In a city where one wrong move can spark a riot, even the modern art world is not immune to chaos. Tony Cragg, a renowned sculptor and Royal Academician, has seen his fair share of controversy over the years. Yet, he remains committed to his craft, which has taken him on an incredible journey that spans over five decades.
One restless night, a new idea strikes Cragg. He works it up in his studio and sends it off to the foundry, ready to be cast in bronze. Finally, the moment arrives to unveil his latest creation to the world. However, when the first visitor walks through the gallery doors, Cragg is met with more selfies than a social media influencer's dream come true.
"I don't have a problem with that," Cragg says with a hint of resignation. "People respond in different ways." It's a characteristic that has defined his career, marked by both acclaim and criticism. His 1988 Turner Prize win was a major milestone, but it also sparked debate about the value of modern art.
Cragg's views on audio guides have become infamous. He believes they disrupt the direct dialogue between an artwork and its viewer, imposing an external narrative that can stifle creativity. "If you have a picture on a wall," he argues, "it doesn't matter what the artist's intention was. The person comes with their education, background, and abilities – and responds to what's in front of them."
Despite this critique, Cragg has built a team of roadies who help him transport his sculptures from one venue to another. It may seem extravagant, but for an artist who has spent decades honing his craft, the process is almost meditative.
Cragg's early work tackled pressing issues in Britain, including the miners' strike and police clashes in Brixton. His use of motifs like the crown jewels and union flag reflects a complex relationship with nationalism and identity. While he acknowledges that isolationism can be detrimental, he also recognizes the weight of history that hangs over many nations.
In recent years, Cragg has explored themes of existential crises and the search for meaning in an increasingly digital world. His latest works – tall, abstract forms that seem to buckle or twist like a wounded creature – are a testament to his ongoing quest to push boundaries and challenge perceptions.
As we speak, Cragg's mind is already racing with new ideas. "I hate holidays," he confesses. "Twenty-five years ago, everybody needed a holiday. I spend a lot of time in Scandinavia – it's perfect for me, a studio by the ocean." For an artist who has spent his life exploring the intersection of art and everyday life, it's no surprise that Cragg finds inspiration in the most unexpected places.
As we leave Lisson Gallery, Cragg reflects on the evolution of contemporary art. "Now, everywhere you go has its own gallery," he observes wryly. In Britain alone, there were once just a handful of galleries showcasing modern art. But it was not always without controversy. Even in France, where art is revered as a national treasure, some collectors would throw food at modern installations if they didn't meet their expectations.
Cragg's journey to success has been anything but smooth. He has faced criticism and skepticism along the way, but he remains undeterred. For him, art is not just about aesthetics – it's about making life more livable. "Art makes a difference," he insists. "It can change people's lives." And as we part ways, Cragg's sculptures still linger in our minds, a testament to the power of creativity and the enduring quest for meaning in an uncertain world.
One restless night, a new idea strikes Cragg. He works it up in his studio and sends it off to the foundry, ready to be cast in bronze. Finally, the moment arrives to unveil his latest creation to the world. However, when the first visitor walks through the gallery doors, Cragg is met with more selfies than a social media influencer's dream come true.
"I don't have a problem with that," Cragg says with a hint of resignation. "People respond in different ways." It's a characteristic that has defined his career, marked by both acclaim and criticism. His 1988 Turner Prize win was a major milestone, but it also sparked debate about the value of modern art.
Cragg's views on audio guides have become infamous. He believes they disrupt the direct dialogue between an artwork and its viewer, imposing an external narrative that can stifle creativity. "If you have a picture on a wall," he argues, "it doesn't matter what the artist's intention was. The person comes with their education, background, and abilities – and responds to what's in front of them."
Despite this critique, Cragg has built a team of roadies who help him transport his sculptures from one venue to another. It may seem extravagant, but for an artist who has spent decades honing his craft, the process is almost meditative.
