Celebrated for his gigantic, stainless steel Cloud Gate sculpture in Chicago’s Millennium Park, Anish Kapoor is changing the cultural environment with his public works.
The Indian-born, London-based artist represented Britain at the 1990 Venice Biennale and took home the 1991 Turner Prize with his monochromatic, pigment-covered, abstract forms. Since then, he’s carved mysterious cavities in stone, made massive wax installations, and fabricated shiny concave disks — like the enormous Sky Mirror in New York’s Rockefeller Center — that dynamically reflect their surroundings.
Visit the artist’s website, check out his current shows at London’s Royal Academy of Arts and New York’s Guggenheim Museum, read an interview with Kapoor and Richard Serra, and buy his new Phaidon monograph
Anish Kapoor, Yellow, 1999, installed at the Royal Academy of Arts, London, 2009, Fiberglass and pigment, 6 x 6 x 3m, Courtesy of the artist and Lisson Gallery, London, Photography: Dave Morgan
Anish Kapoor, As if to Celebrate I Discovered a Mountain Blooming with Red Flowers, 1981, Wood, cement, polystyrene, and pigment, 97 x 76.2 x 160cm, Tate Installed at the Royal Academy of Arts, London, 2009, Photography: Dave Morgan
Anish Kapoor, Shooting into the Corner, 2008-09, installed at the Royal Academy of Arts, London, 2009, Mixed media, dimensions variable, MAK, Vienna, Austrian Museum of Applied Arts/Contemporary Art, Photography: Dave Morgan
Anish Kapoor, Svayambh, 2007, Wax and oil-based paint, Dimensions variable, Photo: Cecile Clos, Nantes Installation: Musee des Beaux-Arts de Nantes
Anish Kapoor, Cloud Gate, 2004, stainless steel, 1006 x 2012 x 1280 cm, installation view, Millennium Park, Chicago, Photo: Peter J Schulz, Courtesy City of Chicago, From the book Anish Kapoor by David Anfam, essays by Johanna Burton and Richard Flood, interview by Donna de Salvo, published by Phaidon Press, 2009, $95.00, www.phaidon.com
Anish Kapoor, Sky Mirror, 2006, stainless steel, diameter 1067cm, installation view, Rockefeller Center, New York, Photo: Seong Kwong, Courtesy of The Public Art Fund, New York, From the book Anish Kapoor, by David Anfam, essays by Johanna Burton and Richard Flood, interview by Donna de Salvo, published by Phaidon Press, 2009, $95.00, www.phaidon.com
Anish Kapoor, Untitled, 2008, alabaster, 96 × 70 × 29cm, installation view, Chiesa di San Giusto and Pinoteca Civica, Volterra, Italy, Photo: Attilio Maranzano, From the book Anish Kapoor by David Anfam, essays by Johanna Burton and Richard Flood, interview by Donna de Salvo, published by Phaidon Press, 2009, $95.00, www.phaidon.com
Anish Kapoor, Dismemberment Site I, 2003–09, PVC and steel, 25 × 25 x 84m, installation view, The Farm, Kaipara Bay, New Zealand, Photo: Jos Wheeler, From the book Anish Kapoor by David Anfam, essays by Johanna Burton and Richard Flood, interview by Donna de Salvo, published by Phaidon Press, 2009, $95.00, www.phaidon.com
Anish Kapoor, Memory, 2008, Cor-Ten steel, 14.5 x 9 x 4.5m, Commissioned by Deutsche Bank in consultation with the Solomon R. Guggenheim Foundation for the Deutsche Guggenheim, Berlin, Installation view: Anish Kapoor: Memory, Deutsche Guggenheim, Berlin, November 30, 2008–February 1, 2009, Artwork © Anish Kapoor, Photo: Mathias Schormann © The Solomon R. Guggenheim Foundation, New York
Comments (2)
his show in Boston at the ICA this past summer was amazing. His work is cool in pictures, but there’s nothing like it in person.
[...] Anish Kapoor’s bigtime solo exhibition at the Royal Academy ends next Friday, and with its deadline looming The Guardian wonders: how in the h-e-double-hockeysticks are they going to clean up that mess? You may recall that one of the main attractions in Kapoor’s eponymous show involves a cannon firing globs of red wax into a wall. Another work in the classical galleries is a length of oily red paint with a hulking door-shaped wax monolith at one end. The Royal Academy curators aren’t giving up their Fairy Godmother sanitizing secrets, but we know they must have a few tricks up their collective sleeve. Which left us pondering which other art exhibition remnants should be left to the pros of Sunshine Cleaning… [...]
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