Introduction
The art division is a great thing which comprises many fields of a man’s creative work, so that to ensure others in the beauty of art as a means to make people behave in a way they are supposed to according to the norms of moral and aesthetic values.
The thing is that many people do not even refer to the art as a way out in the problematic issues of everyday life. This concept supported with the idea of everything beautiful which can a man’s imagination present the ordinary spectators with is a core element in people’s bringing up and stating their characters in terms of better mindset and estimation of actions. Moreover, the point that art is entire is still vital and socially accepted due to the ability of art to change people’s view in majority of examples from the negative coloring towards positive conclusions.
Main
Art exhibitions are the places where the works full of artists’ personal feelings and life experience impact on the audience of spectators. This flow of aesthetic power is felt in the diversity of works, styles, genres or streams in which the work is created. It is a definite fact that creative persons are individual and of another sort of people who influence on the rest by means of unintentional tools or devices implemented in artifacts of art.
Antony Gormley, well-known British contemporary sculptor, is not an exception in this case. His works impress with a simple but ideological themes which can invoke the inner intentions of frats in order to stimulate the philosophical reasoning about the present day nature of a man doing harm to the nature as it is. Nonetheless, Antony due to his original implementation in sculpture made people and nature come alive again.
He investigates the body of a man in his works and gives much impression when performing the works made with a sort of arty-crafty manner of installation. His works are well-known all over the world, his name as an artist is put apace with such eminent artist as Damian Hurst. With regards to Ananda Kentish Coomaraswamy “it is quite clear that the worldly arts of mere amusement are regarded literally as “deadly” – it must not be forgotten that “all that is under the sun is under the sway of death” (Coomaraswamy 132) Although, one of the works of Gormley, “Field” (1994), display the figures made of clay which intends to presuppose the material with which according to sacral scriptures the mankind was made of.
The figures of small creatures glazing at everyone who ventures to peep in their primitive eyes tend to manifest something hidden in their essence, but apparently the author makes people to keep a strict eye on their life shortage and prescribes the idea that there is no ground for people to tower above others because as Bible says “man is an ash”. Other works of the sculptor are Allotment (1997), Domain Field (2003), Another Place (2005), Angel of the North (1995/98). (White Cube 2008) Some of them are represented in form of “large-scale installation”, as Field or Allotment; others are interesting in their deep frameworks as of making out the simple shapes of bodies.
Nonetheless, evaluating the exhibition of Gormley from the points which emphasized Jacques Maritain it is necessary to make an idea of the following approaches of the author in his work “Creative Intuition in Art and Poetry”:
- Art is a virtue of the practical intellect;
- The roots of the creative act in the preconscious life of the intellect;
- The inescapable role of intellect in artistic production. (Maritain 74)
This outlook of the author maintains the purpose with which a creator intended to inspire the publicity and to make it originally. Such desires are familiar with those artists in various kinds of art who are moving every now and then in their development. Furthermore, Antony Gormley in his set of works addresses to ancient descriptions of art. He is full of the intention to insert in the primitive details existing in his works the depth of contemporary reasoning as for the life concepts and issues which seem to be prerogative for the mankind in every epoch of its development.
The thematic estimation of the exhibition by A. Gormley shows the crowd of factually arrested people numbered 40,000 who are helpless in the desire to set them free. All of the figures are 80-260 mm high and present the audience with a performance of huge and marvelous representation of the creator’s thought implemented in clay. (Gormley 2009) A versatile manner of performance is implemented in the fact that figures were made by a lot of people living in different locations under Gormley’s control. This reasoned the magnificence of the exhibition which will take place in Torre Abbey, Torquay, 27th June – 23rd August 2009.
Someone can gather in mind all pros and cons and say that Gormley is not an artist and just elaborated his work due to the work of other unknown for the publicity people. Actually it can be said so, unless working out the outlook of Etienne Gilson who makes emphasis on the actions of people which are urged to make people communicate. With regards to what Gilson writes in his “Painting and Reality” one can point out following statement of the author in terms of its credibility in contrast with generally accepted standpoints: “If, as Saint Thomas said in the De potential, “To act is nothing else than to communicate that by which the acting being is an act…to the extent that it is possible,” then painters can transfer their own act of existing to their works.” (Gilson 279)
Conclusion
Thus, the exhibition by Antony Gormley is a fact of huge performance maintained in the natural sceneries in open-air conditions providing the audience with the act in motion stated in the clay. More interest is attracted when an ordinary spectator applies to the sculptor’s philosophy when he says: “We all do things like this; we have a stone that we keep in our pocket which is a guarantee of life’s continuity, and it has to do with hoping that things will work out, that life will be okay.” (White Cube 2008) That is why the art exhibition by Gormley is worth visiting.
Works cited
Murphy, Francesca Aran. Art and intellect in the philosophy of Étienne Gilson University of Missouri Press, 2004.
Dougherty, Jude P. Jacques Maritain: an intellectual profile CUA Press, 2003.
Coomaraswamy, Ananda Kentish. Christian and Oriental philosophy of art Courier Dover Publications, 1956.
Antony Gormley’s Art Exhibition. Web.
Antony Gormley. Web.