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Anish Kapoor
No full textAnish Kapoor painting one of his sculptures. He says that art is about "power", about things unspoken, about poetry, forces of nature, God, etc. He originally saw this in objects that were very still, but now thinks that the energy manifests itself in movement, so his work is currently of objects that are moving, whirling. "The more violent the movement, the more important that particular place of power." Sculpture of wood and pigment. Kapoor says he’s not "hankering after anything other than some degree of absolute experience which [he sees] as being associated with mythology, with realms of experience that are psychologically rather complicated…" Every human function is tied to psychological or mythological contexts, and he’s interested in making sculptures about things which are significant in that way. Placing exhibits. Kapoor describes the work as being about something that’s spinning; each object "… is an attempt to contain some sort of energy about turning…" Kapoor talks about his reluctance to use directly symbols from elsewhere. "References they contain are not absolute" Mythological references are not clear "because we don’t live in that kind of world". In this world "everything is clearly defined in all its properties…" Sculpture. Thinks it’s impossible to get away entirely from one’s origins and consequently inevitably uses images which can be related back to Indian culture. Disagrees that this makes him "exoticise" himself. He thinks that some of the work on show in some ways deals with this issue, and that an "exotic" label is superficial. Another sculpture. Kapoor talks about the idea of "truth to materials, ethic in sculpture" being long past. "Artifice is what it’s all about.
Anish Kapoor - ACE139.2
No full textAnish Kapoor painting one of his sculptures. He says that art is about "power", about things unspoken, about poetry, forces of nature, God, etc. He originally saw this in objects that were very still, but now thinks that the energy manifests itself in movement, so his work is currently of objects that are moving, whirling. "The more violent the movement, the more important that particular place of power." Sculpture of wood and pigment. Kapoor says he’s not "hankering after anything other than some degree of absolute experience which [he sees] as being associated with mythology, with realms of experience that are psychologically rather complicated…" Every human function is tied to psychological or mythological contexts, and he’s interested in making sculptures about things which are significant in that way. Placing exhibits. Kapoor describes the work as being about something that’s spinning; each object "… is an attempt to contain some sort of energy about turning…" Kapoor talks about his reluctance to use directly symbols from elsewhere. "References they contain are not absolute" Mythological references are not clear "because we don’t live in that kind of world". In this world "everything is clearly defined in all its properties…" Sculpture. Thinks it’s impossible to get away entirely from one’s origins and consequently inevitably uses images which can be related back to Indian culture. Disagrees that this makes him "exoticise" himself. He thinks that some of the work on show in some ways deals with this issue, and that an "exotic" label is superficial. Another sculpture. Kapoor talks about the idea of "truth to materials, ethic in sculpture" being long past. "Artifice is what it’s all about.
Millennium Park: Cloud Gate
No full textContext view on axis looking west through the Great Lawn, showing the "gate" form; Cloud Gate is British artist Anish Kapoor's first public outdoor work installed in the United States. The 110-ton elliptical sculpture is forged of a seamless series of highly polished stainless steel plates, which reflect the city's famous skyline and the clouds above. A 12-foot-high arch provides a "gate" to the concave chamber beneath the sculpture, inviting visitors to touch its mirror-like surface and see their image reflected back from a variety of perspectives. Inspired by liquid mercury, the sculpture is among the largest of its kind in the world, measuring 66-feet long by 33-feet high. "What I wanted to do in Millennium Park is make something that would engage the Chicago skyline...so that one will see the clouds kind of floating in, with those very tall buildings reflected in the work. And then, since it is in the form of a gate, the participant, the viewer, will be able to enter into this very deep chamber that does, in a way, the same thing to one's reflection as the exterior of the piece is doing to the reflection of the city around." -Anish Kapoor Source: Millennium Park, Chicago [website]; http://www.millenniumpark.org/ (accessed 7/12/2008
Anish Kapoor. Conversation avec Jean de Loisy, Président du Palais de Tokyo
No full textSous l’impulsion de son Administrateur, Alain Prochiantz, le Collège de France lance une série de grandes conférences autour de personnalités marquantes de la vie artistique, littéraire et, plus largement, intellectuelle. Ce cycle s’est ouvert le 23 juin 2016 avec l’artiste plasticien britannique Anish Kapoor. Dans son préambule à la conférence, Alain Prochiantz, devant la projection des photographies de l’œuvre Dirty Corner, exposée dans les jardins du palais de Versailles en 2015, et qui av..
Calling for Culpability: Anish Kapoor's Dirty Corner
Get PDFBeginning in 2008, The Château of Versailles has hosted temporary exhibitions by contemporary artists. This paper looks at the backlash incurred against the exhibition by British-Indian artist Anish Kapoor, specifically his sculpture Dirty Corner. After Dirty Corner was vandalized with antisemitic hate speech, the artist pushed back against removing the graffiti, which only compounded the already antagonistic relationship between Kapoor, Versailles, and the public.
