Deleted
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January 1970
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Deleted on Sept 15, 2015 20:45:01 GMT 1, I have never seen a lady's winkle up close, had a stab at a few years back, mostly in the dark.
Is this what one looks like?, really?.
I have never seen a lady's winkle up close, had a stab at a few years back, mostly in the dark.
Is this what one looks like?, really?.
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Dr Plip
Junior Member
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Dr Plip on Sept 15, 2015 20:47:42 GMT 1, Test:
p***s
va***a
shit
fuck
cunt
bollocks
bastard
wanker
arsehole
asshole
sphincter
dick
pussy
ass
arse
wank
trump
bambi
Test:
p***s
va***a
shit
fuck
cunt
bollocks
bastard
wanker
arsehole
asshole
sphincter
dick
pussy
ass
arse
wank
trump
bambi
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Dr Plip
Junior Member
🗨️ 7,043
👍🏻 8,981
August 2011
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Dr Plip on Sept 15, 2015 20:51:35 GMT 1, I have never seen a lady's winkle up close, had a stab at a few years back, mostly in the dark. Is this what one looks like?, really?.
I have never seen a lady's winkle up close, had a stab at a few years back, mostly in the dark. Is this what one looks like?, really?. You'd think giving birth would be easy. And it's no wonder I've never given a woman an orgasm. |
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crank
New Member
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April 2015
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by crank on Oct 1, 2015 23:17:12 GMT 1, I have never seen a lady's winkle up close, had a stab at a few years back, mostly in the dark. Is this what one looks like?, really?. You'd think giving birth would be easy. And it's no wonder I've never given a woman an orgasm.
Lol. That made me laugh.
I have never seen a lady's winkle up close, had a stab at a few years back, mostly in the dark. Is this what one looks like?, really?. You'd think giving birth would be easy. And it's no wonder I've never given a woman an orgasm. Lol. That made me laugh. |
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dreadnatty
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February 2013
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by dreadnatty on Mar 1, 2016 1:23:06 GMT 1, Anish Kapoor Gets Exclusive Rights to the World’s Darkest PigmentL
Anish Kapoor now owns the exclusive rights to the world’s darkest material — a claim that, naturally, is pissing off other artists. The pigment is the very sexy Vantablack, known as the blackest black out there — much blacker than a panther swimming in a tarpit, the Ayam Cemami, or your wardrobe during your middle school goth phase. A substance developed by scientists at Surrey NanoSystems in 2014, Vantablack essentially absorbs all light — 99.965% of radiation, to be exact; even when painted on a textured and shiny surface such as aluminum, it creates an abyss free of creases that many have compared to a black hole.
Kapoor had announced his intentions to use the substance shortly after its creation, but he evidently felt he had to do more and claim it as his own, in the process barring others from using it. According to the Daily Mail, the artist Christian Furr — largely known for being the youngest artist to paint the Queen of England — had intended to use the pigment in a series of paintings and has expressed his outrage at being restricted to using less intense blacks.
“I’ve never heard of an artist monopolizing a material,” Furr told the Daily Mail. “Using pure black in an artwork grounds it.
“All the best artists have had a thing for pure black – Turner, Manet, Goya,” he said. “This black is like dynamite in the art world. We should be able to use it. It isn’t right that it belongs to one man.”
Kapoor often plays with how we perceive the materiality of objects and has noted that his affinity for the world’s darkest material stems from its ability to disorient viewers.
“The nanostructure of Vantablack is so small that it virtually has no materiality,” he told Artforum. “It’s thinner than a coat of paint and rests on the liminal edge between an imagined thing and an actual one. It’s a physical thing that you cannot see, giving it a transcendent or even transcendental dimension, which I think is very compelling.”
Researchers over at Surrey NanoSystem are evidently big fans of Kapoor’s work; the company’s founder and chief technology officer, Ben Jensen, described his art as “infectious.”
