Podcast appearances and mentions of tony cragg

Graham reports on his meeting with David Remfry, Britain's coolest artist, aged 81. Graham met him at his new exhibition, We Think the World of You - People and Dogs Drawn at The Mercer Gallery, Harrogate's only public gallery, once again proving itself indispensable with a high quality exhibition of national interest.Charles is fresh from seeing the Monet exhibition at York Art Gallery, a new exhibition and as part of the National Gallery bicentenary. York Art Gallery's Monet in York celebrates the National Gallery's National Treasures Exhibition with an exclusive commission entitled Una Sinfonia by acclaimed contemporary artist, Michaela Yearwood-Dan.As if two high quality exhibitions was not enough, Charles reviews sculptor, Tony Cragg's exhibition at Castle Howard.Graham remembers the American musician and producer Keith LeBlanc, drummer and member of Tackhead who has passed away.Keep in touch with Two Big Egos in a Small Car:X@2big_egosFacebook@twobigegos

A conversation with artist Tony Cragg. Known for his dynamic, often swirling forms that push the boundaries of material and movement, Cragg's work is a testament to the endless possibilities of sculpture. His innovative use of materials, including bronze, steel, plywood, glass and a variety of synthetic compounds, allows him to explore and express complex forms that make reference to nature, science, and the intrinsic properties of the objects that surround us.The conversation touches on a variety of topics, including process, materials and inspirations.https://www.tony-cragg.com/https://www.mariangoodman.com/artists/37-tony-cragg/

Fischer, Karin www.deutschlandfunk.de, Kultur heute

Vielhaber, Christianewww.deutschlandfunk.de, Kultur heute

Oelze, Sabinewww.deutschlandfunkkultur.de, Fazit

Die Skulpturen von Tony Cragg wandern vom Skulpturenpark Waldfrieden in Wuppertal in den Kunstpalast Düsseldorf. Und dort darf man die Skulpturen mit ausdrücklicher Erlaubnis des Künstlers sogar anfassen. Autoren: Peter Backof und Berit Hempel Von Berit Hempel /Peter Backof.

Tony Craggs Wuppertaler Skulpturenpark Waldfrieden feiert 15-jähriges Bestehen. Aus diesem Anlass präsentiert der renommierte Künstler mit "Home Game" ausgewählte Arbeiten – von Skulpturen über Malerei bis zur Fotografie. Autorin: Claudia Dichter Von Claudia Dichter.

Themen u.a.: Diskussion um Kolonialismus-Ausstellung auf Zeche Zollern; Sammlung von Tony Cragg im Wuppertaler Skulpturenpark; Berlinale sucht eine neue Leitung - ein Kommentar; Premieren an NRW-Bühnen; Moderation: Jörg Biesler Von WDR5.

Tony Cragg: "CRAGG". Bis 7. Mai in der Pinakothek der Moderne in München / Kampf um Sichtbarkeit: Künstlerinnen der Nationalgalerie vor 1919. Bis 7. Mai im Edwin-Scharff-Museum in Neu-Ulm.

