Anthony Caro
Dream City (1996), rusting steel, at the Yorkshire Sculpture Park
Birth name	Anthony Alfred Caro
Born	(1924-03-08) 8 March 1924 (age 88) New Malden, England
Nationality	English
Field	sculpture, drawing
Training	Christ's College, Cambridge, Regent Street Polytechnic
Movement	Constructed Steel sculpture, Abstract art, Modernism
Influenced by	Henry Moore, David Smith
Influenced	Phillip King, Isaac Witkin, Tim Scott, William G. Tucker, Peter Hide, and Richard Deacon
Awards	OM CBE

Sir Anthony Alfred Caro, OM, CBE (born 8 March 1924 in New Malden, then in Surrey) is an English abstract sculptor whose work is characterised by assemblages of metal using 'found' industrial objects.

Background and early life[link]

Caro was educated at Charterhouse School and Christ's College, Cambridge, earning a degree in engineering. In 1946, after time in the Royal Navy, he studied sculpture at the Regent Street Polytechnic before pursuing further studies at the Royal Academy Schools from 1947 until 1952.

Professional career[link]

Black Cover Flat (1974), steel, at the Tel Aviv Museum of Art.

Anthony Caro found modernism when working as an assistant to Henry Moore in the 1950s. After being introduced to the American sculptor David Smith in the early 1960s, he abandoned his earlier figurative work and started constructing sculptures by welding or bolting together collections of prefabricated metal, such as I-beams, steel plates and meshes. Often the finished piece is then painted in a bold flat colour.

Caro found international success in the late 1950s and for a time was popular in the US. He was also influential as a tutor at St Martins School of Art, now Central Saint Martins College of Art and Design in London inspiring a younger generation of abstract British Sculptors led by former students and assistants like Phillip King, Tim Scott, William G. Tucker, Peter Hide, and Richard Deacon; as well as a reaction group including Bruce McLean, Barry Flanagan, Richard Long and Gilbert and George. He and several former students were asked to join the seminal 1966 show at the Jewish Museum in New York entitled, Primary Structures representing the British influence on the "New Art".^[1] Caro taught at Bennington College from 1963 to 1965, along with painter Jules Olitski and sculptor David Smith.

He is often credited with the significant innovation of removing the sculpture from its plinth, although Smith and Brâncuşi had both previously taken steps in the same direction. Caro's sculptures are usually self supporting and sit directly on the floor. In doing so they remove a barrier between the work and the viewer, who is invited to approach and interact with the sculpture from all sides.

In 1980, Caro was trying to organise an exhibition of British abstract art in South African townships when he met Robert Loder. In 1981, when staying in New York State, the pair developed the idea of running workshops for professional artists which became the Triangle Arts Trust. They held the first Triangle workshop in 1982 for thirty sculptors and painters from USA, the United Kingdom and Canada at Pine Plains, New York.^[2]

In the 1980s, Caro's work changed direction by introducing more literal elements with a series of figures drawn from classical Greece. Latterly he has also attempted large scale installation pieces. One of these large pieces, Sea Music, stands on the quay at Poole in Dorset. To mark his 80th birthday, a retrospective exhibition was organized by the Tate Gallery in 2005. He was knighted in 1987 and received the Order of Merit in May 2000.

In 2008, Caro opened his "Chapel of Light" installation in the Saint Jean-Baptiste Church of Bourbourg (France), and exhibited four figurative head sculptures at the National Portrait Gallery, London. In 2011, the Metropolitan Museum of Art installed five works by Caro on their rooftop. Currently, at 87 years of age, Caro is working on an immense, multipart sculpture that will occupy three blocks of Midtown Park Avenue, to be installed in 2012.

Family[link]

In 1949, Caro married the painter Sheila Girling and they have two sons Timothy (b. 1951) and Paul (b. 1958).

