1. E n g i n e e r e d A r t .
F e a t u r i n g : A n i s h
K a p o o r
Museum Entrance
C U R A T O R +
C R E D I T S
The combination of machine and stone; with imperfect and
perfection, softness and firmness, ancient art and digital art Anish
Kapoor, a famous sculpture, digs deep into experimenting with
the technique of punning cement. With the interest to create
massive architecturally engineered sculpture influenced by the
ambiguous design of historic form. Kapoor masters a technique
that will bring artist to question the use of technology and its
influence on creating large-scale form. The sculptures are created
with this technique using a 3D printer. With little intention of
perfection and specificity of design, Kapoor hopes to create form
that appears to give the impression of not having been created by
human hand and having always been there. R e a d m o r e … »
C l i c k o n a r r o w s t o v i s i t r o o m s R O
O M
1
R O
O M
2
2. Room 1
M U S E U M
L O B B Y
C l i c k
o n
i m a g e s
t o s e e
l a r g e r
3. Room 2
M U S E U M
L O B B Y
C l i c k
o n
i m a g e s
t o s e e
l a r g e r
4. E n g i n e e r e d A r t
"I think it's my role as an artist to
bring to expression, it's not my role
to be expressive. I've got nothing
particular to say, I don't have any
message to give anyone. But it is my
role to bring to expression, let's say,
to define means that allow
phenomenological and other
perceptions which one might use, one
might work with, and then move
towards a poetic existence."
--Anish Kapoor
Anish Kapoor, a Famous Indian born
British artist known for his massive
architecturally designed sculptures
placed all around the world. Kapoor
was first recognized for his
biomorphic sculptures and
installations, made with stone,
aluminum, and resin. Later in his
career Kapoor became interested in
creating projects that where
increasing ambitious and constructed
through architectural design at a large
scale. Kapoor states, that for him
“geometry is a very important
element that I return continually.”
Many of his work results from skilled
geometric forms creating distant
illusions favoring the viewers
perspective.
Kapoor is always experimenting
with new material and processes,
keeping an audience well entertained
and intact to his idea of art. He is
always generating new form and
sculptures maneuvering between
vastly different scales, shapes,
material, and design. Interacting with
ambiguous material and architectural
influence, unusual to the perspective
influenced by what our society
expect to see.
Kapoor has been working on the
development of cement extruding,
investigating, and creating new ways
to generate form. The sculptures are
created with this technique using a
3D printer. These massive hollowed
out sculpture give the impression of
not having been created by human
hand and of having always been
there, following the example of
certain historic forms built up over
thousands of years by the forces of
nature. Many artists intend to create
art specific to their designated idea,
or form. With this technique Kapoor
finds a way to reach beyond creating
R e t u r n
t o
L o b b y
definite form, working around the
idea generating only explicit forms.
Ambiguity permits the artist to play
with the worlds “optics” creating
forms not ideal to certain material
giving us room to see in a different
way.
With the use of new media combined
to draw attention to both digital art
and ceramics, Kapoor brings
question to the nature of what we call
art today. Through 3D modeling and
technique he improvises on what is
considered the greatest influence of
western civilization and digital art
today. Creating form through the use
of engineering, craftsmanship and
architectural techniques in exploring
the combination of what we know as
fine art, with digital art. Where as
engineers seek precision, Kapoor
delights the imperfections of his
work. Yet the appearance of
randomness involves the idea of aged
existence. Kapoor deliberately finds
a point of balance between perfection
and, imperfection, softness and
firmness, movement in hopes to
galvanize the viewer.
5. G r e y m a n C r i e s ,
S h a m a n d i e s ,
B i l l o w i n g s m o k e ,
B e a u t y E v o k e d
Artist: Anish Kapoor
Date: 2008-2009
Media: Cement
Size: 35x45x72
The Identity Machine-
The Identity Machine is a shit machine that
farts and craps its way along its ordained path,
transforming concrete into stigmergic, self-organized
structure. Wounds and gashes,
pleats and folds emerge at will and either self-heal
or continue to rupture
--Anish Kapoor
In more simplified terms, Kapoor uses a 3D
modeling technique to extrude concrete.