“He has an amazing ability to see things that other people don’t and he’s famous for his work in reflections and voids,” Jensen told the New York Times in 2014. “We never imagined we would be involved in something like that, but his ideas are infectious, and my research scientists love that their work could be used this way.”
Any artists tempted to use the pigment anyway should be wary of the consequences: if news reaches Kapoor that someone is treading on his artistic territory, it would not be out of character for him to swiftly threaten to sue the offender.
hyperallergic.com/279243/anish-kapoor-gets-exclusive-rights-to-the-worlds-darkest-pigment/
Anish Kapoor Gets Exclusive Rights to the World’s Darkest PigmentL Anish Kapoor now owns the exclusive rights to the world’s darkest material — a claim that, naturally, is pissing off other artists. The pigment is the very sexy Vantablack, known as the blackest black out there — much blacker than a panther swimming in a tarpit, the Ayam Cemami, or your wardrobe during your middle school goth phase. A substance developed by scientists at Surrey NanoSystems in 2014, Vantablack essentially absorbs all light — 99.965% of radiation, to be exact; even when painted on a textured and shiny surface such as aluminum, it creates an abyss free of creases that many have compared to a black hole. Kapoor had announced his intentions to use the substance shortly after its creation, but he evidently felt he had to do more and claim it as his own, in the process barring others from using it. According to the Daily Mail, the artist Christian Furr — largely known for being the youngest artist to paint the Queen of England — had intended to use the pigment in a series of paintings and has expressed his outrage at being restricted to using less intense blacks. “I’ve never heard of an artist monopolizing a material,” Furr told the Daily Mail. “Using pure black in an artwork grounds it. “All the best artists have had a thing for pure black – Turner, Manet, Goya,” he said. “This black is like dynamite in the art world. We should be able to use it. It isn’t right that it belongs to one man.” Kapoor often plays with how we perceive the materiality of objects and has noted that his affinity for the world’s darkest material stems from its ability to disorient viewers. “The nanostructure of Vantablack is so small that it virtually has no materiality,” he told Artforum. “It’s thinner than a coat of paint and rests on the liminal edge between an imagined thing and an actual one. It’s a physical thing that you cannot see, giving it a transcendent or even transcendental dimension, which I think is very compelling.” Researchers over at Surrey NanoSystem are evidently big fans of Kapoor’s work; the company’s founder and chief technology officer, Ben Jensen, described his art as “infectious.” “He has an amazing ability to see things that other people don’t and he’s famous for his work in reflections and voids,” Jensen told the New York Times in 2014. “We never imagined we would be involved in something like that, but his ideas are infectious, and my research scientists love that their work could be used this way.” Any artists tempted to use the pigment anyway should be wary of the consequences: if news reaches Kapoor that someone is treading on his artistic territory, it would not be out of character for him to swiftly threaten to sue the offender. hyperallergic.com/279243/anish-kapoor-gets-exclusive-rights-to-the-worlds-darkest-pigment/ |
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darkcity
New Member
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February 2016
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by darkcity on Mar 1, 2016 1:52:24 GMT 1, This is absurd, how can you limit or monopolize on creativity or the use of materials. I find this in line with the previous pursuit to copyright and or trademark a white background in photos which didnt turn out so well.
Id love to hear more input from others as this does limit one artists vision for the use of the color taking away other possible uses for such an immanent black by those who may have a more broad vision for its use and application.
This is absurd, how can you limit or monopolize on creativity or the use of materials. I find this in line with the previous pursuit to copyright and or trademark a white background in photos which didnt turn out so well.
Id love to hear more input from others as this does limit one artists vision for the use of the color taking away other possible uses for such an immanent black by those who may have a more broad vision for its use and application.
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by greenpoint on Mar 1, 2016 2:41:18 GMT 1, This is ludicrous....
This is ludicrous....
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Dungle
Junior Member
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June 2011
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Dungle on Mar 1, 2016 4:44:35 GMT 1, This is absurd, how can you limit or monopolize on creativity or the use of materials. I find this in line with the previous pursuit to copyright and or trademark a white background in photos which didnt turn out so well. Id love to hear more input from others as this does limit one artists vision for the use of the color taking away other possible uses for such an immanent black by those who may have a more broad vision for its use and application.