This paper posits that Kapoor’s refusal to cleanse Dirty Corner of its anti-Semitic defacement confronts France’s lingering denial of responsibility in both the Holocaust during WWII, and the nation’s burgeoning xenophobia in the wake of the European Refugee Crisis.student peer reviewed journal articlefinal article publishe
Evaluating spatial equity in bike share systems
No full textThis research analyzes 10 of the largest third generation docked bike share systems in the United States along with 3 docked bike share systems in New Jersey. These bike share systems were carefully selected to reflect diversity in their size and age, and their host region’s size and geography as well as data availability.This report was developed by the New Jersey Bicycle and Pedestrian Resource Center within the Alan M. Voorhees Transportation Center (VTC) at Rutgers, The State University of New Jersey. The research team included Charles T. Brown, MPA, Principal Investigator, Devajyoti Deka, PhD, Aashna Jain, Anish Grover, and Qingyang Xie. The Center is supported by the New Jersey Department of Transportation through funds provided by the Federal Highway Administration
Understanding of Anish Kapoor’s space and material
Get PDFText in Turkish ; Abstract: Turkish and EnglishIncludes bibliographical references (leaves: 301-314)xiv, 315 leavesPostmodern dönemin önemli heykeltıraşlarından biri olan Anish Kapoor üzerine hazırlanan bu çalışma sanatçının mekan ve malzeme anlayışını incelemektedir. Bu çalışmayı oluştururken sanatçının yapıtlarını anlayabilmek için daha önceki dönemler ve sanat akımlarının incelenmesi sonunda sanatçıyı değerlendirmek daha doğru olur. Bu nedenle çalışmanın ikinci bölümü postmodern öncesi sanat anlayışını ve heykelin gelişimini anlamaya yönelik bir araştırmadır. Romantik dönemin felsefesi ve modern dönemin sanat anlayışı ve akımları bu bölümde irdelenmiştir. Çalışmanın üçüncü bölümünde sanatçının içinde bulunduğu postmodern dönemdeki akımların anlatımı ve sanatçı ile paralelikler gösterebilecek seçilmiş eserler değerlendirilmiştir. Dördüncü bölüm de sanatçının mekan ve malzeme anlayışını daha iyi anlayabilmek için mekan ve malzemenin tanımı, heykel sanatının tarihsel gelişim sürecinde mekan ve malzemeyi nasıl değerlendirdiği detaylı olarak anlatılmıştır. Beşinci bölümde ise Anish kapoor'un yaşamı, sanatının tarihsel gelişimi ve felsefesinin aktarımıdır. Altıncı bölüm sanatçının mekan ve malzeme anlayışının genel değerlendirilmesinden sonra eserleri doğrultusunda irdelenmesidir. Sonuç olarak bu çalışmanın amaçı, Hint asıllı İngiliz sanatçının, doğduğu ve yetiştiği coğrafyanın, aldığı eğitimin ve yaşadığı ortamdaki sosyo-kültürel yapının eserlerinde gerek mekanı kullanımı, gerekse malzeme seçimi ve dillendirmesi bakımından kendi kültürel belleğindeki etkileri ve eserlerine yansımasının irdelenmesidir.Anish Kapoor is one of the important sculpturer of postmodern era. This dissertation called "Understanding of Anish Kapoor's Space and Material" focuses on the artist's oeuvre in terms of his usage of space and material. In order to understand the artist, the researcher has reviewed modern and art movements of that era. In addition to this, romanticism is one the important art movement that Anish Kapoor has been nourished. For that reason in the second chapter of the study, these concepts has been reviewed. The third chapter of the study has focuses on postmodern concept and art movements of postmodern era. Also in this chapter the artists have been analyzed who inspired Anish Kapoor in terms of space and material language of the artist. On the fourth chapter of the study, in order to understand the idea of Anish Kapoor's works, space and material has been described in sculpture. The sixth chapter of the dissertation focuses on life of Anish Kapoor, his artistic timeline, his artistic philosophy and his selected works to analyze his space and material usage in his sculpture language. As a result of the study, Indian based British artist Anish Kapoor's oeuvre has been affected by his socio-cultural background, his education in terms of this selecting material and usage of space in this works of art.Postmodernizm Öncesi Sanat Ve Bağlamında HeykelRomantizmModernizmModern Sanat Sürecinde Akımların Gelişimi ve Heykel Sanatına EtkileriPostmodernizm Tanımı ve Postmodern Akımların Heykel Sanatında YansımalarıPostmodernizm KavramıPostmodern Dönemde Ortaya Çıkan Akımlar ve Heykel Sanatına YansımalarıPop ArtYeni GerçekçilikMinimalizmKavramsal SanatFluxusArte PoveraYeni DışavurumculukArazi SanatıYeni İngiliz HeykelciliğiPostmodern