Styles[link]

• Mr Anthony Caro (1924–1969)
• Mr Anthony Caro CBE (1969–1987)
• Sir Anthony Caro CBE (1987–2000)
• Sir Anthony Caro OM CBE (2000–present)

References[link]

Suggested reading[link]

• Busch, Julia M., A Decade of Sculpture: the New Media in the 1960s (Philadelphia: The Art Alliance Press & London: Associated University Presses, 1974). ISBN 0-87982-007-1.
• Whelan, Richard, Anthony Caro (New York: E. P. Dutton & Co., Inc., 1975). ISBN 0-525-47400-5.....
• Barker, Ian, Anthony Caro: Quest for the New Sculpture (Aldershot: Lund Humphries, 2004) ISBN 978-0-85331-910-8.
• Reid, Mary, Anthony Caro: Drawing in Space (Farnham: Lund Humphries, 2009) ISBN 978-1-84822-030-0.
• Wilkin, Karen, Anthony Caro: Interior and Exterior (Farnham: Lund Humphries, 2009) ISBN 978-1-84822-031-7.
• Julius Bryant, Julius, Anthony Caro: Figurative and Narrative Sculpture (Farnham: Lund Humphries, 2009) ISBN 978-1-84822-032-4.
• Westley Smith, H.F., Anthony Caro: Small Sculptures (Farnham, Lund Humphries, 2010) ISBN 978-1-84822-051-5.
• Moorhouse, Paul, Anthony Caro: Presence (Farnham, Lund Humphries, 2010) ISBN 978-1-84822-053-9.

External links[link]

Wikimedia Commons has media related to: Anthony Caro

• Official website
• Anthony Caro at Sculpture.org.uk
• Portfolio
• Anthony Caro in the National Gallery of Australia's Kenneth Tyler Collection
• Sir Anthony Caro video at Web of Stories
• Exhibition at the Tate Britain, 2005
• Leading sculptors mark school's 75th birthday, The Guardian, 2 June 2003
• Anthony Caro at Mitchell-Innes & Nash
• Caro's work in focus on Tate Online
• Sir Anthony Caro on his metal, The Independent, 2008
• Represented by C. Grimaldis Gallery, Baltimore, Maryland

The Edge
Background information
Birth name	David Howell Evans
Born	(1961-08-08) 8 August 1961 (age 50) Barking, Essex, England, United Kingdom
Origin	County Dublin, Ireland
Genres	Rock, post-punk, alternative rock
Occupations	Musician, songwriter, activist
Instruments	Guitar, vocals, keyboards, piano, bass guitar
Years active	1976–present
Labels	Island, Mercury
Associated acts	U2, Passengers
Website	www.u2.com
Notable instruments
Gibson Explorer Fender Stratocaster Gibson Les Paul Fender Telecaster Gretsch Country Gentleman Gretsch White Falcon Rickenbacker 330/12

David Howell Evans (born 8 August 1961), more widely known by his stage name The Edge (or just Edge),^[1] is a musician best known as the guitarist, backing vocalist, and keyboardist of the Irish rock band U2. A member of the group since its inception, he has recorded 12 studio albums with the band and has released one solo record. As a guitarist, The Edge has crafted a minimalistic and textural style of playing. His use of a rhythmic delay effect yields a distinctive ambient, chiming sound that has become a signature of U2's music.

The Edge was born in England to a Welsh family, but was raised in Ireland after moving there as an infant. In 1976, at Mount Temple Comprehensive School, he formed U2 with his fellow students and his older brother Dik. Inspired by the ethos of punk rock and its basic arrangements, the group began to write its own material. They eventually became one of the most popular acts in popular music, with successful albums such as 1987's The Joshua Tree and 1991's Achtung Baby. Over the years, The Edge has experimented with various guitar effects and introduced influences from several genres of music into his own style, including American roots music, industrial music, and alternative rock. With U2, The Edge has also played keyboards, co-produced their 1993 record Zooropa, and occasionally contributed lyrics. The Edge met his second and current wife, Morleigh Steinberg, through her collaborations with the band.

As a member of U2 and as an individual, The Edge has campaigned for human rights and philanthropic causes. He co-founded Music Rising, a charity to support musicians affected by Hurricane Katrina. He has collaborated with U2 bandmate Bono on several projects, including songs for Roy Orbison and Tina Turner, and the soundtracks to the musical Spider-Man: Turn Off the Dark and the Royal Shakespeare Company's London stage adaptation of A Clockwork Orange. In 2011, Rolling Stone magazine placed him at number 38 on its list of "The 100 Greatest Guitarists of All Time".