Loving your name!
This is absurd, how can you limit or monopolize on creativity or the use of materials. I find this in line with the previous pursuit to copyright and or trademark a white background in photos which didnt turn out so well. Id love to hear more input from others as this does limit one artists vision for the use of the color taking away other possible uses for such an immanent black by those who may have a more broad vision for its use and application. Loving your name! |
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Deleted
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👍🏻
January 1970
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Deleted on Mar 1, 2016 11:01:04 GMT 1, Lets face it, Kapoor's art is so bad he needs a gimmick.
I don't see how he can prevent other artists using this black if they get hold of it. Plus keeping dust off it will be hard and other particles that reflect light.
It could be possible to do a patent search to see if Kapoo has patented this black for use on art objects and then will refuse rights but I doubt it. Artists will ignore him anyway as by taking legal action against them Kapoor will just be giving them publicity like he does for that fat bloke from China. Who moans about being pursued in courts 
Just use "UltraBlack"
"Scientists have fashioned what may be the blackest material in the universe: a sheet of carbon nanotubes that captures nearly every last photon of every wavelength of light.
The substance absorbs between 97 percent and 99 percent of wavelengths that can be directly measured or extrapolated. It’s the closest that scientists have yet come to a black body, a theorized state of perfect absorption whose closest analogue is believed to be the opening of a deep hole. "
www.wired.com/2009/03/ultrablack/
Lets face it, Kapoor's art is so bad he needs a gimmick. I don't see how he can prevent other artists using this black if they get hold of it. Plus keeping dust off it will be hard and other particles that reflect light. It could be possible to do a patent search to see if Kapoo has patented this black for use on art objects and then will refuse rights but I doubt it. Artists will ignore him anyway as by taking legal action against them Kapoor will just be giving them publicity like he does for that fat bloke from China. Who moans about being pursued in courts Just use "UltraBlack" "Scientists have fashioned what may be the blackest material in the universe: a sheet of carbon nanotubes that captures nearly every last photon of every wavelength of light. The substance absorbs between 97 percent and 99 percent of wavelengths that can be directly measured or extrapolated. It’s the closest that scientists have yet come to a black body, a theorized state of perfect absorption whose closest analogue is believed to be the opening of a deep hole. " www.wired.com/2009/03/ultrablack/ |
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met
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by met on Mar 1, 2016 11:10:59 GMT 1, Anish Kapoor Gets Exclusive Rights to the World’s Darkest PigmentL Anish Kapoor now owns the exclusive rights to the world’s darkest material — a claim that, naturally, is pissing off other artists. The pigment is the very sexy Vantablack, known as the blackest black out there — much blacker than a panther swimming in a tarpit, the Ayam Cemami, or your wardrobe during your middle school goth phase. A substance developed by scientists at Surrey NanoSystems in 2014, Vantablack essentially absorbs all light — 99.965% of radiation, to be exact; even when painted on a textured and shiny surface such as aluminum, it creates an abyss free of creases that many have compared to a black hole. Kapoor had announced his intentions to use the substance shortly after its creation, but he evidently felt he had to do more and claim it as his own, in the process barring others from using it. According to the Daily Mail, the artist Christian Furr — largely known for being the youngest artist to paint the Queen of England — had intended to use the pigment in a series of paintings and has expressed his outrage at being restricted to using less intense blacks. “I’ve never heard of an artist monopolizing a material,” Furr told the Daily Mail. “Using pure black in an artwork grounds it. “All the best artists have had a thing for pure black – Turner, Manet, Goya,” he said. “This black is like dynamite in the art world. We should be able to use it. It isn’t right that it belongs to one man.” Kapoor often plays with how we perceive the materiality of objects and has noted that his affinity for the world’s darkest material stems from its ability to disorient viewers. “The nanostructure of Vantablack is so small that it virtually has no materiality,” he told Artforum. “It’s thinner than a coat of paint and rests on the liminal edge between an imagined thing and an actual one. It’s a physical thing that you cannot see, giving it a transcendent or even transcendental dimension, which I think is very compelling.” Researchers over at Surrey NanoSystem are evidently big fans of Kapoor’s work; the company’s founder and chief technology officer, Ben Jensen, described his art as “infectious.” “He has an amazing ability to see things that other people don’t and he’s famous for his work in reflections and voids,” Jensen told the New York Times in 2014. “We never imagined we would be involved in something like that, but his ideas are infectious, and my research scientists love that their work could be used this way.” Any artists tempted to use the pigment anyway should be wary of the consequences: if news reaches Kapoor that someone is treading on his artistic territory, it would not be out of character for him to swiftly threaten to sue the offender. hyperallergic.com/279243/anish-kapoor-gets-exclusive-rights-to-the-worlds-darkest-pigment/
I respect Hyperallergic but this is a disappointing article. It feels like half a story.