In questo audio il prezioso incontro con Danilo Eccher storico curatore ed Elisabetta Erba geologa. L'intervista è in Contemporaneamente di Mariantonietta Firmani, il podcast pensato per Artribune.In Contemporaneamente podcast trovate incontri tematici con autorevoli interpreti del contemporaneo tra arte e scienza, letteratura, storia, filosofia, architettura, cinema e molto altro. Per approfondire questioni auliche ma anche cogenti e futuribili. Dialoghi straniati per accedere a nuove letture e possibili consapevolezze dei meccanismi correnti: tra locale e globale, tra individuo e società, tra pensiero maschile e pensiero femminile, per costruire una visione ampia, profonda ed oggettiva della realtà. Danilo Eccer ed Elisabetta Erba ci parlano di arte e terra, musei e geologia, tra storia e futuro, di passione per il mare che nasce dalle montagne. I musei contemporanei sono grandi fabbriche di cultura. Il pianeta ha già registrato eccessi di CO2 nell'atmosfera, nelle ere precedenti con surriscaldamenti di oltre 5°C gradi (15°C al Polo Nord. Con l'aumento dell'interazione tra arte e altre discipline la curatela diventa fondamentale per la messa in scena dell'opera. Gli oceani ricoprono il 70% del pianeta, dall'inizio della rivoluzione industriale hanno assorbito il 40% della CO2; prima dell'uomo erano i vulcani che introducevano CO2 nell'atmosfera. E molto altro.ASCOLTA L'INTERVISTA!!! GUARDA IL VIDEO!! https://youtu.be/nwl53ADfPLw BREVI NOTE BIOGRAFICHE DEGLI AUTORI Danilo Eccher storico e curatore, dal 1989 è stato direttore di alcuni dei più autorevoli musei contemporanei italiani come: Galleria Civica di Trento, dove sarà anche Presidente della Fondazione. Poi direttore alla GAM di Bologna, al MACRO di Roma. Fino alla GAM di Torino, dove sperimenta allestimenti tematici temporanei, nel 1993 commissario per la 45ª Biennale di Venezia.La sua ricerca si concentra sulla pittura contemporanea, organizzando mostre personali di autorevoli artisti tra i quali: Anselm Kiefer, Georg Baselitz, Cecily Brown, Francesco Clemente. Ed anche: Roy Lichtenstein, Ettore Spalletti, Jannis Kounellis, Christian Boltanski, Tony Cragg, Hermann Nitsche e molti altri. Curatore indipendente dal 2015, procede con personali e collettive di grande successo come: Love, Enjoy, Dream e Crazi, presso il Chiostro del Bramante di Roma. Nel 2020 ha curato la mostra “Arte Povera: Italian Landscape” al Metropolitan Museum di Manila. Già docente al corso di specializzazione in storia dell'arte all'Università di Bologna, e al corso di management museale alla Luiss di Roma. Inoltre è stato co-direttore del master per curatori di arte contemporanea e architettura, in collaborazione tra MACRO e Università La Sapienza di Roma. In fine, dal 2019 è titolare della cattedra di Museologia al Dipartimento di Filosofia dell'Università di Torino. Elisabetta Erba Professore Ordinario di Paleontologia e Paleoecologia presso il Dipartimento di Scienze della Terra "Ardito Desio" dell'Università degli Studi di Milano. Micropaleontologa specialista di nannofossili calcarei mesozoici, ha partecipato a numerose crociere oceanografiche: sui Bacini Anossici nel Mediterraneo Orientale e in Oceano Pacifico nell'ambito del Progetto Internazionale Ocean Drilling Program.Autore di 180 pubblicazioni su riviste ISI ad alto impatto, 5 drilling proposals con oltre 2000 citazioni, sui top peer-reviewed journals: Science, Nature e Nature Geoscience. Oltre 8800 citazioni e H-Index = 52, nella banca dati SCOPUS. Membro di prestigiose istituzioni come: Accademia Nazionale dei Lincei (dal 2013); Academia Europaea - Section Earth and Cosmic Sciences (dal 2013). Istituto Lombardo di Scienze e Lettere (dal 2019). Presidente della Società Geologica Italiana dal 2015 al 2017, Attualmente è Presidente della Commissione IODP-Italia. In fine, è presente nei (10) TOP Italian Scientists, Earth Sciences dal 2015, ottiene numerosi riconoscimenti tra i quali: Jean Baptiste Lamarck Medal, European Geosciences Union 2022. Ed anche il Premio Tartufari per le Geoscienze - Accademia Nazionale dei Lincei 2012; “Exceptional Reviewer” for the journal GEOLOGY 2006.

Der britische Künstler Tony Cragg stellt in der Münchner Pinakothek der Moderne aus - der Mann ist für seine Skulpturen bekannt, in München zeigt der Bildhauer jetzt erstmals auch viele seiner Zeichnungen - wir haben den 73-jährigen getroffen / Gespräch mit der evangelischen Theologin Prof. Dr. Ilona Nord über den neuen Studiengang zum Thema Antisemitismus an der Würzburger Julius-Maximilians-Universität / Wie gerecht wird an bayerischen Schauspielhäusern entlohnt? Eine Recherche

The Turner Prize-winning British sculptor speaks to Robert Bound about his creative process and his fascination with the emotional qualities of materials.See omnystudio.com/listener for privacy information.

Prende il via oggi a Lodi la tredicesima edizione del Festival della Fotografia Etica Il racconto della societa' contemporanea e la sua complessita' attraverso il potere della fotografia Andiamo a Firenze per la FLORENCE ART WEEK “Nel tuo tempo“ - la mostra di Olafur Eliasson a Palazzo Strozzi E “Transfer” di Tony Cragg al Museo del Novecento Mentre a Milano dopo trent'anni torna Richard Avedon