Personal life[link]

The Edge at a U2 concert in Anaheim (2005)

David Howell Evans was born at the Barking Maternity Hospital,^[2] Essex, England to Welsh parents Garvin and Gwenda Evans.^[1] When he was one, his family moved to County Dublin, Ireland where he attended St Andrew's National School. He received piano and guitar lessons and often performed with his brother Dik Evans before they both answered an advertisement posted by Larry Mullen, Jr. at their school, Mount Temple Comprehensive School, seeking musicians to form a band.^[3] The band accepted both of them. This band went through several incarnations before emerging as U2 in March 1978 (Dik Evans left the band just before the name change).^[3] U2 began performing in various venues in Ireland and eventually began developing a following. Their debut album, Boy, was released in 1980.

In 1981, leading up to the October tour, Evans came very close to leaving U2 for religious reasons, but he decided to stay.^[3] During this period, he became involved with a group called Shalom Tigers, in which bandmates Bono and Larry Mullen Jr. were also involved.^[4] Shortly after deciding to remain with the band, he wrote a piece of music that later became "Sunday Bloody Sunday".^[3] The Edge married his high school girlfriend Aislinn O'Sullivan on 12 July 1983.^[5] The couple had three daughters together: Hollie in 1984, Arran in 1985 and Blue Angel in 1989.^[4] The couple separated in 1990, but were unable to get officially divorced because of Irish laws regarding marriage annulment; divorce was legalised in 1995 and the couple were legally divorced in 1996.^[4]

In 1993, The Edge began dating Morleigh Steinberg, a professional dancer and choreographer employed by the band as a belly dancer during the Zoo TV Tour. They had a daughter, Sian (born 1997), and a son, Levi (born 25 October 1999),^[4] before marrying on 22 June 2002.^[4] He appeared in the 2009 music documentary film It Might Get Loud.^[6] The Edge has been criticized for his efforts to build five luxury mansions on a 156 acre plot of land in Malibu, California.^[7] The California Coastal Commission voted 8-4 against the plans, with the project described by the commission's executive director, Peter Douglas, as "In 38 years...one of the three worst projects that I've seen in terms of environmental devastation...It's a contradiction in terms – you can't be serious about being an environmentalist and pick this location."^[7] The Santa Monica Mountains Conservancy agreed to remain neutral on the issue following a $1 million donation from The Edge and a commitment from The Edge to designate 100 acres of the land as open space for public footpaths.^[7]

Music style[link]

Guitar playing[link]

As a guitar player, The Edge has a sound typified by a low-key playing style, a chiming, shimmering sound (thanks in part to the sound of VOX AC-30s) that he achieves with extensive use of delay effects and reverb. The feedback delay is often set to a dotted eighth note (3/16 of a measure), and the feedback gain is adjusted until a note played repeats two or three times.^{[citation needed]}

On 1987's The Joshua Tree, The Edge often contributes just a few simple lead lines given depth and richness by an ever-present delay. For example, the introduction to "Where the Streets Have No Name" is simply a repeated six-note arpeggio, broadened by a modulated delay effect. The Edge has said that he views musical notes as "expensive", in that he prefers to play as few notes as possible. He said in 1982 of his style,

"I like a nice ringing sound on guitar, and most of my chords I find two strings and make them ring the same note, so it's almost like a 12-string sound. So for E I might play a B, E, E and B and make it ring. It works very well with the Gibson Explorer. It's funny because the bass end of the Explorer was so awful that I used to stay away from the low strings, and a lot of the chords I played were very trebly, on the first four, or even three strings. I discovered that through using this one area of the fretboard I was developing a very stylized way of doing something that someone else would play in a normal way."^[9]

Many different influences have shaped The Edge's guitar technique.^{[citation needed]} His first guitar was an old acoustic guitar that his mother bought him at a local flea market for only a few pounds; he was nine at the time. He and his brother Dik Evans both experimented with this instrument.^[9] He said in 1982 of this early experimentation, "I suppose the first link in the chain was a visit to the local jumble sale where I purchased a guitar for a pound. That was my first instrument. It was an acoustic guitar and me and my elder brother Dik both played it, plonking away, all very rudimentary stuff, open chords and all that."^[9] The Edge has stated that many of his guitar parts are based around guitar effects. This is especially true from the Achtung Baby era onwards, although much of the band's 1980s material made heavy use of echos.

