILED RESIDENTIAL DAMAGE SURVEY 117 The Mw 6.2 Christchurch Earthquake of 22 February 2011 2 ACKNOWLEDGEMENTS The authors would like to express their thanks to the many individuals and organisations that have assisted with the EEFIT mission to Christchurch and in the preparation of this report. We thank Arup for enabling Matthew Free to attend this mission and the British Geological Survey for allowing David Boon to attend. We would also like to thank the Engineering and Physical Sciences Research Council for providing funding for Sean Wilkinson, Damian Grant, Elizabeth Paganoni and Sarah Paganoni to join the team. Their continued support in enabling UK academics to witness the aftermath of earthquakes and the effects on structures and the communities they serve is gratefully acknowledged.
    [Show full text]
  • Annual Report 2018/2019
    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
    [Show full text]
  • PRESS 2007 Eimear Mckeith, 'The Island Leaving The
    PRESS 2007 Eimear McKeith, 'The island leaving the art world green with envy', Sunday Tribune, Dublin, Ireland, 30 December 2007 Fiachra O'Cionnaith, 'Giant Sculpture for Docklands gets go-ahead', Evening Herald, Dublin, Ireland, 15 December 2007 Colm Kelpie, '46m sculpture planned for Liffey', Metro, Dublin, Ireland, 14 December 2007 Colm Kelpie, 'Plans for 46m statue on river', Irish Examiner, Dublin, Ireland, 14 December 2007 John K Grande, 'The Body as Architecture', ETC, Montreal, Canada, No. 80, December 2007 - February 2008 David Cohen, 'Smoke and Figures', The New York Sun, New York, USA, 21 November 2007 Leslie Camhi, 'Fog Alert', The Village Voice, New York, USA, 21 - 27 November 2007 Deborah Wilk, 'Antony Gormley: Blind Light', Time Out New York, New York, USA, 15 - 21 November 2007 Author Unknown, 'Blind Light: Sean Kelly Gallery', The Architect's Newspaper, New York, USA, 14 November 2007 Francesca Martin, 'Arts Diary', Guardian, London, England, 7 November 2007 Will Self, 'Psycho Geography: Hideous Towns', The Independent Magazine, The Independent, London, England, 3 November 2007 Brian Willems, 'Bundle Theory: Antony Gormley and Julian Barnes', artUS, Los Angeles, USA, Issue 20, Winter 2007 Author Unknown, 'Antony Gormley: Blind Light', Artcal.net, 1 November 2007 '4th Annual New Prints Review', Art on Paper, New York, USA, Vol. 12, No. 2, November-December 2007 Albery Jaritz, 'Figuren nach eigenem Gardemaß', Märkische Oderzeitung, Berlin, Germany, 23 October 2007 Author Unknown, 'Der Menschliche Körper', Berliner Morgenpost, Berlin, Germany, 18 October 2007 Albery Jaritz, 'Figuren nach eigenem Gardemaß', Lausitzer Rundschau, Berlin, Germany, 6 October 2007 Natalia Marianchyk, 'Top World Artists come to Kyiv', What's on, Kyiv, Ukraine, No.
    [Show full text]
  • Jones, Alice “Sir Antony Gormley Interview: 'I Don't Have Any Choice
    ! Jones, Alice “Sir Antony Gormley interview: 'I don’t have any choice over this: it's what I was born to do'” The Independent, May 8, 2015. Sir Antony Gormley, 64, is lying on his back on the smooth concrete floor of his studio and is swinging his long legs from side to side. Paint-spattered trousers, red socks, hiking boots, all cutting a lanky, alarming swathe through the air. “I do about 60 of these,” he says. “It’s very good for the spine, I think.” He sits up, a bit puffed out, and starts to crunch his abs. “And then 50 of these – sit-ups – I have to, kind of, hold my feet down. I tuck them under the bed, or the radiator.” To be fair, I kind of asked for this display. The last time I interviewed Gormley, in 2010, for Horizon Field, in which he scattered 100 sculptures across the Austrian Alps, he told me that he had hired a personal trainer. He famously uses his own body to cast his figures and, having just turned 60, he had found his art was getting a little plump. So is he still training? ! ! An employee walks through Antony Gormley's installation, Breathing Room III, at his exhibition 'Test Sites' at the White Cube Gallery, London “I got rid of him. No, Julian was very nice, but now I do my morning routine in order to be able to face the day. A few stretches, a few press-ups, a few sit-ups. You know...” Is he, I wonder, as he picks himself up off the floor and lopes back to his chair, worried about ageing? “No.