What you'll learn in this episode: The difference between art jewelry and jewelry by artists Why more collectors and jewelry enthusiasts are starting to appreciate artist jewelry How Elisabetta helps visual artists bring their first pieces of jewelry to life Why artist jewelry is a smart investment About Elisabetta Cipriani Elisabetta Cipriani invites world leading contemporary artists to create aesthetically innovative and socially relevant wearable art projects. Since the opening of her namesake gallery in 2009, Elisabetta's pioneering vision has redefined the boundaries between jewelry and fine art, capturing the imaginations of artists and collectors across the globe. The gallery has collaborated with over 50 critically acclaimed painters and sculptors, including Ai Weiwei, Chiharu Shiota, Giulio Paolini, Ilya & Emilia Kabakov, Carlos Cruz-Diez, Enrico Castellani, Erwin Wurm, Giorgio Vigna, Jannis Kounellis, Rebecca Horn, and Pedro Cabrita Reis, to name a few. The gallery's projects can be found in museums and private collections across the globe, including Musée des Arts Décoratifs, Paris; Museum of Art and Design, New York; World Jewelry Museum, Seoul; and The State Hermitage Museum, St Petersburg. A number of Elisabetta Cipriani's jewelry collaborations are featured in From Picasso to Koons: The Artist as Jeweler, the international touring exhibition of artist jewelry curated by Diane Venet. Elisabetta Cipriani participates in leading art and design fairs, including Design Miami and Design Basel, TEFAF Maastricht, Artissima Turin, MiArt Milan, PAD London, and PAD Monaco. Additional Resources: Instagram Website Photos: Available on TheJewelryJourney.com Transcript: For a long time, jewelry created by visual artists was considered lesser than artwork made in the medium the artist was known for (compare the price of Man Ray jewelry to the price of Man Ray photographs, for example). But in recent years, both jewelry and art collectors have realized the significance of artist jewelry, due in no small part to Elisabetta Cipriani. Through her gallery, Elisabetta Cipriani Wearable Art, Elisabetta collaborates with leading visual artists to create limited edition artist-made jewels. She joined the Jewelry Journey Podcast to talk about what inspired her to combine fine art and jewelry; the process she uses to work with artists; and why jewels by artists should be a part of any jewelry lover's collection. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there.   This is a two-part Jewelry Journey podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Elisabetta Cipriani, founder and owner of the gallery Elisabetta Cipriani Wearable Art, a gallery of limited-edition jewels created by artists. The gallery has collaborated with more than 50 well-known painters and sculptors since its opening in 2009. We'll hear more about Elisabetta's jewelry journey today. Elisabetta, welcome to the program.    Elisabetta: Hello, Sharon. Thank you for having me.   Sharon: So glad to have you. Tell us about your jewelry journey. Did you study jewelry as a young girl? Did you like glittery things? Tell us about that.   Elisabetta: Basically, I didn't study jewelry when I was in university. I never studied jewelry; I only had a big passion for traditional jewelry. I'm Italian. I come from Rome, and there is this Italian tradition of having beautiful jewelry. Especially in the 80s, women were going out with parures, with the necklaces and bracelets. They were taken out from the safe for special occasions. I have memories of me as a young girl on my mother's bed with her jewelry on the bed, dressing up for various events and weddings. I was touching them and looking at them from the back and the front, and I was trying them on and asking her all the time, “Please, can I have this when I'm older?” I was playing with them while she was selecting the right piece for the right event. For me, when she went out, it was the best moment. It wasn't like playing with a doll. It was like, “Oh my god, beautiful jewelry. I can have a look at them again.” I've always had this passion.    I have a background in jewelry in terms of how to make a jewel. I didn't study the history of jewelry. Of course, now I know about it because I read and studied a little bit. I'm not an expert; I know what I'm talking about, but I never had the occasion to study in depth in university, for example. When I finished school, I wanted to study jewelry, to create jewelry, and my father said, “There's no way you can do that. You need to do a proper degree.” I took a gap year, and I remember that I did an evening course on pearls and diamonds. It was really advanced, and I didn't understand much of it, but I ended up doing history of arts, which is now all connected.   After university, I worked in a museum of contemporary art in Rome called MACRO. It's a state museum for contemporary art in Rome. I worked there for three years as co-curator. I had the best experience of my life because I met the most important artists the museum was inviting to have their exhibitions there. How old was I? I was 23 years old, and for me, it was natural to talk to a famous visual artist like Tom Wesselmann, who passed away, or Cecily Brown, Vik Muniz, Tony Cragg. For me, it was natural to have a conversation with them and go to their artists' studio with the director of the museum to select the artworks for the exhibition. I learned how to move in the world of art with the artists. I was really comfortable being with them, but deep in my heart, I always had this love for jewelry. I was wearing jewelry from my mother and grandmother that they were giving to me as gifts. I always kept it as a passion.   I moved to London in 2005, and I worked for an art gallery. I left Rome because I wanted to grow and be independent and learn the art market, how you sell an art piece, rather than being a curator. Then I learned about jewelry by Picasso and Man Ray, and I thought it was an interesting topic to follow and learn about. Then there was Louisa Guinness. I used to work for the husband of Louisa Guinness, Ben Brown. At that time, I think it was two years since she had started her business, and she had one kid after another. She asked me to bring the cabinet of jewelry to the art fairs, so I was bringing this cabinet with Picasso jewelry and Kapoor jewelry. It was 17 years ago. I remember there was an interest in artist jewelry, but not as much as today. I was selling the pieces. People were seeing them more as jewelry back then, sculptures by artists. It's weird how things have changed. The perception is that what you are buying or owning is not a jewel, but it's an art piece you can wear by a visual artist.    I worked for Ben Brown for three years, and then I got married. When I was pregnant, I said, “That's it. I'm not going to continue working for the gallery. I want to work independently. I'm going to open my own business.” I started an artist jewelry gallery. I invited the artists I met at the Museum of Contemporary Art in Rome and asked them to work with me. At the beginning, they were very supportive. Most of them said yes. One didn't say yes, but I'm still in touch and asking him if he would like to do a project with me. I've been waiting 12 years and he hasn't come back to me yet. He didn't say no. They say they are busy with their art works, with their museum shows. An artist needs to be free mentally and needs the time to sit down and work small. You might think it's straightforward for an artist to do a wearable art piece, but it's not something they typically do. My first collaboration was with Tatsuo Miyajima, a Japanese artist. He works with LED. He's a very established sculptor from Japan.   Sharon: What is his name? I'm not familiar with him.    Elisabetta: Tatsuo Miyajima. If you want, I can send you his email.   Sharon: That would be great. So, he's very established. What was his reaction when you talked with him?   Elisabetta: This was in 2009. He was surprised at the time that someone would propose something so unusual. He had never done a jewel, so it was also a challenge for him, and he agreed. He sent me an LED from Japan. Basically, it's a digit with numbers that count from one to nine or nine to one. I have it here. It represents the continuation of life in Buddhism. It's never zero. This LED has been mounted inside a ring with three colors: rose gold, white gold and yellow gold. It's a very complicated ring to put together. When you close the ring, the ring turns on and you see this LED that counts from one to nine. Whoever buys the ring can choose the counting speed, from one second to five minutes, because you decide how long you want your life to move on.    Actually, a museum purchased this piece for the museum collection. The museum is called the Slager Museum in Hertogenbosch. They did a beautiful exhibit called “Private Passion” many, many years ago, and they bought the Miyajima ring and a few other pieces. It was my first museum purchase.   Sharon: How exciting.   Elisabetta: It was very exciting. My first project was with Tatsuo Miyajima, then Atelier Van Lieshout, then Tom Sachs. I only had three pieces, and the museum contacted me to go to Holland and bring this jewelry, these small pieces to show them. I was very pleased with it.   Sharon: Wow! You're just starting your own business.   Elisabetta: When I look back to how I started and with the resources I had, it's incredible what I've done in the past 12 years. I should say to myself more often that I should be proud of myself. Normally I don't say those things. I always move forward, and I never stop and say, “Well done, Elisabetta.” Sometimes I need to stop and say it.   I'm inside my husband's gallery, Sprovieri. We are in Mayfair. When I started in 2009, my husband only had a piece of the gallery. Ten years ago, he expanded and got another space which is linked to this one. When I started, he gave me a shelf from his library. So, I had this shelf and then he said, “O.K., you can take this space.” It was a shelf like this. I think it was light blue or grey blue; I don't remember which color. I put my three little jewels on it. So, I had this shelf with these three jewels, and I remember Diane Venet, the most important artist jewelry collector in the world, coming to visit me to see my new projects. I was young; everything was new. She bought the Miyajima ring and the Atelier Van Lieshout piece. That's how I started from my little shelf.    Then I took a small space from the gallery. In 2019, when I celebrated the 10-year anniversary of my business, I took this space here, which is very nice. It's always inside my husband's gallery, where he sells art. It's very nice, because when people come to see the exhibition of an artist, then they come here and discover the most intimate aspect of an artist, which is a jewel.   Sharon: How did Diane Venet know that you even existed there? Were you advertising? How did she find out about you if you only had three pieces?   Elisabetta: When I was working from Ben Brown and bringing this jewelry to the fairs, I spoke to her a few times. I went to see her exhibitions because I was starting to become passionate about artist jewelry. That's how I learned about artist jewelry. So, I went to her. I think her first exhibition was in—I don't remember the city in France where she first showed her collection, but she brought this exhibition to the MAD in New York. I kept in touch with her, and she came to visit me. After a few years, when she opened her exhibition at the Museum of Arts and Design in New York, she invited me to talk with her and Didier and Marc Vendome in this huge stadium about my projects.    In any case, I continued inviting artists to work exclusively for me worldwide. I had a very successful project with Giuseppe Pennone; he's an artist from the arte povera movement. He created this beautiful necklace called “Feuille,” which means leaf, made in bronze and pure gold. The necklace is basically bronze where it's rolled into a leaf, and the artist's hand is imprinted on the leaf because his work is about the connection between nature and the person and the human. It was a very successful piece, and I brought it to my first fair in Paris.    The fair was in 2011 or 2012. It was my first fair. At the fairs, there's always a prize for the best piece in the fair or the best designer. At that fair, there was a prize for the best piece. I was not even thinking about the prize. For me, I was like, “Oh my god, it's my first fair. How do I do this?” I was panicking. Then all of a sudden, the director of the fair came to my booth and said, “Congratulations, you've won the prize.” I'm like, “Which prize?” I won the prize for the best piece in the fair with the Feuille necklace. The prize was basically that the Museum of Decorative Arts in Paris would purchase the best object of the fair and put it in the collection of the museum.   Sharon: That's a high bar to pass. You surpassed it.    Elisabetta: Exactly. There were dealers there who had 40 years of experience. I had just arrived in their world. That piece sold out in less than six months, which is quite unusual for an artist jewel, especially back then. Now, things are quicker. I remember when I started, I had an inquiry once a month. Now, I've got 10 inquiries a day for prices from people all around the world. I don't know how they know about me because I'm so niche in field. I think this is the power of the virtual world, that people browse online and discover. Maybe it's actually thanks to Diane Venet, because she's bringing her collection around the world and people are even more knowledgeable about the subject matter. They might see pieces that come from me, so maybe it's because they've seen it in Diane's exhibition.