Vocals[link]

The Edge in June 2005

The Edge also supplies the backing vocals for U2. U2's 1983 live album and video release, Under a Blood Red Sky and Live at Red Rocks: Under a Blood Red Sky are good reference points for his singing (as are the live DVDs from the Elevation Tour, U2 Go Home: Live from Slane Castle and Elevation 2001: Live from Boston). For example, he sings the chorus to "Sunday Bloody Sunday" (Bono harmonizes on the final 'Sunday'). U2 used this tradeoff technique later in "Bullet the Blue Sky" as well. His backing vocals are sometimes in the form of a repeated cry; examples of songs that use this approach include "Beautiful Day", "New Year's Day" and "Stay (Faraway, So Close!)". Another technique he uses in his backing vocals is the falsetto, in songs such as "Stuck in a Moment You Can't Get Out Of", "Sometimes You Can't Make It on Your Own", "A Man and a Woman", "The Wanderer", live versions of "The Fly", and "Window in the Skies".

The Edge sings the lead vocal on "Van Diemen's Land" and "Numb", the first half of the song "Seconds", dual vocals with Bono in "Discotheque", and the bridge in the song "Miracle Drug".^[4] He also sings the occasional lead vocal in live renditions of other songs (such as "Sunday Bloody Sunday" during the PopMart Tour and "Party Girl" during the Rotterdam Zoo TV show when it was Bono's birthday).^[10] He also plays a solo acoustic version of the song "Love is Blindness" that is featured in the documentary film From the Sky Down.

Other instruments[link]

He has played piano and keyboards on many of the band's songs, including "I Fall Down", "October", "So Cruel", "New Year's Day", "Running to Stand Still", "Miss Sarajevo", "The Hands that Built America", and "Original of the Species" and others. He plays the organ on "Please". In live versions of "New Year's Day", "The Unforgettable Fire", "Your Blue Room", and "Moment of Surrender", he plays both the piano and guitar parts alternately. In most live versions of "Original of the Species," piano is the only instrument played during the song. Although The Edge is the band's lead guitarist, he occasionally plays bass guitar, including the live performances of the song "40" where The Edge and bassist Adam Clayton switch instruments.

Solo recordings[link]

In addition to his regular role within U2, The Edge has also recorded with such artists as Johnny Cash, B. B. King, Tina Turner, Ronnie Wood, Jay-Z, and Rihanna. The Edge connected with Brian Eno and Lanois collaborator Michael Brook (the creator of the infinite guitar, which he regularly uses), working with him on the score to the film Captive (1986). From this soundtrack the song "Heroine", the vocal of which was sung by a young Sinéad O'Connor was released as a single.

He also created the theme song for season one and two of The Batman. He and fellow U2 member, Bono, wrote the lyrics to the theme of the 1995 James Bond film GoldenEye. The Edge, along with bandmate Bono, recently composed a musical adaptation of Spider-Man. On May 25, 2011, a single titled Rise Above 1: Reeve Carney Featuring Bono and The Edge was released digitally.^[11] The music video was released on July 28, 2011.^[12]

Musical equipment[link]

Edge's 1964 Vox AC30 on stage in Foxborough for the U2 360° Tour.