A little more digging and journalism would have helped — including seeking commentary from the Kapoor camp and clarifying how an artist actually secures exclusive rights to a material.
Anish Kapoor Gets Exclusive Rights to the World’s Darkest PigmentL Anish Kapoor now owns the exclusive rights to the world’s darkest material — a claim that, naturally, is pissing off other artists. The pigment is the very sexy Vantablack, known as the blackest black out there — much blacker than a panther swimming in a tarpit, the Ayam Cemami, or your wardrobe during your middle school goth phase. A substance developed by scientists at Surrey NanoSystems in 2014, Vantablack essentially absorbs all light — 99.965% of radiation, to be exact; even when painted on a textured and shiny surface such as aluminum, it creates an abyss free of creases that many have compared to a black hole. Kapoor had announced his intentions to use the substance shortly after its creation, but he evidently felt he had to do more and claim it as his own, in the process barring others from using it. According to the Daily Mail, the artist Christian Furr — largely known for being the youngest artist to paint the Queen of England — had intended to use the pigment in a series of paintings and has expressed his outrage at being restricted to using less intense blacks. “I’ve never heard of an artist monopolizing a material,” Furr told the Daily Mail. “Using pure black in an artwork grounds it. “All the best artists have had a thing for pure black – Turner, Manet, Goya,” he said. “This black is like dynamite in the art world. We should be able to use it. It isn’t right that it belongs to one man.” Kapoor often plays with how we perceive the materiality of objects and has noted that his affinity for the world’s darkest material stems from its ability to disorient viewers. “The nanostructure of Vantablack is so small that it virtually has no materiality,” he told Artforum. “It’s thinner than a coat of paint and rests on the liminal edge between an imagined thing and an actual one. It’s a physical thing that you cannot see, giving it a transcendent or even transcendental dimension, which I think is very compelling.” Researchers over at Surrey NanoSystem are evidently big fans of Kapoor’s work; the company’s founder and chief technology officer, Ben Jensen, described his art as “infectious.” “He has an amazing ability to see things that other people don’t and he’s famous for his work in reflections and voids,” Jensen told the New York Times in 2014. “We never imagined we would be involved in something like that, but his ideas are infectious, and my research scientists love that their work could be used this way.” Any artists tempted to use the pigment anyway should be wary of the consequences: if news reaches Kapoor that someone is treading on his artistic territory, it would not be out of character for him to swiftly threaten to sue the offender. hyperallergic.com/279243/anish-kapoor-gets-exclusive-rights-to-the-worlds-darkest-pigment/I respect Hyperallergic but this is a disappointing article. It feels like half a story. A little more digging and journalism would have helped — including seeking commentary from the Kapoor camp and clarifying how an artist actually secures exclusive rights to a material. |
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Dr Plip
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Dr Plip on Mar 1, 2016 11:22:20 GMT 1, This all feels like a bit of advertising for Vantablack.
This all feels like a bit of advertising for Vantablack.