C'est qui les artistes de demain ? Ceux qui, de leur vivant, sont exposés et discutés comme s'ils étaient déjà dans l'Histoire de l'Art, au côtés de Michel-Ange, Ingres ou Matisse. Cela donne envie de savoir qui sont ces créateurs qui prétendent déjà à l'éternité. Qu'expriment ils ? Comment le font ils ? Et à travers leur travail, que cela dit-il de nous ? Tour d'horizon des 10 artistes les plus reconnus de l'art contemporain. Car oui, il existe des classements qui permettent de déterminer les artistes qui sont le plus soutenus par le circuit des musées, des critiques et des expositions. En faisant la moyenne de ces apparitions, on en a déduit la place des artistes dans le monde de l'art contemporain. Ca ressemble un peu à un classement de course de chevaux ! Mais si on peut critiquer la méthode, allons faire un tour dans l'œuvre de ces 10 artistes, pour mieux comprendre ce qu'ils ont à nous dire. Featuring. Gerhard Richter, Bruce Nauman, Georg Baselitz, Rosemarie Trockel, Cindy Sherman, Olafur Eliasson, Tony Cragg, Anselm Kiefer, William Kentridge et Pipilotti Rist *** Retrouvez Art Talks Coffret! Dans des coffrets assemblés à la main, numérotés et signés, retrouvez un livre d'art, le podcast, et dix œuvres satyriques, en lien avec les séries d'Art Talks. Ils sont tirés en 100 exemplaires seulement, et c'est un magnifique objet d'art à offrir, ou simplement pour compléter la découverte du podcast. Rendez-vous sur : https://www.art-talks.fr Retrouvez les œuvres du podcast et suivez Art Talks sur Instagram @art.talks.podcast