The Edge plays electric guitar, acoustic guitar, keyboards, piano, bass guitar (on "40" and "Race Against Time") and lap steel guitar. Compared to many lead guitarists, The Edge is known for using many more guitars during a show. According to his guitar tech Dallas Schoo, a typical lead guitarist uses four or five different guitars in one night, whereas The Edge takes 45 on the road, and uses 17 to 19 in one 2.5-hour concert. He is estimated to have more than 200 guitars in the studio.^{[citation needed]}

Philanthropy[link]

In 2005, The Edge along with Bob Ezrin and Henry Juszkiewicz co-founded Music Rising, a charity that helped provide replacement instruments for those that were lost in Hurricane Katrina. The instruments were originally only replaced for professional musicians but they soon realized the community churches and schools needed instruments as well. The charity's slogan is "Rebuilding the Gulf Region note by note" and has so far helped over a hundred musicians who were affected by Hurricane Katrina. The Edge also serves on the board of the Angiogenesis Foundation, a 501(c)(3) nonprofit organization dedicated to improving global health by advancing angiogenesis-based medicine, diets, and lifestyle.^[13]

See also[link]

• Timeline of U2
• List of people on stamps of Ireland

References[link]

Footnotes

Bibliography

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (October 2011)

Wikimedia Commons has media related to: The Edge

Wikiquote has a collection of quotations related to: The Edge

• U2.com, official U2 site
• Music Rising
• The Edge at the Internet Movie Database
• The Edge – Album Credits
• A Study of The Edge's Guitar Delay
• The Edge: 'It's all about the vision'
• Food Bank For New York City public service announcement
• Comment on the mathematical analysis of The Edge's guitar sound

Anish Kapoor
Born	(1954-03-12) 12 March 1954 (age 58) Mumbai, Maharashtra, India
Field	Sculpture
Training	Hornsey College of Art Chelsea School of Art and Design
Awards	Turner Prize 1991; Preamium Imperiale, 2011

Anish Kapoor CBE RA Padma Bhushan (born 12 March 1954) is an Indian-born British sculptor. Born in Mumbai,^[1][2] 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, Millennium Park, Chicago, Sky Mirror exhibited at the Rockefeller Center, New York in 2006 and Kensington Gardens in 2010, Temenos, at Middlehaven, Middlesbrough, 'Leviathan'^[3] at the Grand Palais in 2011 and ArcelorMittal Orbit^[4] commissioned as a permanent artwork for the Olympic Park and due for completion in 2012.

Anish Kapoor was elected a Royal Academician in 1999^[5] and in 2003 he was made a Commander of the British Empire. In 2011 he was made a Commander in the French Ordre des Arts et des Lettres and was awarded the Japanese Praemium Imperiale.

Biography[link]

Anish Kapoor was born in Bombay, India to a Jewish mother whose family immigrated from Baghdad when she was a few months old. “She had an Indian-Jewish upbringing. Her father, his grandfather, was the cantor in the synagogue in Pune. At the time, the Jewish community in Mumbai was quite large, mostly consisting of Baghdadi Jews.”^[6] His father, from a Hindu Punjabi family, was a hydrographer in the Indian Navy.^[7]

Kapoor spent his early years first in Mumbai, and then in Dehra Dun at the Doon School. In 1971-1973, he traveled to Israel with one of his two brothers, initially living on a kibbutz. He began to study electrical engineering,^[6][8] but had trouble with mathematics and quit after six months.^[9] In Israel, he decided to become an artist.^[10] In 1973, he left for Britain to attend Hornsey College of Art and Chelsea School of Art and Design.^[7] There he found a role model in Paul Neagu, an artist who provided a meaning to what he was doing.^[11] Kapoor went on to teach at Wolverhampton Polytechnic in 1979 and in 1982 was Artist in Residence at the Walker Art Gallery, Liverpool. He has lived and worked in London since the early 1970s.^[5]

Artistic career[link]

Anish Kapoor became known in the 1980s for his geometric or biomorphic sculptures made using simple materials such as granite, limestone, marble, pigment and plaster.^[12] These early sculptures are frequently simple, curved forms, usually monochromatic and brightly coloured, using powder pigment to define and permeate the form. "While making the pigment pieces, it occurred to me that they all form themselves out of each other. So I decided to give them a generic title, A Thousand Names, implying infinity, a thousand being a symbolic number. The powder works sat on the floor or projected from the wall. The powder on the floor defines the surface of the floor and the objects appear to be partially submerged, like icebergs. That seems to fit inside the idea of something being partially there." ^[13] Such use of pigment characterised his first high profile exhibit as part of the New Sculpture exhibition at the Hayward Gallery London in 1978.