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darkcity
New Member
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by darkcity on Mar 1, 2016 13:58:50 GMT 1, This all feels like a bit of advertising for Vantablack.
Very well said...
This all feels like a bit of advertising for Vantablack. Very well said... |
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dreadnatty
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by dreadnatty on May 6, 2016 21:35:42 GMT 1, The British sculptor Anish Kapoor is known for expansive, architecure-scale works. Now he has the studio to match.
For the past 20 years, Kapoor has been creating sculptures from his studio in a converted dairy factory in south London. Take Cloudgate, Chicago's famed stainless steel "bean," which, at 42 feet long, weighs around 110 tons, and Memory, a Cor-Ten steel sculpture made up of 156 parts that weighs 24 tons (on the lighter side for Kapoor). When the artist installed the nearly 500 foot-long, 10-story Marsyas in the Tate in 2003, the Guardian called it "the biggest sculpture at Tate Modern and probably the biggest in any art gallery in the world."
Five years ago, Kapoor approached architect Michael Casey of London-based studio Caseyfierro about renovating his studio as well as the buildings he had purchased next door, which altogether take up an entire city block. At the time, Casey says, the space was still in its raw, original form: a typical 1950s tin-roof building with no insulation, a rudimentary heating system, and glazed-over windows offering little natural light. "I thought we should make it into an in-between space between a studio where you work and something with the qualities of a gallery space."
Casey wanted to upgrade the space to be more functional and comfortable, but he also had to take into consideration the particularities of Kapoor's extensive design and fabrication process. How do you design for such huge, unwieldy works of art?
They key, he says, was creating workspaces that are flexible to different aspects of Kapoor's process. "As an architect you think about the whole process, and at first we thought let’s make it one big span and you can do anything you want," says Casey. "But then we realized that each work is its own process and each has its own materials and some material can’t even be in the same room as another." For example, Kapoor and his collaborators might be polishing a piece or creating a bonding agent—"a mucky, dirty grimy existence," says Casey—for one piece, while another team is simultaneously creating an architectural model of an exhibition space. Each of those processes is better off with its own sectioned-off space.
The solution was to divide the spaces up into multiple studios and renovate them one at a time—a process that ended up taking five years to complete. The architects started with the old dairy factory at the north end of the street, dividing it into three separate studios. They removed first floor to create a space with 30-foot ceilings and gave the walls a fresh coat of white paint. Clerestory windows that span the entire length of the building's north side bring in plenty of light from overhead.
The second phase was to build three smaller studios in the buildings next door. In one, the architects restored an exposed steel I-beam structure from which Kapoor could suspend large sculptures (per his brief, the beam needed to support 3 tons of weight). In the other spaces, the architects converted a mezzanine for laying out maquettes and a gallery-like space for testing different exhibition environments. In the previous space, Casey says, the artists would have to create the largest works in separate pieces that couldn't be put together until they arrived at the exhibition space. Now they have the volume to construct it in full and set it up as it would be in a gallery.
After five years of off-and-on construction to comply with Kapoor's schedule, the spaces were completed in October 2015. Casey describes the construction process as "very incremental," but says it gave his team time to consider what each next space needed to accomplish and learn from the construction of the last. "From the building we started out with to the one we ended on, they are all so different," he says. "It would have ended up a completely different studio if we had done them all at the same time."
