Over the past 20 years, the sculptor Antony Gormley has created some of the most memorable and controversial public art installations in Britain, the United States, Germany, Denmark, Norway, Mexico, Australia and China. His work has focused on the human figure and each piece is either cast directly from his own body or one of his volunteer models. He is best known for large-scale landscape interventions, such as Another Place, where 100 cast-iron figures are installed facing the horizon on the coastal mud-flats at Cuxhaven, Germany; The Angel of the North, commissioned by the city of Gateshead in England; and Inside Australia, where 51 sculptures were cast from the inhabitants of Menzies in western Australia, and set in 10 square kilometers of a dried lake. Gormley has also created many collaborative works in major public museum sites, such as the 190,000 figures in Asian Field and the 250 Domain sculptures made of stainless-steel bars commissioned by the Baltic art center in Gateshead, England. This catalogue raisonne is the definitive guide to Gormley's career. An extensive, large-format publication, it is the first major retrospective of his most significant works. Each chapter considers one of 25 projects in a comprehensive visual essay and a text written by the artist, explaining the genesis, creation, and installation of the work. An extended illustrated essay by the renowned political philosopher and writer Richard Noble will consider the development of Gormley's work, its place in the context of late twentieth-century sculpture, and the problematic use of his own body as a model for sculptural forms, as well as offering the first analysis of the political nature of his collaborative works.

Antony Gormley

Noble, Richard

Reference

SteidlMack

Inspired by ancient Japanese ukiyo-e artists and a polymath's myriad references, John Warwicker has for over ten years been one of the most original thinkers in the design and creative industries. A founding member of Tomato, the innovative London design collective, he established an international reputation in the 1990s and has been formative in shaping popular media. The Floating World: Ukiyo-e is the first monograph on Warwicker's work. Rather than simply collect old work from commercial commissions and personal projects, Warwicker has written and designed an extensive, original book which only occasionally references prior work. He sets out to document his experiences in an authentic voice, mining the themes, ideas, histories, and memories which have informed and influenced him over the past ten years. The result is a sophisticated and yet elegiac book constructed from his critical writings, photographs, drawings, films, prints, typography, poetry and prose. Every text page is an original artwork, delicately constructed in layers of typography, and the interwoven illustrations confirm Warwicker as an innovative visual artist.

John Warwicker: The Floating World: Ukiyo-E

Before the invention of photography, civil engineers employed topographic artists to record the progression of their projects. Termed "record pictures," these illustrations followed the tradition of the Dutch topographical landscapes of the seventeenth century, combining the qualities of detail and clarity with the objectivity of technical drawings. As such, record pictures had a scientific rather than an artistic purpose, just as most photography did in its infancy. Photography's prime value was historically regarded as its ability to make highly detailed, objective (and relatively inexpensive) records. Industry was quick to harness the new medium to make record pictures. Significantly, one of the founders of Britain's Photographic Society was a leading civil engineer. This original application gave rise to a genre of landscape photography that has not been properly recognized. Record Pictures: Photographs from the Archive of the Institution of Civil Engineers represents the photographic jewels of arguably the finest collection in Britain. Spanning a period of 75 years from the mid-nineteenth century, the book contains previously unpublished examples drawn from across Europe, Africa, Australasia, the Far East, and Latin America. Record pictures are the unacknowledged foundation of the history of photography. In his introductory essay, Michael Collins demonstrates how this fundamental approach continues unchanged, only now it is no longer industry that applies these principles but such eminent artists as Bernd & Hilla Becher and Thomas Struth, proponents of contemporary art photography.

Record Pictures: Photographs from the Archive of the Institution of Civil Engineers

Arts & Photography

Individual Artists

With a highly original approach to photography, Anders Edstràm creates small sequences of sparse images which elaborate a filmic narrative of inconsequential moments, stories of moments in between moments. As Curtis Winter writes in the introduction to this artist's book, "They appear as the aftermath of some wire brush cleaning of a slate. To which elements were slowly added. Family, some nature, friends, a bit of community, d cor. Images pulled from the gaps between changing nappies, having meals, talking, getting from here to there..." Waiting Some Birds a Bus a Woman and Spidernets Places a Crew are two volumes which collect together some of these stories.

Anders Edstrom: Waiting Some Birds A Bus A Woman & Spidernets Places A Crew

Winter, Curtis

"I met Charles Albert Lucien Snelling on a Saturday in April, 1992. He lived in a typical two-up, two-down terraced house amongst many other two-up, two-down terraced houses... it was yellow and orange. In that respect it was totally different from every other house on the street. Charlie was a simple, gentle man. He loved flowers and the names of flowers. He loved color and surrounded himself with color. He loved his wife. Without ever trying or intending to, he showed me that the most important things in life cost nothing at all. He was my antidote to modern living." Over eight years, photographer Julian Germain documented Charlie, an elderly man living alone on England's Southern Coast, unfettered by the misplaced aspirations of the modern world; instead he spent the last years of his life absorbed in memories of his family, his love for flowers, music and the quotidian pleasures of the crossword. Germain's charming photographs are a beautiful, gentle portrait of a gentleman in his twilight years.