    [Show full text]
  • The Iron Men | Art and Design | the Guardian
    The iron men | Art and design | The Guardian http://www.guardian.co.uk/artanddesign/2010/aug/07/antony-... The iron men Antony Gormley explains why he has spent the past five years on a project to erect Horizon Field, 100 sculptures of his body, in the Austrian alps Antony Gormley The Guardian, Saturday 7 August 2010 larger | smaller Figure in a landscape . part of Antony Gormley's Horizon Field, near Lech in the Austrian Alps. Photograph: David Levene for the Guardian It started as a whim and ended up taking five years. Last Sunday morning a band of assorted folk set out on a walk across the base of Mohnenfluh in the Bregenzerwald. The 2,544m mountain is at the centre of a high dilution of sculpture, over a wide and varied field of alpine meadows that catch the slanting sunlight and seem to be made of a deep velvet; gypsum sinks that hide micro-climates of secret ferns where greedy flies suck the nectar from the heavy heads of cow parsley; bright streams that run from the ice-melt into shining falls that turn the grey schist black; deep forests of high-reaching pine; and among the craggy heights the occasional glimpse of ibex or wild sheep. It was a bright morning, the sky a deep blue, the air clear and completely still, given depth by the dull clonking of cow-bells on the udder-stretched alpage-grazers: subtly beige-shaded Braunvieh who with their big brown eyes occasionally left off their chomping to stare at us. High above are the peaks – occasionally shadowed by cloud but mostly sharply outlined against the infinite blue.
    [Show full text]
  • Antony Gormley the Landmark Trust May 2015 – May 2016
    L A N D ANTONY GORMLEY The Landmark Trust May 2015 – May 2016 LAND comprises five life-size standing sculptures The Landmark Trust is about people and places. by Antony Gormley cast in iron and installed at five It was founded in 1965 to save endangered import- Landmark Trust sites across the UK for 12 months ant buildings and to enable people to inhabit them. from 16 May 2015. The works have been conceived Through such places the lives lived on these islands in direct response to each unique location. for millennia are with us still, and for our 50th anniversary we wanted to celebrate this relationship between people, places and time in a new way. 1 Saddell Bay, Mull of Kintyre, Argyll and Bute No contemporary artist has been more eloquent 2 and imaginative in considering such questions than South West Point, Lundy, Bristol Channel, Devon Antony Gormley and it is thanks to his enthusiasm for Landmark, and his generous support, that this 3 project has come into being. Just as 18th-century Clavell Tower, Kimmeridge Bay, Dorset political artists represented Britain as a person, 4 so LAND seems to me to describe an imaginative Martello Tower, Aldeburgh, Suffolk human geography in which water forms both the skin and the arteries of our island body. We hope 5 it will pique the curiosity and imagination of those Lengthsman’s Cottage, Lowsonford, Warwickshire who encounter it, and provoke conversations about our relationships with our landscape, our past and one another. Dr Anna Keay Director, The Landmark Trust LAND simply become an unnecessary addition but where it could be a catalyst and take on a richer or deeper The prospect of making five works for five very engagement with the site.