In the late 1980s and 1990s, he was acclaimed for his explorations of matter and non-matter, specifically evoking the void in both free-standing sculptural works and ambitious installations. Many of his sculptures seem to recede into the distance, disappear into the ground or distort the space around them. In 1987, he began working in stone.^[14] His later stone works are made of solid, quarried stone, many of which have carved apertures and cavities, often alluding to, and playing with dualities (earth-sky, matter-spirit, lightness-darkness, visible-invisible, conscious-unconscious, male-female and body-mind). "In the end, I’m talking about myself. And thinking about making nothing, which I see as a void. But then that’s something, even though it really is nothing." ^[15]

Since 1995, he has worked with the highly reflective surface of polished stainless steel. These works are mirror-like, reflecting or distorting the viewer and surroundings. Over the course of the following decade Kapoor's sculptures ventured into more ambitious manipulations of form and space. He produced a number of large works, including Taratantara^[16] (1999), a 35 metre tall piece installed in the Baltic Flour Mills in Gateshead, England before renovation began there and Marsyas (2002), a large work of steel and PVC that reached end to end of the 3,400-square-foot (320 m²) Turbine Hall of Tate Modern. A stone arch by Kapoor is permanently placed at the shore of a lake in Lødingen in northern Norway. In 2000, one of Kapoor's works, Parabolic Waters, consisting of rapidly rotating coloured water, was shown outside the Millennium Dome in London.

The use of red wax is also part of his repertoire, evocative of flesh, blood and transfiguration. In 2007, he showed Svayambh^[17] (which translated from Sanskrit means 'self-generated'), a 1.5 metre block of red wax that moved on rails through the Nantes Musée des Beaux-Arts as part of the Biennale estuaire; this piece was shown again in a major show at the Haus Der Kunst in Munich and in 2009 at the Royal Academy in London. Some his work blurs the boundaries between architecture and art. In 2008, Kapoor created Memory^[18] in Berlin and New York for the Guggenheim Foundation, his first piece in Cor-Ten, which is formulated to produce a protective coating of rust. Weighing 24 tons and made up of 156 parts, it calls to mind Richard Serra’s huge rusty steel works, which also invite viewers into perceptually confounding interiors.^[19]

In 2009, Kapoor became the first Guest Artistic Director of Brighton Festival. Kapoor installed four sculptures during the festival; Sky Mirror at Brighton Pavilion gardens, C-Curve^[20] at The Chattri, Blood Relations (a collaboration with author Salman Rushdie) and 1000 Names, both at Fabrica. He also created a large site-specific work titled 'The Dismemberment of Jeanne d’Arc'^[21] and a performance-based installation: ‘Imagined Monochrome’. The public response was so overwhelming that police had to re-divert traffic around C Curve at the Chattri and exercise crowd control.

In September 2009, Kapoor was the first living artist to have a solo exhibition at the Royal Academy of Arts. As well as surveying his career to date it also included new works. On display were 'Non-Object' mirror works, cement sculptures previously unseen, and 'Shooting into the Corner'^[22] a cannon that fires pellets of wax into the corner of the gallery. Previously shown at MAK, Vienna in January 2009, it is a work with dramatic presence and associations and also continues Kapoor's interest in the self made object, as the wax builds up on the walls and floor of the gallery the work slowly oozes out its form.

In spring 2011, Kapoor's work, "Leviathan",^[3] was the annual "Monumenta" installation for the Grand Palais in Paris.^[23][24] Kapoor described the work as: "A single object, a single form, a single colour... My ambition is to create a space with in a space that responds to the height and luminosity of the Nave at the Grand Palais. Visitors will be invited to walk inside the work, to immerse themselves in colour, and it will, I hope, be a contemplative and poetic experience".

In 2011, Kapoor exhibited 'Dirty Corner'^[25] at the Fabbrica del Vapore in Milan. Fully occupying the site's 'cathedral' space, the work consists of a huge steel volume, 60 metres long and 8 metres high, that visitors enter. Inside, they gradually lose their perception of space, as it gets progressively darker and darker until there is no light, forcing people to use their other senses to guide them through the space. The entrance of the tunnel is goblet-shaped, featuring an interior and exterior surface that is circular, making minimal contact with the ground. Over the course of the exhibition, the work will be progressively covered by some 160 cubic metres of earth by a large mechanical device, forming a sharp mountain of dirt in which the tunnel appears to be running through.

