Anthony McCall

Anthoni McCall, Saint Paul's Cray, 1946.

 

McCall is known for his ‘solid-light’ installations, a series that he began in 1973 with “Line Describing a Cone,” in which a volumetric form composed of projected light slowly evolves in three-dimensional space.

 

Occupying a space between sculpture, cinema and drawing, his work’s historical importance has been recognized in such exhibitions as “Into the Light: the Projected Image in American Art 1964-1977,” Whitney Museum of American Art (2001-2002); “The Expanded Screen: Actions and Installations of the Sixties and Seventies,” Museum Moderner Kunst, Vienna (2003-2004); “The Expanded Eye,” Kunsthaus Zurich (2006); “Beyond Cinema: the Art of Projection,” Hamburger Bahnhof, Berlin (2006-2007); “The Cinema Effect: Illusion, Reality and the Projected Image,” Hirshhorn Museum, Washington DC (2008); and “On Line,” Museum of Modern Art (2010-2011).

 

McCall’s work has also been exhibited at, amongst others: Centre Pompidou, Paris, Tate Britain, London, SFMoMA, San Francisco, Serpentine Gallery, London, Hangar Bicocca, Milan, Moderna Museet, Stockholm, Serralves, Porto, Hamburger Bahnhof, Berlin, Kunstmuseum St Gallen – Lokremise, Eye Film Museum, Amsterdam, and Lugano Arte e Cultura.


 

His work is represented in numerous collections, including, among others, Tate, London, el MoMA, Museum of Modern Art, New York, Museum für Moderne Kunst, Frankfurt, MACBA, Museu d’Art Contemporani de Barcelona, Whitney Museum of American rt, New York, SFMoMA, San Francisco Centre Pompidou, Paris, Moderna Museet, Stockholm, and the Hirshhorn, Washington DC.

 

http://www.anthonymccall.com

https://en.wikipedia.org/wiki/Anthony_McCall

Work at the collection: Face to Face II

Face to Face II, 2013

A video installation consisting of two projections of light on two screens, which requires the presence of the public to take life. Through light, shadow and smoke, the artist generates an ephemeral space, where the visitor has the sensation of crossing solid light walls, which are transformed with the contact of his body, always creating new geometries and unpredictable alterations of the architectural space.

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