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Anthony McCall

Antony McCall  (b.1946, England) lives and works in Manhattan.

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.

McCall withdrew from his artistic practice at the end of the 1970s, establishing successful graphic design studio that specialised in art publications. He reemerged in the 2000s, propelled by the development of the haze machine and of digital projection that together enabled him to realise more ambitious concepts.

McCall’s work’s historical importance has been recognized in such exhibitions as Into the Light: the Projected Image in American Art 1964-77, Whitney Museum of American Art (2001-2); The Expanded Screen: Actions and Installations of the Sixties and Seventies, Museum Moderner Kunst, Vienna (2003-4); The Expanded Eye, Kunsthaus Zurich (2006); Beyond Cinema: the Art of Projection, Hamburger Bahnhof, Berlin (2006-7); The Cinema Effect: Illusion, Reality and the Projected Image, Hirshhorn Museum, Washington DC (2008); and On Line, Museum of Modern Art (2010-11).

“I am thrilled to be showing in the UK and particularly in the David Chipperfield designer galleries at The Hepworth Wakefield. These carefully proportioned and gently angled spaces are unusually sympathetic to the work on display”.

Anthony McCall

Related exhibitions & events

Expanded Cinema

19 May 2018, 10am - 5pm

A day of events exploring and interpreting the work of McCall through discussion, dance and film.

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Anthony McCall: Solid Light Works - opening party

Thurs 15 Feb 2018, 7 - 10pm

Be one of the first to see our new exhibition and experience the gallery spaces as never before.

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Anthony McCall: Solid Light Works

16 Feb - 3 June 2018

This major survey of the work of Anthony McCall presents the premiere of new immersive 'solid light' installations.

'A glowing cosmic spectacle' - **** The Guardian

'Nothing can quite prepare you for the experience. It is captivating.' The Times

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Further Reading