Anish Kapoor –
Racine, 1991
Aquatint with spit bite aquatint printed in sepia and black.
Anish Kapoor – Racine
Description
Anish Kapoor is a master at making material seem immaterial and vice versa, a quality that inspires revelation in those who experience his work. In a review in Artforum of a solo show at New York’s Barbara Gladstone Gallery, Donald Kuspit describes coming into contact with Kapoor’s sculpture Whiteout. “It seemed oddly vacuous. Like a doubting Thomas, I touched it, and lo and behold, there was nothing to touch: My arm went right through its ‘side,’ into a void. I had been blind to it, but when my arm was in the sculpture I was able to discern that its surface was concave—an oddly lingering inward curve.” Later in the article, Kuspit concludes that Kapoor’s sculptures “are abstract representations of the curvature of the universe, and like the universe, the sculptures confound the eye. We are initially blind to the curve, then ‘see’ it as though in a moment of revelation. This paradoxical double vision—the representation of the ‘scientifically’ curved universe and of the moment of altered consciousness—is as close as it is possible to get to the void on artistic earth.”
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