Through architectural design and the
influence of mimicry, Kapoor creates beautiful
form engineered to mimic natures idea of
architecture.
h t t p : / / a n i s h k a p o o r . c o m / p h p
/ i m g . p h p ? i m g = x m P 7 d v . j p g &
h = 3 6 4 & w = 4 9 3 & c o n s t r a i n = t r u
e
R e t u r n
t o
R o o m
6. G r e y m a n C r i e s ,
S h a m a n d i e s ,
B i l l o w i n g s m o k e ,
B e a u t y E v o k e d
Artist: Anish Kapoor
Date: 2008-2009
Media: Cement
Size: 35x45x72
Kapoor is obsessed with Biomimicry. His
ideal creation involves a sustainable form
that mimic that of nature, such as coral
mounds, or Rocky outcrops. The essence of
creating form that appears to have been
for ages gives his technique using cements
the label or "art.” Through this series
he developed strategies, techniques,
and designs to influence the
perspective viewers’ imagination to go
beyond thinking man created this form. This
is Kapoor’s approach to create form that
adapts to earth and earths function.
h t t p : / / a n i s h k a p o o r . c o m / p h p
/ i m g . p h p ? i m g = r w N z a 1 . j p g & h
= 3 6 4 & w = 4 9 3 & c o n s t r a i n = t r u e
R e t u r n
t o
R o o m
7. G r e y m a n C r i e s ,
S h a m a n d i e s ,
B i l l o w i n g s m o k e ,
B e a u t y E v o k e d
Artist: Anish Kapoor
Date: 2008-2009
Media: Cement
Size: 35x45x72
Kapoor has no exact expectation to what his
work might turn out to be. He becomes
interested in the process and technique using
the 3D printer to extrude cement. In this his
expectation proceeds to follow the interest of
how this imperfect form develops out of such
a precise machine. In some ways it’s a
contradiction. Combing material with
technique altering the product to something
so predictable but unexpected. We
understand the idea that the product should
sustain a purpose to reflex the nature of time
and being. In essence the works give the
sensation of always being in existence but not
having been created by human hand.
h t t p : / / a n i s h k a p o o r . c o m / p h p
/ i m g . p h p ? i m g = 5 O j p w a . j p g &
h = 3 6 4 & w = 4 9 3 & c o n s t r a i n = t r u
e
R e t u r n
t o
R o o m
8. B e t w e e n s h i t
a n d
A r c h i t e c t u r e
Artist: Anish Kapoor
Date: 2011
Media: cement
Size: 35x45x112
Architecture is building from the ground up.
Structure and design, Kapoor brings creativity
to what architecture defines as suitable.
Between shit and Architecture, a series of work
created by Kapoor with the intention of
expressing a combination of meaning towards
textures and forms. He explores entropy of
material, specifically the extraction of cement.
He names this series Between Shit and
Architecture. But what exactly does Kapoor
mean when he combines the two words
together. Is “shit” architecture? Or is
“architecture” shit? Is he specifically stating
the appearance of the forms he created? Or
is he trying to introduce more meaning into
the extruded forms?
I m a g e c r e d i t : P l a c e t i n y
U R L h e r e R e t u r n
t o
R o o m
9. B e t w e e n S h i t
a n d
A r c h i t e c t u r e
Artist: Anish Kapoor
Date: 2011
Media: cement
Size: 35x45x112
These hollowed out massive structures bring
recognition to historic architecture. He dwells
in the ability to achieve this sense of creating
archeologically related sculpture. Forming a
bond between ancient buildings and the
ability to create something so similar through a
computerized printing machine. With depth
and height Kapoor mimics the idea of
structures such at the Ziggurats of
Mesopotamia. Crafting towards to mimic what
once was. Bringing realization to just how
simple it has become to creating structure with
the use of a few measurements, and
dimensions.
I m a g e c r e d i t : P l a c e t i n y
U R L h e r e R e t u r n
t o
R o o m
10. B e t w e e n S h i t
a n d
A r c h i t e c t u r e
Artist: Anish Kapoor
Date: 2011
Media: Cement
Size: 35x45x112
The works are all made by computerized
printing machine. Kapoor wants to explore a
relation of traditional pottery, archeology, and
things that just naturally occur. There is no
sense of being specific. The use of this
technique is really focused on how the
cement will naturally react to Kapoor’s interest
in technology and sculpture. As the viewer we
feed off of Kapoor’s creativity and develop
our own explanation to what we see. Whether
we see a relation between ceramics, pottery,
sculpture, archeology nature, or just plain shit.