    [Show full text]
  • ANTONY GORMLEY Biography 1950 Born in London, England Lives In
    ANTONY GORMLEY Biography 1950 Born in London, England Lives in London, England SELECTED AWARDS 2014 Knighthood for Services to the Arts 2013 Praemium Imperiale Prize in Sculpture 2012 Obayashi Prize 2007 Bernhard Heiliger Award for Sculpture 2004 Honorary Doctorate, Newcastle University 2003 Honorary Doctorate, Cambridge University Honorary Fellow of Jesus College, Cambridge Honorary Fellow of Trinity College, Cambridge Royal Academician 2001 Honorary Doctorate, Open University Honorary Fellow of the Royal Institute of British Architects 2000 British Design and Art Direction Silver Award for Illustration Civic Trust Award for The Angel of the North Fellow, Royal Society of Arts 1999 South Bank Art Award for Visual Art 1998 Honorary Doctorate, University of Sunderland Honorary Doctorate, University of Central England, Birmingham Honorary Fellowship, Goldsmith's College, University of London 1997 Order of the British Empire 1994 Turner Prize, Tate Gallery, London, England SELECTED SOLO EXHIBITIONS 2022 GROUND, Museum Voorlinden, Wassenaar, The Netherlands 2021 ANTONY GORMLEY, National Gallery Singapore, Singapore FIELD FOR THE BRITISH ISLES, Northern Gallery for Contemporary Art (NGCA) at the National Glass Centre, Sunderland, United Kingdom LEARNING TO BE, Schauwerk Sindelfingen, Germany PRESENT, Rana Kunstforening, Mo Rana, Norway Last updated: 19 July 2021 2020 IN HABIT, Galerie Thaddaeus Ropac, Marais, Paris 2019 Antony Gormley, Royal Academy of Arts, London, United Kingdom BREATHING ROOM: ART BASEL UNLIMITED, Art Basel, Switzerland
    [Show full text]
  • Antony Gormley Free
    FREE ANTONY GORMLEY PDF Martin Caiger-Smith | 128 pages | 15 Oct 2010 | TATE PUBLISHING | 9781854377975 | English | London, United Kingdom Antony Gormley | artnet Culture Trip stands with Black Lives Matter. Built inthe Angel of the North is a majestic, giant figure of an angel placed in Gateshead, near the A1. Dominating the skyline, this metre tall sculpture with a metre wide wingspan is seen by approximately 90, drivers each day, plusvisitors who Antony Gormley to experience being in the presence of the Angel. The tonnes of corten steel is placed in the north-east part of the UK to celebrate and commemorate the coal mine workers who for years worked Antony Gormley mines underneath the Antony Gormley of the region in which the sculpture stands. Exposure is a piece of public art that is created to react to the changing environment. Due to the changes caused by global warming, the concern is that of rising of sea levels. Gormley placed his squatting figure on a thin piece of land between the Dutch town of Lelystad and the sea. With time, as the water levels rise, the sculpture will gradually be buried Antony Gormley water. The figure is isolated, as there are no other constructions around it. Leystad, Netherlands. The installation consists of 51 works spread around Lake Ballard in Western Australia. The figures, again body-like, are based on scans of Antony Gormley of the nearby town. Their height remained original, but their thinness has been reduced, which makes them more mysterious and harder to spot. The casts have been produced using metals found in the region and were installed in Lake Ballard, Western Australia Over days, members of the public occupied the Antony Gormley and registered members stood on it for an hour.
    [Show full text]
  • PRESS 1997 David Whetstone, 'Sculptor Unveils
    PRESS 1997 David Whetstone, 'Sculptor unveils a virtual reality model', The Journal, Newcastle, 4 December 1997 Ilse Cordes, 'Figur oder Dokumentation?', Cuxhavener Nachrichten, Cuxhaven, Germany, 7 November 1997 Boris Hohmeyer, 'Der Blick geht hin ueber nach England', Art, Hamburg, Germany, November 1997 Matthew Higgs, 'Follow Me', Art Monthly, London, England, November 1997 Mairi Ben Brahim/Helen Gibson/Barry Hilenbrand/Philip Skelding, 'Britain renewed', Time Magazine, New York, USA, 27 October 1997 Dora Hartmann, 'Die Meditation der Kurgaste', Die Tageszeitung Abkurzung taz, Bremen, 18 - 19 October 1997 Author Unknown, 'Antony Gormley - Wattenmeerprojekt - Cuxhaven', Art, Hamburg, Germany, October 1997 Author Unknown, 'Angel of the North wings in', The Financial Times, London, England, 22 September 1997 Jessica Kempe, 'Ogon spanda I trad', Dagens Nyheter, Stockholm, Sweden, 19 September 1997 Katja Blomberg, 'Eisenmaenner auf ihrem Weg ins Meer', Frankfurter Allgemeine Zeitung, Frankfurt, Germany, 18 September 1997 Hagen Haastert, 'Tagein, tagaus regungslos in den Fluten stehen', Main-Echo, Aschaffenburg/ '100 Maenner nackt im Watt', Darmstaedter Echo, Darmstadt, Germany, 6 September 1997 Eva Runefelt, 'Behallare som skyddar det levande', Svenska Dagbladet, Stockholm, Sweden, 6 September 1997 Author Unknown, 'Antony Gormley Exhibition', The British Council Bulletin, Tokyo, Japan, July/August/September 1997 Ian Tromp, 'Inside outlines', Dharma Life, London, England, Summer 1997 Jens Ronnau, 'Antony Gormley: Our House: Kunsthalle zu Kiel',
    [Show full text]
