Showing posts with label Antony Gormley. Show all posts
Showing posts with label Antony Gormley. Show all posts

Sunday, October 9, 2011

Art at NorthPark Center

Mark di Suvero, Ad Astra, painted steel, 2005

NorthPark Center opened in Dallas in 1965.  I moved to Dallas with my family in 1969.  I was instantly in awe of NorthPark mall the first time my mom drove us into the city from the suburb of Richardson.  All of these years later I am still in awe of NorthPark Center, and since I live just a few freeway exits south I visit the Center all the time!

Barry Flanagan, Large Leaping Hare, gold leaf over bronze, on painted tubular-steel base, 1982

Ad Astra and Large Leaping Hare are my favorite sculptures in the Center.  Flanagan's Hares are so joyous to me.  I love seeing his sculptures at the art fairs when they are available.

Andy Warhol, silk screen prints

The Warhol prints are some of my earliest memories of art in the Center.  I didn't take any visual art classes in school after the middle grades.  The art at the Center was really my only connection to fine art until I was in my twenties.

Antony Gormley, Three Places, lead, fiberglass, and plaster, 1983

These early lead works are some of the first Gormley sculpted in which he used his own body as the model. Gormley's website states "In Three Places the body cases completely enclose the internal form, making it hermetic. The pieces identify three basic body postures - lying, sitting, and standing."  NorthPark Center is a perfect setting for this sculpture.  The Center is hermetically sealed from the external elements, and one can find thousands of items to enclose their own body while lying, sitting, or standing.

Frank Stella, Washington Island Gadwall (Exotic Birds), crayon, enamel and glitter on aluminum, 
1980 - 81

This piece is huge at almost 12 feet by 19 feet and it curves almost 2 feet off of the wall.
It is hung 10 feet off of the floor, if not higher.  Hard to photograph well, but it certainly demands attention in person!

Joel Shapiro, 20 Elements, wood and casein paint, 2005

There are many photos of this sculpture on the web.  This is my usual view of the Shapiro as I make my way through the Center.  The plants are constantly changed throughout the year.

Jim Dine, The Field of the Cloth of Gold, painted bronze, 1987 - 88

Claes Oldenburg and Coosje van Bruggen, Corridor Pin, Blue, stainless steel and painted aluminum, 1999

The Center completely surrounds a 1.4 acre landscaped garden named CenterPark.  

Jonathan Borofsky, Hammering Men, mechanized painted steel plate and Cor-Ten steel, 1984 - 85

There are five of these giant hammering sculptures in this area of the Center.  I believe there is at least one other non-moving Hammering Man outside on the outer perimeter of the Center.  The mechanical sounds these sculptures make add a counterpoint to the cacophony of human voices that echo through the Center, adding yet another artistic element to the experience.

Anish Kapoor, The World Turned Outside In, polished stainless steel, 2003
collection of Louis Vuitton

NorthPark Center began as the brainchild of real estate developer Raymond Nasher.  When the Center first opened in 1965 it was the largest climate-controlled retail center in the world. Raymond and his wife, Patsy, began collecting art around the same time NorthPark Center was being built.  Nasher later gave the lead gift for the creation of the Nasher Sculpture Center.

Saturday, August 20, 2011

Antony Gormley, "Capacitor II", 2005

Antony Gormley, Capacitor II
at Sean Kelly Gallery's booth at
Art Basel Miami Beach, 2005
photo by Rusty Scruby

I think of this sculpture and this photo often.  The relationship between the young man viewing and Gormley's sculpture, Capacitor II.  Both have feet spread, knees slightly bent, hands down their sides, relaxing into their respective contemplation of each other.  Gormley examines our place within the space we inhabit.  Inspired by chaos theory and quantum mechanics, Gormley welded these 6000 metal rods together to form the framework of a body.  The extension of the rods speaks to the extension of the body and the 'self' into the surrounding environs.  It can be easy for me to get lost inside of myself, to feel as if myself, my 'id', extends only to the outer layer of my skin or the end of each hair.  Capacitor II reminds me that 'myself' extends into the physical space all around me, including cyber-space, and that I do always have an impact and relationship with every object and every person that I encounter every moment of every day.

Friday, August 12, 2011

4 More Images from Nasher Sculpture Center

Looking up through the sunscreen at the museum without a roof.

Roy Lichtenstein, Double Glass, 1979

Antony Gormley, Quantum Cloud XX (tornado), 2000

Naum Gabo, Constructed Head No. 2, 1916 (enlargement, 1975)