www.fastcodesign.com/3059608/inside-artist-anish-kapoors-sprawling-new-studios/7
The British sculptor Anish Kapoor is known for expansive, architecure-scale works. Now he has the studio to match. For the past 20 years, Kapoor has been creating sculptures from his studio in a converted dairy factory in south London. Take Cloudgate, Chicago's famed stainless steel "bean," which, at 42 feet long, weighs around 110 tons, and Memory, a Cor-Ten steel sculpture made up of 156 parts that weighs 24 tons (on the lighter side for Kapoor). When the artist installed the nearly 500 foot-long, 10-story Marsyas in the Tate in 2003, the Guardian called it "the biggest sculpture at Tate Modern and probably the biggest in any art gallery in the world." Five years ago, Kapoor approached architect Michael Casey of London-based studio Caseyfierro about renovating his studio as well as the buildings he had purchased next door, which altogether take up an entire city block. At the time, Casey says, the space was still in its raw, original form: a typical 1950s tin-roof building with no insulation, a rudimentary heating system, and glazed-over windows offering little natural light. "I thought we should make it into an in-between space between a studio where you work and something with the qualities of a gallery space." Casey wanted to upgrade the space to be more functional and comfortable, but he also had to take into consideration the particularities of Kapoor's extensive design and fabrication process. How do you design for such huge, unwieldy works of art? They key, he says, was creating workspaces that are flexible to different aspects of Kapoor's process. "As an architect you think about the whole process, and at first we thought let’s make it one big span and you can do anything you want," says Casey. "But then we realized that each work is its own process and each has its own materials and some material can’t even be in the same room as another." For example, Kapoor and his collaborators might be polishing a piece or creating a bonding agent—"a mucky, dirty grimy existence," says Casey—for one piece, while another team is simultaneously creating an architectural model of an exhibition space. Each of those processes is better off with its own sectioned-off space. The solution was to divide the spaces up into multiple studios and renovate them one at a time—a process that ended up taking five years to complete. The architects started with the old dairy factory at the north end of the street, dividing it into three separate studios. They removed first floor to create a space with 30-foot ceilings and gave the walls a fresh coat of white paint. Clerestory windows that span the entire length of the building's north side bring in plenty of light from overhead. The second phase was to build three smaller studios in the buildings next door. In one, the architects restored an exposed steel I-beam structure from which Kapoor could suspend large sculptures (per his brief, the beam needed to support 3 tons of weight). In the other spaces, the architects converted a mezzanine for laying out maquettes and a gallery-like space for testing different exhibition environments. In the previous space, Casey says, the artists would have to create the largest works in separate pieces that couldn't be put together until they arrived at the exhibition space. Now they have the volume to construct it in full and set it up as it would be in a gallery. After five years of off-and-on construction to comply with Kapoor's schedule, the spaces were completed in October 2015. Casey describes the construction process as "very incremental," but says it gave his team time to consider what each next space needed to accomplish and learn from the construction of the last. "From the building we started out with to the one we ended on, they are all so different," he says. "It would have ended up a completely different studio if we had done them all at the same time." www.fastcodesign.com/3059608/inside-artist-anish-kapoors-sprawling-new-studios/7 |
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dreadnatty
Junior Member
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February 2013
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by dreadnatty on Feb 20, 2017 20:21:23 GMT 1, Sculptor Anish Kapoor will bring 'negative space' to Brooklyn Bridge Park
The installation will appear on Brooklyn Bridge Park’s Pier 1 on May 3
The city’s Public Art Fund celebrates its 40th anniversary this year, and has signed on to bring a work by artist Anish Kapoor—he behind Chicago’s Cloud Gate sculpture and a similar-looking installation at the base of 56 Leonard—to Brooklyn Bridge Park’s Pier 1 as part of its year-long commemoration. Descension premieres on May 3 and will be in place through September 10. A press release gets into the nitty-gritty of the installation in a way only art-speak can:
Descension realizes a long-held aspiration of the artist to create a negative space alive with energy, continuously in process. 26-feet in diameter, the spiraling funnel of water is treated with an all-natural black dye, creating an opaque, seemingly endless hole. The whirling pool will be surrounded by a railing, inviting audiences to peer into its dark depths. Through this transformation of properties inherent to materials and objects, Kapoor blurs the boundaries between nature, landscape, and art, allowing us to perceive space differently.
The installation of Descension at Brooklyn Bridge Park marks the piece’s first appearance in North America, and carries on the park’s strong tradition as a destination for public art. Read the full press release here, and peek a video of Descension in action below.