  • Antony Gormley Field for the British Isles Education Information Pack
    Antony Gormley Field for the British Isles Education information pack www.artscouncilcollection.org.uk twitter: A_C_Collection Cover image: Antony Gormley Field for the British Isles, 1993 Terracotta Variable size: approx. 40,000 elements, each 8-26 cm tall Installation view, Irish Museum of Modern Art, Dublin, Ireland Arts Council Collection, England [Photographer not known] Contents Page How to use this pack 2 The Arts Council Collection 2 Introduction 3 History 3 Making 4 Installation 6 Where Field for the British Isles (1993) has been seen 7 Antony Gormley biography 8 Themes and project ideas 12 The human figure 13 A place for art 15 Strength in numbers 17 A collaborative task 19 Making and materials 21 Art and spirituality 23 Places to see Antony Gormley’s work in the UK 25 Further reading 26 Other works by Antony Gormley in the Arts Council Collection 27 1 How to use this pack This pack is designed for use by gallery education staff, teachers and other educators. It provides background information about Antony Gormley and the making of Field for the British Isles (1993), as well as a section outlining some of the key themes arising from the work, along with activity suggestions. These could form part of a project before, during, or after a visit to see the exhibition. Informed by current National Curriculum requirements, they are targeted primarily at Key Stage 2 and 3 pupils, though could also be adapted for older or younger pupils. Information in the pack will also prove useful for pupils undertaking GCSE and ‘A’ level projects.
    [Show full text]
  • Antony Gormley Horizon Field Hamburg April 27 – September 9, 2012 Halle Für Aktuelle Kunst
    ANTONY GORMLEY HORIZON FIELD HAMBURG APRIL 27 – SEPTEMBER 9, 2012 HALLE FÜR AKTUELLE KUNST British artist Antony Gormley has developed a spectacular new installation especially for the large Deichtorhalle: »Horizon Field Hamburg«, which will be on view during the documenta. Between April 27 and September 9, 2012, visitors will enter the north hall of the Deichtorhallen to be confronted by a space that is almost 4,000 sq. m. in size, nearly 19 meters high, and virtually empty. »It is critical that the experience of the space is utterly clear and that in there we see a void, clean building re- imagined as a kind of gymnasium for mind and body,« says Gormley. In this open space a vast, black, reflective structure will float nearly 7.5 metres above the floor, inviting adventure. The suspended, slightly oscillating platform exploits the structural potential and architectural context of the Deichtorhallen building, now over a century old, taking visitors into a new spatiotemporal matrix. The space below the work will be in shadow, sparsely illuminated by light that comes from the skylights far above. Here visitors can tarry and listen to the steps and voices of the invisible people above them. Every quality of the day or night, every sound and accident of light will become part of the work itself. »There is a double bind here. We have a real choice of how we wish to participate,« Gormley explains. »We can stay in an underworld or climb skywards. Both scenarios put the human subject into a dynamic position of jeopardy.« »Horizon Field Hamburg« will provoke an experience of re- orientation and re-connection with walking, feeling, hearing and seeing.
    [Show full text]
  • STAY Antony Gormley Education Resource
    Antony Gormley, STAY (2015) Computer render image courtesy of the artist. STAY Antony Gormley Education Resource Resource produced by SCAPE Public Art Generously supported by: Contents 2 How to Use This Resource 2 Making the Most of Your Visit to the Artworks 3 Antony Gormley Biography 4 Themes Within Gormley’s Work - The Body - Art and Spirituality - Beyond the Gallery: The Figure in Nature 6 STAY (2015) 7 Making the Work 10 References 1 Antony Gormley Education Resource STAY How to Use This Resource This Education Resource has been designed to support educators in creating exciting and engaging learning opportunities before, during and after their visit to renowned British artist Antony Gormley’s work STAY. It provides background information about Antony Gormley and the making of STAY (2015), and includes activity suggestions in relation to the work. These could form part of a project before, during, or after a visit to see the work. Informed by the New Zealand Curriculum the pack is designed to be tailored to various year groups from Year 1 through to Year 13 and beyond, using different approaches as age appropriate. Making the Most of Your Visit to the Artworks Before you visit STAY, find out about some of Antony After your visit use these prompts as suggestions for Gormley’s other artworks. This is Gormley’s first sculpture follow up activities: in New Zealand, but the examples of his work are found internationally. Do any of your students know any of his works Review any initial mind-maps and see how the artist already? Record which pieces they have heard of and what considered those elements.
    [Show full text]