Anthony Antonios currently teaches sculpture and drawing classes and workshops at the Art Students League of New York, the National Academy of Art in New York City, and Brookgreen Gardens in Pawleys Island, SC. View Resume

Feature on Anthony Antonios' work in the National Sculpture Society News Bulletin.
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Brochure of Anthony Antonios' work from the Behnke-Doherty Gallery. View (pdf)

FAQ

Q.Why figurative sculpture? A.It's always been human form that has impressed and moved me, so I felt a need for speaking through this most important subject matter. Although I've been influenced by styles of the past, it's really my own personal vision of human form that I want to convey. And that vision is of a figurative sculptor living in the 21st century.

Q.Which artists have most influenced you? A.The art of Egypt, Greece and the Renaissance, in particular 15th century Italian sculptors, including Jacopo della Quercia, Ghiberti and Donatello. And beyond that, always Michelangelo. My more contemporary influences are Brancusi, Elie Nadelman, Marino Marini, Giacomo Manzu, Wlerick, Despiau and Maillol.

Q.You've taught sculpture and drawing for many years. How has it influenced your work? A.You start out wanting to help people get to where they want to go. And in the process, in trying to help others, you concretize or objectify the ideas you use in making a work of art. So when you explain it to someone, in effect you're explaining why you do what you do and what your process is.

Q. Can art be taught? A. I can't teach people to be artists. I can only give them the tools with which to do art work. But being an artist is a totally different thing and something I don't believe is teachable. I can pretty much tell who has it and who doesn't from day one, although I've been pleasantly surprised on a few occasions. For the most part it's there from the beginning.

Q. How important is drawing to you as an artist and sculptor? A. Drawing has always been at the core of what I do whether it's as an end in itself or for sculpture, etching or relief. Although I use tones and values my drawing is essentially linear. I've always thought of my drawing as that of a sculptor as I use line to define volume and to understand form.

Q. Why do you like relief? A. Relief satisfies my need to work three-dimensionally and pictorially. It is the one medium that allows me to combine sculpture and drawing within a singular work. And there's a singular point of view as well. It either pulls you in or it comes out at you. I find this process very challenging.

Q. What material do you prefer to work in? A. I'm essentially a modeler who carves. Although I model in clay and cast my work in bronze, my thought process when I design a work is that of a carver. I think of sculpture in the round as a self-contained entity.

Q. You've done a lot of commissioned work. What kind of challenges does that present? A. If we look at the history of art, most of the great works of the past were commissioned works. All that we know from Egypt, Greece and the Renaissance, to name a few, were works done for specific projects. And it's always been very appealing to me to work within that context.

While a great deal of what I do is for me, it is not the only way I have in which to speak artistically. The challenge with a commission is to create a personal and powerful work of art that's an extension of me within the context of a specific project.

Q. Is there a place for figurative art today? A. There will always be a place for figurative art. Human form has been the subject for artists since the beginning. The figure has been interpreted in many ways, so it always comes down to an artist's personal vision. Artists will always be excited in capturing the tilt of a head, the turn of a shoulder or the shifting of the rib cage and pelvis - and in capturing the spirit and character of the figure.