Sculptor Anish Kapoor will bring 'negative space' to Brooklyn Bridge Park
The installation will appear on Brooklyn Bridge Park’s Pier 1 on May 3
The city’s Public Art Fund celebrates its 40th anniversary this year, and has signed on to bring a work by artist Anish Kapoor—he behind Chicago’s Cloud Gate sculpture and a similar-looking installation at the base of 56 Leonard—to Brooklyn Bridge Park’s Pier 1 as part of its year-long commemoration. Descension premieres on May 3 and will be in place through September 10. A press release gets into the nitty-gritty of the installation in a way only art-speak can:
Descension realizes a long-held aspiration of the artist to create a negative space alive with energy, continuously in process. 26-feet in diameter, the spiraling funnel of water is treated with an all-natural black dye, creating an opaque, seemingly endless hole. The whirling pool will be surrounded by a railing, inviting audiences to peer into its dark depths. Through this transformation of properties inherent to materials and objects, Kapoor blurs the boundaries between nature, landscape, and art, allowing us to perceive space differently.
The installation of Descension at Brooklyn Bridge Park marks the piece’s first appearance in North America, and carries on the park’s strong tradition as a destination for public art. Read the full press release here, and peek a video of Descension in action below.
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Coach on Jan 21, 2020 20:10:39 GMT 1, Excitingly, today the Museum Of Modern Art Oxford announced that in September this year Anish Kapoor will have an exhibition of paintings
www.modernartoxford.org.uk/event/anish-kapoor-painting/
“A unique exhibition of paintings by Anish Kapoor ( b. 1954, Mumbai – lives and works in London, UK). Curated with the internationally celebrated artist, this show explores the paintings that have been an integral part of Kapoor’s studio practise.
The materiality of Kapoor’s substantial body of new works pushes the boundaries between sculpture and painting into visceral new ground. This is the second time Kapoor has exhibited at Modern Art Oxford, the first being his inclusion in India: Myth and Reality in 1982, which showed his seminal sculptural works.”
Excitingly, today the Museum Of Modern Art Oxford announced that in September this year Anish Kapoor will have an exhibition of paintings www.modernartoxford.org.uk/event/anish-kapoor-painting/“A unique exhibition of paintings by Anish Kapoor ( b. 1954, Mumbai – lives and works in London, UK). Curated with the internationally celebrated artist, this show explores the paintings that have been an integral part of Kapoor’s studio practise. The materiality of Kapoor’s substantial body of new works pushes the boundaries between sculpture and painting into visceral new ground. This is the second time Kapoor has exhibited at Modern Art Oxford, the first being his inclusion in India: Myth and Reality in 1982, which showed his seminal sculptural works.” |
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pellets
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by pellets on May 21, 2020 8:15:35 GMT 1, hospital-rooms.com/
Breathing Blue by Anish Kapoor
Unsigned poster, edition of 100 from Anish Kapoor dropping at noon on the Hospital Rooms website.
30 x 42cm
Printed on 350gsm paper
More about the charity: hospital-rooms.com/about-us
hospital-rooms.com/Breathing Blue by Anish Kapoor Unsigned poster, edition of 100 from Anish Kapoor dropping at noon on the Hospital Rooms website. 30 x 42cm Printed on 350gsm paper More about the charity: hospital-rooms.com/about-us
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Gunny
Junior Member
🗨️ 1,605
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July 2012
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Gunny on May 21, 2020 12:07:19 GMT 1, Great print for £50, numbered edition of only 100 on quite thick paper by the looks of it also, no brainer at that price! Biggest bargain in a while....
Great print for £50, numbered edition of only 100 on quite thick paper by the looks of it also, no brainer at that price! Biggest bargain in a while....
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by dantesimone1981 on May 21, 2020 12:08:41 GMT 1, dam missed out 
dam missed out |
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cocos
New Member
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November 2007
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by cocos on May 21, 2020 12:09:36 GMT 1, They came up early at around 11.40 then disappeared again so I guess a lot sold then.
They came up early at around 11.40 then disappeared again so I guess a lot sold then.
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kjg
Junior Member
🗨️ 4,388
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December 2014
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by kjg on May 21, 2020 12:10:21 GMT 1, Too bad, I missed it too.