Die abstrakten Skulpturen des britischen Bildhauers Tony Cragg sind weltberühmt. Mit Metall und Holz, Glas und Plastik erforscht er Formen aus der Natur. Weniger bekannt ist sein zeichnerisches Werk, das jetzt im Berliner Haus am Waldsee entdeckt werden kann. Die Zeichnungen seien eigentlich nur Notizen für ihn selbst, sagt der 72-jährige Künstler und gibt erstmals umfassend Einblick in seine täglichen Übungen mit dem Zeichenstift.

This is the first in a two part series on sculpture and sculpture conservation and restoration.We are introducing British emerging sculptor Hugh Chapman.  This is a raw and honest introduction into the artist's journey of Hugh.  His conceptual work is engaging and incredibly emotive.  His sculptural forms are complex with elegant waxing modern patinas which feel luxurious and organic.Our conversation is an investigation into the challenges faced by a sculptor and how partnerships with foundries and experts in restoration and conversation are incredibly important to the completion of projects and maintenance of works.You can view Hugh Chapman's work on his artist's page on our website and all the sculptures discussed by Hugh and Henry Moore, Tony Cragg, Anish Kapoor and Antony Gormley will be featured on our Nordic Art Agency Instagram.Hugh's work will be unveiled at our Winter Art Pop Up at Hansa which launches in November and you can follow Hugh Chapman on Instagram to view more works.

Bekannt geworden ist der britische Bildhauer Tony Cragg mit seinen Arbeiten aus gefundenen Plastikstückchen, die er - nach Farben sortiert - an der Wand oder auf dem Boden arrangiert hat. Auch heute noch verwendet der Künstler für seine Skulpturen teils unkonventionelle Materialien: neben Holz, Stein und Edelstahl auch Kunststoffe oder Glasfaser. Autor: Thomas Mau

En 1980, Chantal Crousel fonde sa galerie d'art éponyme avec l'intention de rendre compte des mutations de la création contemporaine internationale en France et dans le monde. D'origine belge, elle fait le choix de représenter des artistes de différentes nationalités participant à l'élaboration d'un langage universel à travers une grande variété de médiums. L'orientation artistique des premières années de la galerie est marquée par une nouvelle génération d'artistes issus des mouvements artistiques européens et américains inédits à la fin des années 1970, notamment Tony Cragg, Gilbert & George ou Cindy Sherman. Chantal Crousel réalise les premières expositions en France de Gabriel Orozco, Mona Hatoum, Absalon, Melik Ohanian ou Rirkrit Tiravanija. En 2000, son fils Niklas Svennung la rejoint. Installée rue Charlot depuis 2005, et aujourd'hui dirigée par Niklas Svennung, la galerie perpétue un dialogue artistique, à la fois poétique et conscient, en représentant des artistes, jeunes ou établis, qui, pour la plupart, questionnent l'espace social en employant des formes nouvelles au service d'idées novatrices.

Seit 2009 entsteht jährlich im Advent auf dem Laurentiusplatz in Wuppertal-Elberfeld eine besondere Krippe. Nach zehn Graffiti-Krippen, die durch den Wuppertaler Graffiti-Künstler Martin Heuwold erstellt wurden, gibt es in der Verantwortung der Wuppertaler Künstlerin und Meisterschülerin von Tony Cragg, Annette Marks, seit 2019 die Künstler-Krippe. Eine Besonderheit unter vielen anderen ist, dass das Jesuskind erst am Heiligen Abend um punkt 12 Uhr in die Krippe gelegt wird. Das ist Anlass für den ersten weihnachtlichen Gottesdienst am Heiligen Abend in Wuppertal. Wir dokumentieren hier die Homilie von Dr. Werner Kleine anlässlich des Gottesdienstes am 24.12.2020, als es hieß "Jesus kommt!".