We exploring form, and texture while
introducing two medias we never thought
would meet. Kapoor master more than just
creating a piece of artwork, but explores a
technique with endless possibilities.
I m a g e c r e d i t : P l a c e t i n y
U R L h e r e R e t u r n
t o
R o o m
11. R o b e r t
C r a c i u n e s c u
I combine interests to feel comfortable. I feel as though
gathering not only my thoughts, but the similarities in variety
of my interest will allow me to explore my talent and exceed
to something unimaginable. The thought of combing
something new with something old can exceed all
expectation. In my case, i find the exploration of ceramics
and digital art to be something no one thought of. In reality its
been done, but i like to think that my creation and influence
of technology, ceramics, and design will allow me to aspire
what i can only one day call Art created by me. I love
simplicity, texture, and ambiguous perfection and
imperfection. Its typical to say we like "different" but
different can mean all sorts of things. I create my own
"different" in hopes to overcome that dreadful thought that
overflows my mind; "this is something i don't want to
destroy.”
R e t u r n
t o
L o b b y
I M A G E C R E D I T S
h t t p : / / a n i s h k a p o o r . c o m / 1 3 0 / G r e y m a n
- C r i e s % 2 C - S h a m a n - D i e s % 2 C - B i l l o w i n g -
S m o k e % 2 C - - B e a u t y -
E v o k e d . h t m l h t t p : / /
a n i s h k a p o o r . c o m / 1 3 0 / G r e y m a n -
C r i e s % 2 C - S h a m a n - D i e s % 2 C - B i l l o w i n g -
S m o k e % 2 C - - B e a u t y - E v o k e d . h t m l
h t t p : / / a n i s h k a p o o r . c o m / 1 3 0 / G r e y m a n
- C r i e s % 2 C - S h a m a n - D i e s % 2 C - B i l l o w i n g -
S m o k e % 2 C - - B e a u t y - E v o k e d . h t m l
h t t p : / / a n i s h k a p o o r . c o m / 6 9 1 / B e t w e e n -
S h i t - a n d - A r c h i t e c t u r e . h t m l P l a c e t i n y
U R L h e r e
h t t p : / / a n i s h k a p o o r . c o m / 6 9 1 / B e t w e e n -
S h i t - a n d - A r c h i t e c t u r e . h t m l P l a c e t i n y
U R L h e r e
h t t p : / / a n i s h k a p o o r . c o m / p h p / i m g . p h p ?
i m g = z O R J k S . j p g & h = 3 6 4 & w = 4 9 3 & c o n s t r a
i n = t r u e
C I T A
T I O N
S
12. C I T A T I O N S
Dodgson, Neil. Anish Kapoor: Engineering Art. 2013. Cambridge. UK. Print.
Dodgson, Neil. Sculpture: Engineering Art. 2010. Print.
Kapoor, Anish., Lowe, Adam,. Shaffer, Simon. Unconformity and Entropy; Greyman Cries, Shaman Dies,
Billowing Smoke, Beauty Evoked. Turner Books. 2009. Print
http://anishkapoor.com/130/Greyman-Cries,-Shaman-Dies,-Billowing-Smoke,--Beauty-Evoked.html
http://anishkapoor.com/130/Greyman-Cries,-Shaman-Dies,-Billowing-Smoke,--Beauty-Evoked.html
http://anishkapoor.com/130/Greyman-Cries,-Shaman-Dies,-Billowing-Smoke,--Beauty-Evoked.html
http://anishkapoor.com/691/Between-Shit-and-Architecture.html
http://anishkapoor.com/691/Between-Shit-and-Architecture.html
http://anishkapoor.com/691/Between-Shit-and-Architecture.html
R e t u r n
t o
C u r a t o r
V i r t u a l m u s e u m s w e r e i n t r o d u c e d b y e d u c a t o r s a t K e i t h V a l l e y M i d d l e S c h o o l . O r i g i n a l
t e m p l a t e b y D r . C h r i s t y K e e l e r m o d i f i e d b y W i l l i a m C r o m a r .
T h i s w o r k i s l i c e n s e d u n d e r a C r e a t i v e C o m m o n s A t t r i b u t i o n - N o n c o m m e r c i a l - S h a r e A l i k e
3 . 0 U n i t e d S t a t e s L i c e n s e .