Public commissions[link]

Turning the World Upside Down, Israel Museum, 2010

Kapoor's earliest public commissions include the Cast Iron Mountain at the Tachikawa Art Project in Japan, as well as an untitled work in Toronto. In 2001, Sky Mirror, a large mirror piece that reflects the sky and surroundings, was commissioned for a site outside the Nottingham Playhouse. Since 2006, Cloud Gate, a 110-ton stainless steel sculpture with a mirror finish, has been permanently installed in Millennium Park in Chicago. Viewers are able to walk beneath the sculpture and look up into an omphalos or navel above them.

In the autumn of 2006, a second 10 metre Sky Mirror, was installed at Rockefeller Center, New York. This work was later exhibited in Kensington Gardens in 2010 as part of the show 'Turning the World Upside Down' along with three other major mirror works.

ArcelorMittal Orbit , London Olympic Park , 2012

In 2009, Kapoor created the permanent, site-specific work 'Earth Cinema'^[26] for Pollino National Park, the largest national park in Italy, as part of the project ArtePollino – Another South.^[27][28] Kapoor's work, Cinema di Terra (Earth Cinema), is a 45m long, 3m wide and 7m deep cut into the landscape made from concrete and earth.^[27] People can enter from both sides and walk along it viewing the earth void within.^[28][29] Cinema di Terra officially opened to public in September 2009.^[27]

Kapoor was also commissioned to produce five pieces of public art by Tees Valley Regeneration (TVR), collectively known as the "Tees Valley Giants".^[30] The first of these sculptures, Tememos, was unveiled to the public in June 2010. Temenos stands 50 metres high and is 110 metres in length. A steel wire mesh pulled taught between two enormous steel hoops, it remains an ethereal and an uncertain form despite its colossal scale.

In 2010, Turning the World Upside Down, Jerusalem was commissioned and installed at the Israel Museum in Jerusalem. The sculpture is described as a "16-foot tall polished-steel hourglass" and it "reflects and reverses the Jerusalem sky and the museum's landscape, a likely reference to the city's duality of celestial and earthly, holy and profane."^[31]

Also in June, Kapoor's "Orbit"^[4] was announced as the winning proposal for an artwork for the 2012 Olympic Games. The Greater London Authority selected Kapoor's sculpture from a shortlist of five artists as the permanent artwork for the Olympic Park. At 115 metres tall, Orbit will be the tallest sculpture in the U.K.

Soon to be completed is a granite monument to commemorate the British victims of 9/11 in New York’s Hanover Square.^[32]

When asked if engagement with people and places is the key to successful public art, Kapoor said,

Architectural projects[link]

Throughout his career, Kapoor has worked extensively with architects and engineers. Kapoor says this body of work is neither pure sculpture nor pure architecture. Notable architectural projects include:

• Ark Nova,^[34] an inflatable concert Hall that will travel around the earthquake struck regions of Japan. In collaboration with architect Arata Isozaki
• Orbit,^[4] the permanent artwork for the Olympic Park, in collaboration with engineer Cecil Balmond.
• "Temenos" the first work of the recently announced Tees Valley Giants, the world's five largest sculptures, in collaboration with Cecil Balmond. Temenos^[35] is situated in Middlehaven Dock, Middlesbrough.
• "Dismemberment Site 1",^[36] installed in New Zealand at the sculpture park known as "The Farm" and owned by New Zealand businessman and art patron Alan Gibbs.
• Leonard Street,^[37] New York, Collaboration with architects Herzog and de Meuron.
• Two subway stations in Naples at Monte San Angelo^[38] and Triano^[39] in collaboration with Future Systems.
• A proposal for the Princess Diana Memorial Fountain.
• "Taratantara"^[16] (1999–2000) was installed at the Baltic Centre for Contemporary Art, Gateshead and later at Piazza Plebiscito, Naples.
• An unrealised project^[40] for the Millennium Dome, London, (1995) in collaboration with Philip Gumuchdjian.
• "Building for a Void",^[41] created for Expo '92, Seville, in collaboration with David Connor.