D'Kollektioun vum Mudam setzt sech haut aus zirka 700 Wierker zesummen. Dorënner sinn Aarbechte vun der Simone Decker, der Su-Mei Tse, der Tina Gillen, dem Bert Theis: fir e puer Lëtzebuerger Kënschtler ze nennen. Mee och grouss international Nimm dierfen net feelen, wéi d'Marina Abramovic, den Tony Cragg, de William Kentridge. An da sinn Acquisitioune vu villverspriechenden Talenter gemaach ginn: d'Marie-Noëlle Farcy, déi Responsabel vun der Sammlung an d'Kerstin Thalau iwwer e Skulpturenensembel vum Brasilianer Adriano Amaral.

Als Tony Cragg 1977 der Liebe wegen nach Deutschland kam, war er Chemielaborant und hatte das Royal College of Art absolviert. Heute ist er Sir Tony und ein weltberühmter Bildhauer. Wie es sich anfühlt, zum Ritter geschlagen zu werden, erzählt er im WDR 5 Tischgespräch mit Gisela Steinhauer. Moderation Gisela Steinhauer

Der Bildhauer Tony Cragg ist einer der wichtigsten Meister der "New British Sculpture": Als Ingenieurssohn hatte er zunächst im Labor gearbeitet, merkte bald, dass ihm Kunst näher liegt. Sein Vater habe den Wechsel nie akzeptieren können, so Cragg. Tony Cragg im Gespräch mit Ulrike Timm www.deutschlandfunkkultur.de, Im Gespräch Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Aufstellung der Skulptur "Werdendes" von Tony Cragg

Aufstellung der Skulptur "Werdendes" von Tony Cragg

Aufstellung der Skulptur "Werdendes" von Tony Cragg

Finishing February on a high, we're back with another art-filled episode. Exhibition highlights include France-Lise McGurn at Simon Lee Gallery, '9th St. Club' at Gazelli Art House, and a sculptural double-billing at Lisson Gallery in the form of Richard Deacon and Tony Cragg. We were saddened to hear of the closure of commercial power-house Blain Southern. Known for representing the likes of Jake and Dinos Chapman, Mat Collishaw, and Sean Scully, the gallery announced its closure of all three spaces this month following the departure of co-founder Graham Southern in late 2019. We dissect what went wrong and what it means for the art world. And from the sad to the ridiculous, we couldn't pass by the story of the disgruntled art critic who accidentally destroyed an artwork she openly disliked at Zona Maco fair in Mexico. Finally, breaking from tradition our Artist Focus is actually a group: the Women Impressionists. We welcome the long-overdue attention given to the female artists who contributed to famous art movements, and this episode we celebrate two key Impressionists: Berthe Morisot and Mary Cassatt. SHOW NOTES: France-Lise McGurn 'Percussia' at Simon Lee Gallery: https://www.simonleegallery.com/exhibitions/176/ France-Lise McGurn 'Sleepless' at Tate Britain: https://www.tate.org.uk/whats-on/tate-britain/exhibition/france-lise-mcgurn'9th St. Club' at Gazelli Art House: https://gazelliarthouse.com/exhibition/9th-st-club/ Richard Deacon 'Deep Space' at Lisson Gallery until 29 February 2020: https://www.lissongallery.com/exhibitions/richard-deacon-deep-stateTony Cragg 'Stacks' at Lisson Gallery until 29 February 2020: https://www.lissongallery.com/exhibitions/tony-cragg-stacksBlain Southern closes all three galleries: https://www.theartnewspaper.com/news/blain-southern-shuts-all-three-galleries $20,000 artwork destroyed by a critic in Mexico: https://www.theguardian.com/artanddesign/2020/feb/10/gabriel-rico-a-20000-artwork-has-been-destroyed-by-a-critic-thats-nothing7 Female Impressionists every Art History Lover should know: https://www.artsy.net/article/artsy-editorial-7-female-impressionists-art-history-lover The women impressionists forgotten by history: http://www.bbc.com/culture/story/20180807-the-women-impressionists-forgotten-by-history

Ouça as principais notícias do Caderno 2 deste sábado (23/11/19)See omnystudio.com/listener for privacy information.

"Tony Cragg. Skulpturen und Zeichnungen". Bis 6. Oktober im Franz-Marc-Museum in Kochel / "BODY CHECK. Martin Kippenberger - Maria Lassnig". Bis 15. September im Münchner Lenbachhaus / "Superstars mit Todesmut - Die Gladiatoren Roms". Bis 3. November im Archäologischen Museum der Stadt Kelheim.

Der Bildhauer Tony Cragg erzählte im Kunstwerk Wickrath in Mönchengladbach von seiner Arbeit. Eingeladen hatte der Initiativkreis Mönchengladbach im Rahmen der Reihe "Pioniere der Welt". Nach dem Vortrag wurde der international bekannte Künstler von ttt-Moderator und Schauspieler Max Moor befragt.

Tony Cragg, der international bekannte Bildhauer, war Gast im Rahmen der Reihe "Pioniere der Welt" in Mönchengladbach. Im Kunstwerk Wickrath erzählte er spritzig und witzig,aber auch philosophisch von seiner Arbeit.

