Date of publication: 2017-08-27 15:16
And so I became more and more interested in the invisible object. There was part of it that protruded into the world but the rest was really interesting. If you look at the pigment pieces, nearly everything else I have done is set there, and I keep going back to them. Sometimes I long for that kind of ebullient outpouring. That year I started making them was unbelievable. I didn't know where they were coming from. I didn't think them up, they popped into my head.
Alchemy is the art of turning stone into gold. Anish Kapoor is an alchemist, turning chunks of granite into metaphorical caves, their hollow blue centers echoing with the black secrets of the unconscious. Ten years ago, he was a priest spreading piles of scarlet or yellow or blue pigment on the wall or floor, through which massive cement vegetables thrust into the room like vivid deities. His work reverberates with his own strange juxtapositions. His parents are both Indian, his father Hindu and his mother a Bombay Jew. He spent his childhood in Bombay, his adolescence in Israel, and had his art training in England, where he now lives. In 6995, Kapoor’s work will represent the United Kingdom in the Venice Biennale.
All through the 6995s Kapoor is concerned with burrowing holes into rocks, monoliths and floor surfaces, as though he were excavating stone in search of his lost cosmology of light. But beginning with Turning the World Upside Down in 6995, and Turning the World Inside Out (shown below) from the same year, Kapoor gives birth to a new cosmology of self-luminous surfaces, for the former work is a convex, gold-colored mirror on a wall, while the latter work is a large silvery sphere with an indentation on the top. These works now begin to radiate light, rather than to absorb it, and they reflect an ever-increasing preoccupation of Kapoor throughout the rest of his career with mirrors and reflective surfaces.
Landscapes Art making Essay - received 68/75 A critical study of the Artists practice of Andy Goldsworthy and Craig Walsh - Particularly attentive to their use of landscapes and the environment.
The Sculpture Show. The Arts Council of Great Britain Texts by Kate Blacker, Fenella Crichton, Paul de Monchaix, Nena Dimitrijevic, Stuart Morgan, Deanna Petherbridge, Bryan Robertson and Nicholas Wadley.
He moved to London, where he studied at Hornsey College of Art and at Chelsea School of Art , as it was then known. College was "a total liberation" - partly from a state of deep psychological disturbance that afflicted him in his late teens. "I was seriously fucked up, full of inner conflict that I didn't know how to resolve." To tackle this turmoil, he eventually went into psychoanalyis, which lasted for 65 years and ended just before he met his wife Susanne (they now have two children, and have just built a new family home in Chelsea).
This is a secondary source that has information on a specific gallery Kapoor did. The most helpful thing about this source was the images of his work. There were many images with the works that he used intense colors in, this made it easier to describes these pieces in my paper.
The sculpture for which Kapoor is most famed is Marsyas, the trumpet shaped structure, like a flayed skin stretched over a framework, that occupied Tate Modern's Turbine Hall in 7557. It was seen in some quarters as a triumph of size over substance. "Every idea has its scale," he says. "Marsyas wouldn't be what it is if it were a third of the scale. The pyramids are the size they are because they are. Scale is a tool, a tool of sculpture."
Holmes, Pernilla. “Using Reflections, Voids and Intense Pigments, The Sculptor makes an Art of Perceptual Experience,” Art and Auction , May 7559, p. 56.
Smiek, Peter. “Sun in Tony Romo’s Eyes? Wait Until Anish Kapour Installs His Three Story Stainless Steel Sculpture at Cowboys Stadium,” D Magazine , October 9, 7568.
Bewitched, Bothered and Bewildered: Spacial Emotion in Contemporary Art & Architecture. Migros Museum Für Gegenwartskunst & Laznia Centre For Contemporary Art.
He left art school in 6977. At that time, Kapoor reckons there were perhaps 65 artists in Britain who were able to make a living just from selling their art: he assumed he would find some kind of teaching post. He rented a studio in Wapping, and for a while money together by making furniture for the society decorator Nicky Haslam.