Of his vision for the Cumana station in Monte Sant'Angelo, Naples, Italy under construction (as of June 2008), Kapoor has said:

Working with Text[link]

A collaboration with author Salman Rushdie, Kapoor for the first time conceived a mesmeric sculpture consisting of two bronze boxes conjoined with red wax and inscribed around the outside with the first two paragraphs of Rushdie's text; "Blood Relations"^[43] or an "Interrogation of the Arabian Nights" in 2006.^[44]

Other projects[link]

Kapoor has designed stage sets that include: the opera "Idomeneo" at Glyndebourne in 2003; Pelléas et Mélisande" for La Monnaie in Brussels, and a dance-theatre piece called "in-i" for Akram Khan and Juliette Binoche at the National Theatre in London.^[45]

Exhibitions[link]

Kapoor initially began exhibiting as part of New British Sculpture art scene, along with fellow British sculptors Tony Cragg and Richard Deacon.^[12] His first solo exhibition took place at Patrice Alexandra, Paris, in 1980.^[46] In 1992 Kapoor contributed to documenta IX with the Building Decent into Limbo.^[47] He achieved widespread recognition when he represented Britain at the 1990 Venice Biennale.^[48] Solo exhibitions of his work have since been held in the Tate and Hayward Gallery in London, Kunsthalle Basel in Switzerland, Reina Sofia in Madrid, the National Gallery in Ottawa, Musee des arts contemporains (Grand-Hornu) in Belgium, the CAPC Museum of Contemporary Art in Bordeaux, the Centro Cultural Banco do Brasil in Brazil, and the Guggenheim in Bilbao, New York and Berlin. In 2008, the Institute of Contemporary Art in Boston exhibited Kapoor's first U.S. mid-career survey.^[49] That same year, Kapoor’s Islamic Mirror (2008), a circular concave mirror, was installed in a 13th-century Arab palace now being used as by the Convent of Santa Clara in Murcia.^[50] Kapoor was the first living British artist to take over the Royal Academy, London, in 2009;^[51] the show attracted 275,000 visitors, making it the most successful exhibition ever by a living artist in London.^[52] In 2010, Kapoor retrospective exhibitions were held at the National Gallery of Modern Art (NGMA) in New Delhi and Mumbai’s Mehboob Studio, the first showcase of his work in the country of his birth.^[53][54] In 2011 Kapoor has had a solo touring exhibition with the Arts Council, part of their "Flashback " series of shows. In May he exhibited "Leviathan" at the Grand Palais, and two con-current shows in Milan at the Rotunda di via Basana and Fabbric de Vappore.

Kapoor's gallery representations include the Lisson Gallery, London and the Gladstone Gallery, New York.

Collections[link]

Kapoor's work is collected worldwide, notably by the Museum of Modern Art in New York; Tate Modern in London; Fondazione Prada in Milan; the Art Gallery of New South Wales, Sydney; the Guggenheim in Bilbao; the De Pont Foundation in the Netherlands; the Moderna Museet, Stockholm; the 21st Century Museum of Contemporary Art in Kanazawa, Japan; and the Israel Museum in Jerusalem.^[5]

Awards[link]

Kapoor represented Britain at the Venice Biennale, 1990, where he was awarded the Premio Duemila. The following year, he won the prestigious Turner Prize. Kapoor was elected Royal Academician in 1999 and has been awarded Honorary Fellowships by the London Institute and Leeds University (1997), University of Wolverhampton (1999) and the Royal Institute of British Architects (2001).^[5] In October 2011 Kapoor was presented with the Praemium Imperiale in Tokyo City.^[55]

In 2012, he was awarded the Padma Bhushan, India's third highest civilian honour.^{[56][57][58][59]}

Art market[link]

Kapoor made a $27 million profit in 2008, taking the fortune he has made from his art to an estimated $62.7 million.^[60] His record auction price is 1.94 million pounds, set in July 2008.

See also[link]

• Scheps v Fine Art Logistics Ltd

References[link]