Cragg's early work tackled pressing issues in Britain, including the miners' strike and police clashes in Brixton. His use of motifs like the crown jewels and union flag reflects a complex relationship with nationalism and identity. While he acknowledges that isolationism can be detrimental, he also recognizes the weight of history that hangs over many nations.
In recent years, Cragg has explored themes of existential crises and the search for meaning in an increasingly digital world. His latest works – tall, abstract forms that seem to buckle or twist like a wounded creature – are a testament to his ongoing quest to push boundaries and challenge perceptions.
As we speak, Cragg's mind is already racing with new ideas. "I hate holidays," he confesses. "Twenty-five years ago, everybody needed a holiday. I spend a lot of time in Scandinavia – it's perfect for me, a studio by the ocean." For an artist who has spent his life exploring the intersection of art and everyday life, it's no surprise that Cragg finds inspiration in the most unexpected places.
As we leave Lisson Gallery, Cragg reflects on the evolution of contemporary art. "Now, everywhere you go has its own gallery," he observes wryly. In Britain alone, there were once just a handful of galleries showcasing modern art. But it was not always without controversy. Even in France, where art is revered as a national treasure, some collectors would throw food at modern installations if they didn't meet their expectations.
Cragg's journey to success has been anything but smooth. He has faced criticism and skepticism along the way, but he remains undeterred. For him, art is not just about aesthetics – it's about making life more livable. "Art makes a difference," he insists. "It can change people's lives." And as we part ways, Cragg's sculptures still linger in our minds, a testament to the power of creativity and the enduring quest for meaning in an uncertain world.
It's like he's trolling the whole modern art scene with these huge bronze sculptures that just kinda... exist 
But honestly, I think it's kinda brilliant. He's like a provocateur, forcing people to question what they're actually looking at. And can we talk about how unimpressed he is by all the attention? Like, fair enough, dude 
. Art is supposed to be about pushing boundaries and making us uncomfortable. If that means having your selfie taken with some avant-garde art or getting roasted online for not liking audio guides, then so be it! 
Tony Cragg's art is like that one friend who always pushes boundaries - sometimes it works, sometimes it doesn't 
but you gotta respect him for trying! His views on audio guides might be a bit out there 
but I get where he's coming from. Sometimes too many explanations can suck the magic out of an experience.
- from tackling social issues to exploring existential crises, he's been all over the place 
! It's cool that he finds inspiration in unexpected places like Scandinavia 
.
. And yeah, his journey to success hasn't been easy 
but he's still going strong 
!
? and honestly idk how he does it but he always seems to be on the right side of art history 
plus can we talk about how cool it is that he's like "art makes life more livable" 
i need to visit his studio by the ocean ASAP 
it's all about drama & controversy... but what really matters is if it's making life more livable? 
️ honestly, i think tony cragg's views on audio guides make total sense - shouldn't we just let people interpret art for themselves? 
. He's all about challenging perceptions and making art more accessible 
. I love how he's not afraid to speak his mind on audio guides – it's like, come on, let the viewer respond in their own way 
. Like, who wouldn't want a sculpture that reflects the beauty of Scandinavia? 
? The miners' strike and police clashes in Brixton? That's like, really deep 
. But what I admire most is that he hasn't let all that drama hold him back 
. He keeps creating, keeps pushing forward, and inspires people with his art 
.
. It's like, have you ever seen something that just makes you feel seen or understood? That's what art is all about 
. And even though not everyone will appreciate his work 
.
. He's an artist who's not afraid to take risks, challenge norms, and make art that means something 
!
. Don't get me wrong, I love Cragg's work too, but sometimes I wish people would just take a step back and appreciate the art for what it is – without all the extraneous info 
.
.
. And I think it's so refreshing to see an artist who isn't afraid to be real and honest about their process.
even wen ppl r like "wot is dis supposed 2 b?" he's all "hey ur just gonna respond in ur own way" lol & im totes w/ him 
cuz art shud be about evrythin nOt jus looks 
. And don't even get me started on the importance of holidays... 25 years ago, everyone needed a break 
.