Tony Cragg

 ( 1949 Births ) 

He moved to Wuppertal in 1977 because his first wife was from there. There were also cheap studio spaces and exhibition organisers looking for new artists. He was fascinated by the importance of sculpture in Germany, and struck by German seriousness.

In 1979, Daniel, the first of his 4 children, was born. He is currently married to the artist Tatjana Verhasselt.

From the mid-1970s through to the early 1980s he presented assemblages in primary structures (as in his first mature piece, the 1975 Stack) as well as in colourful, representational reliefs on the floors and walls of gallery spaces (as in Red Indian of 1982–83). Cragg constructed these early works by arranging individual fragments of mixed materials, often according to their artificial colours and profiles, so as to form larger images.

In 1977 Cragg moved to Wuppertal, Germany and had several solo exhibitions including Lisson Gallery, London (1979);Winter, Simon Vaughan (1979). "Tony Cragg at Lisson". Artscribe, no. 17. Lützowstraße Situation, Berlin (1979) and Künstlerhaus Weidenallee, Hamburg (1979).Cragg, Tony (2000). Tony Cragg: a new thing breathing. Tate Publishing. p. 156. He also exhibited in seminal group shows including the Silver Jubilee Sculpture Show, Battersea Park, London (1977); Europa-Kunst der 80er Jahre, Stuttgart (1979); Kunst in Europa na '68, Museum van Hedendaagse Kunst, Gent (1980) and L'art degli anni Settanta/Aperto '80, Venice Biennale (1980).Lotz, Antonia (2012). Tony Cragg Matrix. Hannover: NORD/LB art gallery and kestnergesellscaft. p. 16

In 1981 he created "Britain Seen from the North", considered a signature early work, made of multi-coloured scraps of various materials assembled in relief on the wall. The piece depicts the outline of the island of Great Britain, orientated sideways so that Northern Britain is positioned to the left. The island is scrutinized by a figure, representing Cragg himself, who looks at his native country from the position of an outsider. The piece is often interpreted as commenting on the social and economic difficulties that Britain was facing under Thatcherism, which had particular effect in the north. This work was first exhibited in the large upstairs space at the Whitechapel Art gallery in London in 1981 and is now in the Tate collection.Schimmel, Paul (1991). Tony Cragg: Sculpture 1975 – 1990. Thames and Hudson. p. 48.

In the early 1980s Cragg gradually moved away from installation art and began to examine more closely the individual objects used as parts of his larger constellations. This was the beginning of his engagement and experimentation with the properties and possibilities of a wide range of more permanent materials in the form of wood, plaster, stone, fiberglass, Kevlar, stainless steel, cast iron and bronze. During this time Cragg exhibited at Arnolfini Gallery, Bristol (1980);Cragg, Tony (1980). "Tony Cragg". Arnolfini Review, Bristol. Whitechapel Art Gallery, London (1980);Cooke, Lynne (1981). "Tony Cragg at the Whitechapel". Artscribe, No. 28. Von der Heydt-Museum, Wuppertal (1981);Peters, Ursula (1981). Materialien und Wahrnehmung: ein Zusammenspiel. Wuppertal: Von der Heydt Museum. Institute of Contemporary Art, London (1982);Naime, Sandy and Nicholas Serota (1982). "Symbols, Presences and Poetry". British Sculpture in the Twentieth Century. London: Whitechapel Art Gallery. Documenta 7, Kassel (1982) and the Hayward and Serpentine Galleries, London (1983).Cragg, Tony (1985). Tony Cragg. Societe Des Expositions Des Beaux Arts / Musee d'Art Moderne, Brussels and Paris. p. 102. Since then Cragg has exhibited extensively at many of world's most important art institutions.Cragg, Tony (1992). Tony Cragg. Eindhoven; Amsterdam: Van Abbemuseum. In 1988 Cragg received the Turner Prize at the Tate Gallery in London, represented Britain at the 42nd Venice Biennale (1988)Cooke, Lynne (1988). "Venice Biennale". Art International. and was appointed Professor at the Kunstakademie Düsseldorf (1988–2001).