Heykel Sanatında Mekan ve Malzeme AnlayışıMekânın TanımıMekân Heykel İlişkisiÇağdaş Sanat ve Boşluk KavramıMalzeme TanımıHeykel Sanatında MalzemeMalzemenin Çağdaş Sanattaki RolüAnish Kapoor, Yaşamı, Sanatı ve FelsefesiAnish Kapoor’un Yaşamı ve Sanatının Tarihsel GelişimiAnish Kapoor’un Sanatının FelsefesiAnish Kapoor’un Eserlerinin Mekan-Malzeme Doğrultusunda İrdelenmesiAnish Kapoor’un Eserlerinde Mekân ve MalzemeAnlayışıAnish Kapoor’un Eserlerinin Mekan ve Malzeme Doğrultusunda İrdelenmesiEternal Bonds (Sonsuz Bağlar) (1977)1000 Names (1000 İsim) (1979-1980)Part of the Red (Kırmızının Parçası) (1981)Mother as Mountain (Bir Dağ Olarak Anne) (1985)Double Mirror (Çift Ayna) (1988)At The Edge Of The World (Dünyanın Kıyısında) (1988)Adam (Adem) (1988–1989)When I am pregrant (Ben Hamile Olduğumda) (1992)Building For A Void (Boşluk İçin İnşa Etmek) (1992)My BodyYour Body (1993)Iris (1998)Taratantara (1999)Marsyas (2002)My Red Homeland (Benim Kırmızı Vatanım) (2003)CloudGate (Bulut Kapısı) (2004)Melancholia (Melankoli) (2004)Sky Mirror (Gök Ayna) (2006)Svayambh (2007)Space as an Object (Obje Olarak Boşluk) (2008)Greyman Cries, Shaman Dies, Billowing Smoke, Beauty Evoked (Greymen Ağlar, Shaman Ölür, Dalgalanan Duman, Güzelliği Uyandırılan) (2009)Leviathan (2011)Arcelormittal Orbit (2012
Anish Kapoor: Monadic Singularity
Get PDFThis review considers the exhibition, 'Monadic Singularity' by Anish Kapoor, which took place at Liverpool Cathedral during August-September 2024. The exhibition is perceived to have encouraged contemplation about the body, mind, and spirituality, and illuminated Liverpool Cathedral’s thrilling spaces in new ways
Specific Objects
No full textThe research explores Donald Judd's concept of Specific Objects, and how the notion of singular
qualities, so essential to the concept, can be extended through the practice of sculpture. According
to Judd, unity can only be achieved in sculpture when its form is specific and has only one quality.
There must therefore be no apparent parts, no hierarchy and, therefore no relationships of parts. In
addition, Specific Objects rejects illusion. The sculptor Robert Morris further defined singular
qualities as those which predominantly distinguish 'good form', thereby positioning it within the
syntax of Gestalt psychology. Significant though Judd's sculptures are, few seem to conform to his
definition of Specific Objects because through his use of orthogonal geometry and contrast of
materials, many of his sculptures do indeed appear not only to be composed of parts, but actually
rely on the relationships between the parts. In addition, the contrast of opaque and transparent
surfaces, inevitably leads to illusion. Rather than follow Judd's use of orthogonal geometries from
parts of differing materials and colours, this research has investigated the potential of circular
geometry to create form of sculptural significance within Judd's strict definition of Specific Objects.
Key to this research has been what Rosalind Krauss described as the deflection of geometry, of
which there are two types: one is based on actual variations in physical geometry and the second
results from the illusory qualities of materials and surface finishes.
The studio investigations sought to ascertain to what extent the 'deflection of geometry'can
expand, but equally as importantly, maintain the viability of Judd's concept. In other words, the
challenge was to extend the possible range of geometries that posses the singular qualities
associated with Specific Objects; and in so doing provide an alternative response to the dilemma
posed by the concept; how to make unified forms with variation and sculptural significance.
The studio investigations were project based. Each project was directed by its aims and the resulting
studies evaluated through criteria in which unity and singular qualities were fundamental. A reductive approach to studio investigation led to two forms that conclude the research. The unified
geometry of the first is elliptical, although visual tension derives from the rotation of the internal
ellipse relative to its external counterpart, whereas the second form contains the implied division of
an internal figure of eight derivative within an elliptical exterior. Both forms were cast in
translucent resins to combine illusory and physical deflections of their geometry. By so doing, they
expand Judd's concept, by demonstrating the potential for implied duality and perceived variance to
exist within a singular, unified, and specific form
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