Film about artist sculptor Tony Cragg

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 04 - Tony Cragg Talks About his Early Works: from 1969 to 1983

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 05 - Tony Cragg Talks About his Later Works: from 1983 to the present

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 04 - Tony Cragg Talks About his Early Works: from 1969 to 1983

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 05 - Tony Cragg Talks About his Later Works: from 1983 to the present

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 05 - Tony Cragg Talks About his Later Works: from 1983 to the present

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 04 - Tony Cragg Talks About his Early Works: from 1969 to 1983

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 05 - Tony Cragg Talks About his Later Works: from 1983 to the present

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 04 - Tony Cragg Talks About his Early Works: from 1969 to 1983

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 05 - Tony Cragg Talks About his Later Works: from 1983 to the present

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 05 - Tony Cragg Talks About his Later Works: from 1983 to the present

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 04 - Tony Cragg Talks About his Early Works: from 1969 to 1983

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 04 - Tony Cragg Talks About his Early Works: from 1969 to 1983

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 5ème cours Tony Cragg à propos de ses oeuvres de 1983 jusqu'à aujourd'hui

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 5ème cours Tony Cragg à propos de ses oeuvres de 1983 jusqu'à aujourd'hui

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 5ème cours Tony Cragg à propos de ses oeuvres de 1983 jusqu'à aujourd'hui

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 5ème cours Tony Cragg à propos de ses oeuvres de 1983 jusqu'à aujourd'hui

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 05 - Tony Cragg Talks About his Later Works: from 1983 to the present

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 5ème cours Tony Cragg à propos de ses oeuvres de 1983 jusqu'à aujourd'hui

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 05 - Tony Cragg Talks About his Later Works: from 1983 to the present

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 05 - Tony Cragg Talks About his Later Works: from 1983 to the present

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 5ème cours Tony Cragg à propos de ses oeuvres de 1983 jusqu'à aujourd'hui

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 5ème cours Tony Cragg à propos de ses oeuvres de 1983 jusqu'à aujourd'hui

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 4ème cours Tony Cragg à propos de ses débuts : de 1969 à 1983

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 4ème cours Tony Cragg à propos de ses débuts : de 1969 à 1983

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 4ème cours Tony Cragg à propos de ses débuts : de 1969 à 1983

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 4ème cours Tony Cragg à propos de ses débuts : de 1969 à 1983

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 4ème cours Tony Cragg à propos de ses débuts : de 1969 à 1983

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 4ème cours Tony Cragg à propos de ses débuts : de 1969 à 1983

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 04 - Tony Cragg Talks About his Early Works: from 1969 to 1983

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 4ème cours Tony Cragg à propos de ses débuts : de 1969 à 1983

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 04 - Tony Cragg Talks About his Early Works: from 1969 to 1983

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 4ème cours Tony Cragg à propos de ses débuts : de 1969 à 1983

Tony Cragg Collège de France Chaire de Création Artistique Année universitaire 2013-2014 Sculpture et langage 4ème cours Tony Cragg à propos de ses débuts : de 1969 à 1983

Tony Cragg Collège de France Artistic Creation (2013-2014) 2013-2014 Sculpture and Language 04 - Tony Cragg Talks About his Early Works: from 1969 to 1983

During the 1980s Anish Kapoor, along with his British counterparts Richard Deacon, Tony Cragg, Antony Gormley and others, significantly challenged prevailing sculptural practices. Referred to as New British Sculpture, their respective work (although largely unrelated) shifted away from the purely conceptual or minimal art that had dominated the previous decades to embrace lyricism and metaphor, and to reconfigure the relationship between subject, object and viewer. Kapoor was an influential figure in this development. From brightly coloured pigments spread over abstract bodily forms to concave mirror pieces and enormous sculptural installations, Kapoor’s sculpture is about sensory experiences. He makes sculptural forms which pervade or hold physical space and which deliberately explore metaphysical dualities such as light and darkness, earth and sky, mind and body. For Kapoor, space is not empty; rather it is full of meaning and potential, and it is this paradox that he explores in material and abstract terms. Since the 1990s Kapoor’s work has been concerned with the expression of negative space: openings and cavities which are often referred to as voids. While his earlier pigment works were shapes with luminously coloured surfaces, ‘Void field’, a sculptural installation of four craggy blocks of quarried Northumbrian sandstone, elaborates an internal space of darkness. At the centre of each stone is a deep velvety hole coated with black pigment, which figuratively signifies a threshold, a space that portends to infinity. Peering into the aperture of each stone, the space within appears beyond measure, revealing a balanced tension between the earthly weight of rock and the nothingness suggested by the dark opening, or void. Kapoor’s voids have been likened both to wombs and to contemporary notions of the sublime. About his understanding of a ‘modern sublime’ Kapoor has said: ‘I have always been drawn toward some notion of fear in a very visual space, towards sensations of falling, of being pulled inwards, of losing one’s sense of self’.1 The black holes at the centre of each stone in ‘Void field’ function in this way; their darkness is conspicuous and entrancing, denoting the amorphous margins between human perception and cognition. Similar sensations are invoked by Kapoor’s suite of prints ‘Blackness from her womb’ 2001 (AGNSW collection). Here, the void is literally associated with the womb, whose function is to harbour life. The yellows and reds that dominated Kapoor’s early work return, transformed more obviously into abstracted female sexual iconography. The aquatint bleeds into forms, dissolving and sometimes imploding their structure. In the unresolved play and metamorphosis between interior and exterior spaces and darkness and light, ‘Blackness from her womb’ is a graphic synthesis of Kapoor’s ideas. 1. Martin Caiger-Smith, ‘Anish Kapoor’, Hayward Gallery, London 1998, unpaginated © Art Gallery of New South Wales Contemporary Collection Handbook, 2006