Throughout the 1990s Cragg continued to develop two larger groups of work that have sustained his production up to the present: the "Early Forms" and the "Rational Beings". The Early Forms series investigate the possibilities of manipulating everyday, familiar containersCragg, Tony and Melitta Kliege (2005). Tony Cragg – familiae. Nürnberg: Verlag für Modern Kunst. p. 51. and the ways in which they can morph into and around one another in space.Cragg, Tony (1999). Tony Cragg: New Works. London: Royal Academy of Arts. The sculptures derive their profiles and contours from simple, thick-walled vessels such as chemistry vessels, plastic bottles and mortars.Cragg, Tony (2006). Tony Cragg: In and Out of Material. Köln: Walther König. p. 203. The surface of these initial objects are extended and contorted until new, sculpturally independent forms of movement arise. Through these processes of manipulation the initial objects develop new lines and contours, positive and negatively curving surfaces and volumes, protrusions and deep recessing folds. The broad field of containers and vessels used function as metaphors for cell, organ, organism or body.Cragg, Tony (2006). Tony Cragg: In and Out of Material. Köln: Walther König. p. 189. The Early Forms can be characterized as forms transmutating along a bilaterally curved axis, often with organic, even figurative, qualities. The Rational Beings are describable as organic looking forms often made of carbon fibre on a core of polystyrene. These sculptures derive their forms from the contours of gestural drawings, which Cragg then translates into the third dimension using thick, circular or oval discsCragg, Tony and Melitta Kliege (2005). Tony Cragg – familiae. Nürnberg: Verlag für Modern Kunst. p. 52. which are superimposed (often vertically), glued together and covered with a skin.Cragg, Tony (1998). Anthony Cragg: Material – Objekt – Form. Munich: Städtische Galerie im Lenbachhaus. p. 83.

During the 1990s he exhibited at the 45th Venice Biennale (1993); the "Terrae Motus" collection at the Royal Palace of Caserta, Italy (1994); The National Gallery, Prague (1995); MNAM, Centre Georges Pompidou, Paris (1996); MACBA, Barcelona (1997) and the Royal Academy, London (1999). In the early 2000s Cragg was awarded the Shakespeare Prize (2001) and the Piepenbrock Prize for Sculptures (2002). He was appointed Commander of the Order of the British Empire (CBE) (2002), Honorary Doctor of the Royal College of Art, London (2009), Professor at the Universität der Künste, Berlin (2001–2006), and began a Professorship at the Kunstakademie Düsseldorf (2006). Among many major solo shows, Cragg exhibited at Tate Gallery Liverpool (2000); MACRO Museum of Contemporary Art, Rome (2003); and The Central House of Artists, Moscow (2005).Ehmann, Arne and Lóránd Hegyi (2013). Tony Cragg: exposition, Musée d'Art Moderne de Saint-Etienne Métropole, 14 September 2013 – 5 January 2014. Paris: Galerie Thaddaeus Ropac. p. 148.

In 2011 Cragg exhibited at the Musée du Louvre in Paris, the Scottish National Gallery in Edinburgh and in 2012 at CAFA Museum in Beijing.Cragg, Tony (2013). Tony Cragg: Sculptures and Drawings. National Taiwan Museum of Fine Arts. p. 280. His sculpture Accurate Figure is currently on display in the garden at the Nasher Sculpture Center in Dallas, Texas. Amongst new developments in Cragg's work is an increase in sculptures that can be exhibited outdoors; more works wrought from bronze, steel, stone, wood and glass; as well as a vigorous return to his initial interest in art – that of drawing.

Following Brexit he became a German Citizen. He stated that he had found his life in Germany and "wouldn't like to experience any disadvantages in the future either".