which looks like a complete mess of steel unless you view it from certain angles in which case you can see, yes, a giant vague reflection of Anthony Gormley’s naked body
Ozymandius poem but instead of Ozymandius it’s Anthony Gormly, king of kings
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you have to remember that america is Pretty Fucking Big™
what you consider a 5 minute difference to us is the equivalent to traveling from berlin to warsaw
genuinely, the charm of this guy’s art is that every anthony gormley sculpture is filled with an unfathomable air of menace, the sense that you are looking at something utterly alien and yet beautiful, so beautiful that it will cast your eyes in iron too
most of his sculptures are in Britain since he’s, you know, british, and so everyone knows about this guy and knows the exact shape of his arse
i don’t think i’m brave enough to mold nude statues of myself
there’s a roving artwork that tours the UK where a guy fills a room with oil then places a Trough in it, RIchard Wilson’s 20:50, that I genuinley adore
he cannot be fucking stopped
every famous british sculpture feels like it belongs somewhere in the backrooms, as much as I have disdain for that concept
Witchcraftery
like, this is an artwork that was situated in the Tate Modern for years called The Weather Project, which deliberately feels innately hostile to human life
briitsh conceptual art, unsurprisingly, is quite concerned with objects, constructions and systems that feel innately hostile to human life, because britain is an object, construction, and system that is innately hostile to human life
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a lot of our artistic establishment, quite frankly, myself included, hates what is considered art by the politicians and media class of the country, and respond by creating objects that feel unfathomably cursed but are still, somehow, beautiful, and collaborate internationally with artists whose work evokes the same feeling
it’s 5 am without sleep and the art designed to fuck with my head is in fact fucking with my head
the tate modern turbine hall is just such an interesting place; every year you come back and there is some new Thing there that you don’t quite know what to think of
Tate
Romania has sculptures from like the 18th century and that’s kind of all the symbolism there
the following year, the turbine hall was taken up by a giant heat sensitive floor, where you could reveal the portrait of a refugee only by getting about 10 or so people together and having them systematically lie on the floor to use their body heat to reveal the picture