Anthony McCall
Solid Light
Tate Modern, London
Through April 27, 2025

In Summer 2024, Tate Modern will present a focused exhibition of immersive works by Anthony McCall. Occupying a space between sculpture, cinema and drawing, McCall is known for his ‘solid-light’ installations that began in 1973 with the seminal work Line Describing a Cone, a key work in Tate’s collection.

Anthony McCall
Raised Voices
September 13–December 20, 2024
London

Sprüth Magers is pleased to present Raised Voices, an exhibition by Anthony McCall featuring the UK premiere of a new solid light work alongside drawings from throughout his career. McCall’s ‘solid light works’ occupy a space between cinema, sculpture and drawing, with beams of light creating sculptural forms as they are projected through mist within the space. The viewer becomes an active participant in the work, dissected by an undulating light that slowly shifts and changes. The exhibition coincides with two major solo shows of McCall’s work at Tate Modern and Guggenheim Bilbao.

Anthony McCall
February 22–March 31, 2018
London

Sprüth Magers presents a solo exhibition by British born, New York based, Anthony McCall, to coincide with a major survey of his work at The Hepworth Wakefield. On view in the lower galleries is the solid-light work Meeting You Halfway II (2009), as well as a selection of large-scale silver gelatin photographs from Smoke Screen (2017)—an entirely new series that marks a departure in the artist’s practice.

Anthony McCall
1970s Solid-Light Works
November 22, 2013–January 25, 2014
Berlin

Internationally recognized for groundbreaking work that occupies a space between sculpture, cinema and drawing, Anthony McCall’s practice has influenced a generation of artists working with film and installation. The exhibition at Sprüth Magers Berlin offers an unprecedented occasion to see three of the artist’s seminal ‘solid-light’ works that were produced in the early 1970s in New York, including Four Projected Movements (1975).

Anthony McCall
Early Performance Films
April 27–June 16, 2012
Berlin

The three films featured in this exhibition, Landscape for Fire, Landscape for White Squares and Earth Work, originally shot in 16mm, document a series of live, outdoor, sculptural performances. All three performances were made in collaboration with Exit, a British group of musicians and artists. The earliest film, Landscape for Fire, records a performance in which a group of participants ignited containers of petrol laid out in a grid pattern across the field. Their actions were meticulously organized according to ‘scores’, drawn up by the artist beforehand, also on display here in the exhibition

Time out of Mind
Sol LeWitt, Anthony McCall, Gordon Matta-Clark, Tony Conrad, Dorothea Rockburne
curated by Todd Levin
November 16, 2011–January 21, 2012
Berlin

Sprüth Magers Berlin is delighted to present a group exhibition of work by artists Tony Conrad, Sol LeWitt, Gordon Matta-Clark, Anthony McCall and Dorothea Rockburne, curated by Todd Levin. Presenting work from the 1970’s, the exhibition will examine a new form of drawing that purposely explored the concept of temporality. Through the works on display, the way in which they are presented, and the original ideas they propagate, the exhibition attempts to transpose the visitor to the flare of the New York art scene in the 1970's.

Anthony McCall
Works on Paper
February 28–March 26, 2011
London

Running concurrently with Anthony McCall's exhibition 'Vertical Works' at Ambika P3, 'Works on Paper' at Sprüth Magers London includes a selection of drawings and photographs from the last 40 years of McCall's career, and showcases two key works: Landscape for Fire (1972) and Five-Minute Drawing (1974).

Anthony McCall
Vertical Works
February 28–March 26, 2011
Sprüth Magers at Ambika P3, University of Westminster

Over the past five years McCall has explored solid-light works that are oriented vertically – projecting downwards from the ceiling onto the floor, forming 10-metre tall, conical ‘tents’ of light, with a base of about 4 metres. Here, the projected line-drawing on the floor is, quite literally, the footprint of the work, with the three-dimensional ‘body’ rising up from the floor and finally narrowing to a point at the lens of the projector, well-above one’s head. From the point-of-view of the observer, the vertical pieces create a profoundly different type of encounter. Four of these works, each of them showing in the UK for the first time, will be presented as a single installation in the Ambika P3 exhibition space.