Julian Germain: For Every Minute You Are Angry You Lose Sixty Seconds Of Happiness

"I have been a professional Middle Eastern dancer, or as it is called in the West, belly dancer, for ten years. I photographed this collection of images during a period of three years, in which I performed mostly around New York City's five boroughs, their vicinity and parts of New Jersey. I traveled to shows with a married couple, Israelis like myself, who were my agents. He was the drummer, she did the jewelry, so we were a small, tightly knit creative team, spending many hours together on the road. We sometimes did as many as six or seven shows an evening, each in a different location and for a different kind of audience. I danced for Americans, Greeks, Indians, Bukharans, Punjabis, Turkish, Chinese and Gypsy communities. I danced in fancy restaurants for celebrities, in middle-class family events, in sleazy bars, or for men gathered in poor-house basements. There is a tension between the dance's beauty, grace and technical sophistication, and the fact that it thrives on its off-stage settings. It is not just choreographically complicated, it is also direct, sexual, warm, alive. More than that, it is, in its own way, truly intimate. It could not be all that if it wasn't performed in ordinary settings, among, rather than in front of, audiences. This is, in fact, what I personally like so much about it. The mixing with the people, dancing in living rooms, being surrounded by families, grandparents and children at once, the smell of the food and the messiness of real life..." --Elinor Carucci

Diary Of A Dancer

"The Jens pictures began as an experiment. To photograph a young boy in many of the positions that Andrew Wyeth painted the model Helga; to give someone another identity and photograph them through the transformation. Working exclusively in a small town in Germany, I was also interested in the impulse of Americans like Henry James, to travel to Europe in search of a certain "privileged" landscape only in fact to insert an American inflection. The work evolved into a kind of dance between the two models, between painting and photography, between the exacting detail of photography and all the nuances of sketches and drawings. As a way of keeping track of all these images, I began to clip out the contact prints I liked and to paste them into a book. The volume became something like a log or sketchbook, the antithesis of photography where the viewer sees only the finished and perfected photograph. Here they see hundreds of attempts. Each page compiles years' worth of shots, the same picture taken again and again over time. The camera formats change; the boy's body changes; the light changes. Levels of intimacy change. The boy's sister is added as a substitute for Helga's daughter. The boy grows further away from the soft curves of femininity yet closer in his comfort and collaboration." --Collier Schorr. An earlier version of the work was shown at the Whitney Biennial 2002 and at The Warhol Museum in 2005. Signed and numbered edition of 1,000 copies.

Collier Schorr: Jens F.

At the beginning of the 1995 soccer season, Hans van der Meer set out to take photographs of the game that dodged the clich d traditions of modern sports photography. In an attempt to record the sport in its original form--a field, two goals and 22 players--he sought matches at the bottom end of the amateur leagues. He avoided tight telescopic details and the hyperbole of action photography, pulled back from the central subject of the pitch, and set the playing field and its unfolding action in the context of local elements. Over the last 10 years, Van der Meer has continued this project across the playing fields of Europe, traveling to every country with a significant history of the game. The Netherlands yielded 1998's Dutch Fields, and the odyssey that brings forth European Fields has since taken him from Bihariain, Romania to Bjàrkà, Sweden, from Torp, Norway to Alcs*àrs, Hungary, from Bartkowo, Poland to Beire, Portugal, and to urban and suburban Greece, Finland, England, France, Germany, Scotland, Switzerland, Holland, Slovakia, Denmark, Ireland, Wales, Belgium, Spain and Italy. Van der Meer's understated observations of the poetry and absurdity of human behavior on the field use soccer to consider--and provoke a laugh at--the human condition.

Hans van der Meer: European Fields: The Landscape of Lower League Football

Kuper, Simon

At the beginning of the 1995 soccer season, Hans van der Meer set out to take photographs of the game that dodged the cliched traditions of modern sports photography. In an attempt to record the sport in its original form--a field, two goals and 22 players--he sought matches at the bottom end of the amateur leagues. He avoided tight telescopic details and the hyperbole of action photography, pulled back from the central subject of the pitch, and set the playing field and its unfolding action in the context of local elements. Over the last 10 years, Van der Meer has continued this project across the playing fields of Europe, traveling to every country with a significant history of the game. The Netherlands yielded 1998's Dutch Fields, and the odyssey that brings forth European Fields has since taken him from Bihariain, Romania to Bjàrkà, Sweden, from Torp, Norway to Als*àrs, Hungary, from Bartkowo, Poland to Beire, Portugal, and to urban and suburban Greece, Finland, England, France, Germany, Scotland, Switzerland, Holland, Slovakia, Denmark, Ireland, Wales, Belgium, Spain and Italy. Van der Meer's understated observations of the poetry and absurdity of human behavior on the field use soccer to consider--and provoke a laugh at--the human condition. Also available in a large-format hardcover edition.

European Fields: The Landscape of Lower League Football

The American photographer Collier Schorr has been working on and off in Southern Germany for the past 12 years, compiling a documentary and fictional portrait of a small town inhabited by historical apparitions. For Schorr, the German landscape is a map of her own history, both imagined and inherited. Combining the overlapping roles of war photographer, traveling portraitist, anthropologist and family historian, in this series, entitled Forests and Fields, Schorr tells the interwoven stories of a place and time determined by memory, nationalism, war, emigration and family.

Neighbors/Nachbarn

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