Artist:
Anish Kapoor
Title:
Making the World Man
Year:
1995
Adress:
235 2nd Street
This could be a critical artwork
Something has been developed in different directions: into the height and into the width at the bottom. The bulbs have the same size and are packed close to each other.
With bulbs I could think of faces. Than this would be a large group of people. Due to the growth in the number, this could refer to the population growth in the world.
This shiny surface could function as an intriguing mirror. A high-gloss surface is artificial, is made by human, is meant to be beautiful; this is n artwork. The shiny surface is made of glass and this will not further expand.
After this reflection, I am not sure about the conclusion. Would Anish Kapoor mean that the population growth is an artificial development? Would he have made a mirror, so we can see ourselves in the great numbers we are?
By Theo, www.artatsite.com
Vertaling
Dit kon een kritisch kunstwerk zijn
Iets heeft zich in verschillende richtingen ontwikkeld: de hoogte in en ook in de breedte aan de onderkant. Het zijn bollen met hetzelfde formaat die opeen gestapeld zijn.
Bij bollen zou ik kunnen denken aan gezichten. Daarmee zou dit een grote groep mensen zijn. Door de groei in aantal, zou dit kunnen duiden op de groei van de wereldbevolking.
Dit glimmende oppervlakte zou kunnen functioneren als een intrigerende spiegel. Een glanzend oppervlakte is kunstmatig, door de mens gemaakt, dit is bedoeld om mooi te zijn; dit is een kunstwerk. Het glimmende oppervlakte is gestold glas en zal niet verder uitdijen.
Na deze overdenking ben ik niet zeker van de conclusie. Zou Anish Kapoor bedoelen dat de groei van de wereldbevolking een kunstmatige ontwikkeling is? Zou hij een spiegel hebben gemaakt zodat wij onszelf zien in de grote getale die wij zijn?
By Theo, www.artatsite.com
www.wikipedia.org:
Sir Anish Kapoor, CBE RA (born 12 March 1954) is an Indian sculptor. Born inBombay, Kapoor has lived and worked in London since the early 1970s when he moved to study art, first at the Hornsey College of Art and later at the Chelsea School of Art and Design.
He represented Britain in the XLIV Venice Biennale in 1990, when he was awarded the Premio Duemila Prize. In 1991 he received the Turner Prize and in 2002 received the Unilever Commission for the Turbine Hall at Tate Modern. Notable public sculptures include Cloud Gate in Chicago's Millennium Park; Sky Mirror, exhibited at the Rockefeller Center in New York City in 2006 andKensington Gardens in London in 2010; Temenos, at Middlehaven,Middlesbrough; Leviathan, at the Grand Palais in Paris in 2011; andArcelorMittal Orbit, commissioned as a permanent artwork for London's Olympic Park and completed in 2012.
Kapoor received a Knighthood in the 2013 Birthday Honours for services to visual arts. He was awarded an honorary doctorate degree from the University of Oxford in 2014.
Something has been developed in different directions: into the height and into the width at the bottom. The bulbs have the same size and are packed close to each other.
With bulbs I could think of faces. Than this would be a large group of people. Due to the growth in the number, this could refer to the population growth in the world.
This shiny surface could function as an intriguing mirror. A high-gloss surface is artificial, is made by human, is meant to be beautiful; this is n artwork. The shiny surface is made of glass and this will not further expand.
After this reflection, I am not sure about the conclusion. Would Anish Kapoor mean that the population growth is an artificial development? Would he have made a mirror, so we can see ourselves in the great numbers we are?
By Theo, www.artatsite.com
Vertaling
Dit kon een kritisch kunstwerk zijn
Iets heeft zich in verschillende richtingen ontwikkeld: de hoogte in en ook in de breedte aan de onderkant. Het zijn bollen met hetzelfde formaat die opeen gestapeld zijn.
Bij bollen zou ik kunnen denken aan gezichten. Daarmee zou dit een grote groep mensen zijn. Door de groei in aantal, zou dit kunnen duiden op de groei van de wereldbevolking.
Dit glimmende oppervlakte zou kunnen functioneren als een intrigerende spiegel. Een glanzend oppervlakte is kunstmatig, door de mens gemaakt, dit is bedoeld om mooi te zijn; dit is een kunstwerk. Het glimmende oppervlakte is gestold glas en zal niet verder uitdijen.
Na deze overdenking ben ik niet zeker van de conclusie. Zou Anish Kapoor bedoelen dat de groei van de wereldbevolking een kunstmatige ontwikkeling is? Zou hij een spiegel hebben gemaakt zodat wij onszelf zien in de grote getale die wij zijn?
By Theo, www.artatsite.com
www.wikipedia.org:
Sir Anish Kapoor, CBE RA (born 12 March 1954) is an Indian sculptor. Born inBombay, Kapoor has lived and worked in London since the early 1970s when he moved to study art, first at the Hornsey College of Art and later at the Chelsea School of Art and Design.
He represented Britain in the XLIV Venice Biennale in 1990, when he was awarded the Premio Duemila Prize. In 1991 he received the Turner Prize and in 2002 received the Unilever Commission for the Turbine Hall at Tate Modern. Notable public sculptures include Cloud Gate in Chicago's Millennium Park; Sky Mirror, exhibited at the Rockefeller Center in New York City in 2006 andKensington Gardens in London in 2010; Temenos, at Middlehaven,Middlesbrough; Leviathan, at the Grand Palais in Paris in 2011; andArcelorMittal Orbit, commissioned as a permanent artwork for London's Olympic Park and completed in 2012.
Kapoor received a Knighthood in the 2013 Birthday Honours for services to visual arts. He was awarded an honorary doctorate degree from the University of Oxford in 2014.