For the past 30 years Tony Cragg has consistently produced original ideas and a remarkable diversity of forms employing a vast array of materials and techniques. It is difficult to characterise his work within a specific style or art movement. In the early 1970s a new generation of British sculptors celebrated a certain freedom from the snares of style which had bedevilled their immediate predecessors. Under the influence of conceptual art, a pluralist environment in which almost anything could happen began to flourish. Conceptual artists proclaimed the subservience of material form to content, thereby allowing any material or method to be employed in their service. Some artists took this dictum to devalue the material properties of ‘fine art’ and began privileging media associated with popular culture, including text, photography and video over more traditional materials. Cragg, by contrast, was among those who translated this freedom into an infinite possibility for systems and material processes with which to conjure new and provocative objects. In this he had more in common with the European arte povera artists than with Transatlantic conceptualism. His early works included materials such as coloured plastic fragments found along the Thames embankment, old furniture and machine parts. These were always ordered according to precise systems reflecting both his scientific orientation and the working ethic of rigorous systems and logical processes that prevailed in British art schools at the time. In Cragg’s work, however, there was always room within this order for random variation, just as there is in nature. Paradoxically the limitation imposed by these systems was liberating because they replaced the constraints of reproducing appearances on the one hand and the formal recipes of basic design on the other. Working within these systems, artists could incorporate all manner of material, even celebrating excesses of material diversity without losing the logic of the form. ‘Spyrogyra’ captures the general good humour of Cragg’s sculpture while embodying some of the most profound aspects of his work as a whole. The bottle rack is of course a reference to Duchamp’s famous Readymade, ‘Egouttoir’ (bottle rack) 1914 1; this alludes to the playful conceptual aspect of Cragg which so often makes witty allusions to art history. The structure is however far more open and intuitive than Duchamp’s original. The spiral immediately suggests DNA and organic couplings, which are ubiquitous in Cragg’s forms. Each rod attached to the spiral can take certain kinds of bottles, not a unique bottle but one of a general kind. As a result every time it is assembled it changes in the particular but maintains its essential form. In this way it mimics the genetic accommodation of kind and individuality. The reference to scientific structures is invariably a key theme in Cragg’s work. 1. Or, literally ‘detaster’, a play on the idea of the readymade as a challenge to taste in art © Art Gallery of New South Wales Contemporary Collection Handbook, 2006

For the past 30 years Tony Cragg has consistently produced original ideas and a remarkable diversity of forms employing a vast array of materials and techniques. It is difficult to characterise his work within a specific style or art movement. In the early 1970s a new generation of British sculptors celebrated a certain freedom from the snares of style which had bedevilled their immediate predecessors. Under the influence of conceptual art, a pluralist environment in which almost anything could happen began to flourish. Conceptual artists proclaimed the subservience of material form to content, thereby allowing any material or method to be employed in their service. Some artists took this dictum to devalue the material properties of ‘fine art’ and began privileging media associated with popular culture, including text, photography and video over more traditional materials. Cragg, by contrast, was among those who translated this freedom into an infinite possibility for systems and material processes with which to conjure new and provocative objects. In this he had more in common with the European arte povera artists than with Transatlantic conceptualism. His early works included materials such as coloured plastic fragments found along the Thames embankment, old furniture and machine parts. These were always ordered according to precise systems reflecting both his scientific orientation and the working ethic of rigorous systems and logical processes that prevailed in British art schools at the time. In Cragg’s work, however, there was always room within this order for random variation, just as there is in nature. Paradoxically the limitation imposed by these systems was liberating because they replaced the constraints of reproducing appearances on the one hand and the formal recipes of basic design on the other. Working within these systems, artists could incorporate all manner of material, even celebrating excesses of material diversity without losing the logic of the form. ‘Spyrogyra’ captures the general good humour of Cragg’s sculpture while embodying some of the most profound aspects of his work as a whole. The bottle rack is of course a reference to Duchamp’s famous Readymade, ‘Egouttoir’ (bottle rack) 1914 1; this alludes to the playful conceptual aspect of Cragg which so often makes witty allusions to art history. The structure is however far more open and intuitive than Duchamp’s original. The spiral immediately suggests DNA and organic couplings, which are ubiquitous in Cragg’s forms. Each rod attached to the spiral can take certain kinds of bottles, not a unique bottle but one of a general kind. As a result every time it is assembled it changes in the particular but maintains its essential form. In this way it mimics the genetic accommodation of kind and individuality. The reference to scientific structures is invariably a key theme in Cragg’s work. 1. Or, literally ‘detaster’, a play on the idea of the readymade as a challenge to taste in art © Art Gallery of New South Wales Contemporary Collection Handbook, 2006

Adrian Searle pays close attention to the 'funny, serious and inscrutable' works arranged by artist Richard Wentworth for a new show at London's Lisson Gallery, cleverly connecting disparate works by the likes of Bridget Riley, Tony Cragg and Donald Judd