Too bad, I missed it too.
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mj
New Member
🗨️ 726
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October 2007
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by mj on May 21, 2020 12:14:58 GMT 1, Managed to get one when it went up early, great limited poster for bargain price, and no overlay text on it.
Managed to get one when it went up early, great limited poster for bargain price, and no overlay text on it.
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kjg
Junior Member
🗨️ 4,388
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December 2014
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by kjg on May 21, 2020 12:19:56 GMT 1, Managed to get one when it went up early, great limited poster for bargain price, and no overlay text on it. Congratulations!
I never really understand why they say it will be online around noon and then actually put it up half an hour earlier.
Managed to get one when it went up early, great limited poster for bargain price, and no overlay text on it. Congratulations!
I never really understand why they say it will be online around noon and then actually put it up half an hour earlier. |
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Gunny
Junior Member
🗨️ 1,605
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July 2012
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Gunny on May 21, 2020 12:31:32 GMT 1, Managed to get one when it went up early, great limited poster for bargain price, and no overlay text on it. Congratulations!
I never really understand why they say it will be online around noon and then actually put it up half an hour earlier.
Managed to get one when it went up early, great limited poster for bargain price, and no overlay text on it. Congratulations!
I never really understand why they say it will be online around noon and then actually put it up half an hour earlier. Just saying........ |
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kjg
Junior Member
🗨️ 4,388
👍🏻 6,346
December 2014
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by kjg on May 21, 2020 12:33:06 GMT 1, Congratulations!
I never really understand why they say it will be online around noon and then actually put it up half an hour earlier. Just saying........
Congratulations!
I never really understand why they say it will be online around noon and then actually put it up half an hour earlier. Just saying........ Yes... :-( |
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Gunny
Junior Member
🗨️ 1,605
👍🏻 1,118
July 2012
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Gunny on May 21, 2020 12:34:48 GMT 1, Just saying........ Yes... :-(
Just saying........ Yes... :-( I would say 20 minutes to midday is 'around' - sorry you missed it |
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pada1
New Member
🗨️ 628
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August 2012
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by pada1 on May 21, 2020 12:48:34 GMT 1, Anish Kapoor, the person who is greedy enough to purchase and restrict the usage of vanta black?
Seems like an artist that likes to take and not to give...
Anish Kapoor, the person who is greedy enough to purchase and restrict the usage of vanta black?
Seems like an artist that likes to take and not to give...
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Dive Jedi
Junior Member
🗨️ 6,194
👍🏻 9,453
October 2015
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Dive Jedi on May 21, 2020 13:05:22 GMT 1, Too bad, I missed it too.
Too bad, I missed it too. I can make a blue blurry spot for you if you like.... |
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Coach on May 21, 2020 13:12:38 GMT 1, Anyone having any luck? It says "out of stock" ten seconds after release.
I tried but missed out.
If anyone has buyers’s regret please get in touch.
Anyone having any luck? It says "out of stock" ten seconds after release. I tried but missed out. If anyone has buyers’s regret please get in touch. |
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Coach on May 21, 2020 13:16:03 GMT 1, Anish Kapoor, the person who is greedy enough to purchase and restrict the usage of vanta black? Seems like an artist that likes to take and not to give...
I think this is overly simplistic, ignores the artist’s talent and contribution to culture, and is rather nonsensical when most were discussing a poster print that was contributed by the artist to a charity.
Anish Kapoor, the person who is greedy enough to purchase and restrict the usage of vanta black? Seems like an artist that likes to take and not to give... I think this is overly simplistic, ignores the artist’s talent and contribution to culture, and is rather nonsensical when most were discussing a poster print that was contributed by the artist to a charity. |
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Anish Kapoor 🇮🇳 Sculpture • Exhibition News, by Coach on May 21, 2020 13:28:40 GMT 1, I got one at 8am this morning.
Chuffed for you!
I got one at 8am this morning. Chuffed for you! |
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