Anish kapoor essay

Kapoor’s use of color in is artworks is extremely vital to the overall meaning of each piece. He enjoys the idea that he can evoke certain emotions out of the viewer through his use of color. A reoccurring theme in many of his works is the idea of uncertainty, the colors make the work seem impossible to make because the pigments appear to be the purest form they can be. His use of color is also important in his effort to separate the work from object hood, have the object interact with the space (Kapoor, De, Balmond, & Tate Modern (Gallery), 2002, p. 13). Overall Kapoor uses color as a powerful transformers, through the use of form, shadows, and pigment in an artwork.

Postmodernism reflects a widespread disillusionment with life, as well as the power of existing value-systems and/or technology to effect beneficial change. As a result, authority, expertise, knowledge and eminence of achievement has become discredited. Artists are now far more wary about "big ideas" (. all 'progress' is good). Most important, "Modernist art" was seen not only as elitist but also as white, male-dominated and uninterested in minorities. Which is why postmodernism champions art by Third World, Feminist and Minority artists. However, critics say that - despite its supposed "rejection" of big ideas - the postmodern movement seems to have lots of big ideas of its own. Examples include: "all types of art are equally valid"; "art can be made out of anything"; "the democratization of art is a good thing" (how about the democratization of brain surgery?).

In a number of works dating from the early 1990s, Kapoor is fascinated by drilling holes into huge stones, and with representing monoliths, such as in the 1990 work It is Man , with large black rectangles in their centers. This is a period of Kapoor’s work in which he is concerned with Depths, rather than Surfaces: his monoliths, such as the Adam of 1989 (shown above), represent upright stone blocks as though they were fragments taken from some larger whole, and featuring a black rectangle like the monolith from 2001: A Space Odyssey on the surface. This is, perhaps, a way of giving depth to the image: the stone block, he would appear to be saying, is not just a stone block – anymore than the human being is just made out of physical matter – but has a depth interior to it, a realm of hidden consciousness that is on the inside of the block.

   After the Hype - A Millennium     ParkPost-Mortem
   Frank Gehry, Millennium Park          and the development of the
    Techno-Baroque
   Sculpture as Architecture -
    Anish Kapoor's Cloud Gate     sculpture and Jaume Plensa's     Crown Fountain
   Photo-Essay on Frank Gehry's
     new Pritzker Pavilion
   Photo Essay on Anish Kapoor's     Cloud Gate sculpture
   Photo Essay on Jaume Plensa's     Crown Fountain
  Photo Essay on the Construction of     Frank Gehry's Pritzker Pavilion

Anish kapoor essay

anish kapoor essay

   After the Hype - A Millennium     ParkPost-Mortem
   Frank Gehry, Millennium Park          and the development of the
    Techno-Baroque
   Sculpture as Architecture -
    Anish Kapoor's Cloud Gate     sculpture and Jaume Plensa's     Crown Fountain
   Photo-Essay on Frank Gehry's
     new Pritzker Pavilion
   Photo Essay on Anish Kapoor's     Cloud Gate sculpture
   Photo Essay on Jaume Plensa's     Crown Fountain
  Photo Essay on the Construction of     Frank Gehry's Pritzker Pavilion

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