Archive for the ‘Kapoor’ Category

08/15/2007

Happy Birthday to Picasso’s gift to Chicago!

Forty years ago today.


At 40 we still don’t know what you are. But we love you.

Even though you’ve been superseded a bit by

Anish Kapoor’s Cloud Gate in Millennium Park.

Which came first, the monkey or the egg?

Picasso’s arrived when Chicago still had tinges of “rust-belt city.” (1967)
Kapoor’s “Cloud Gate” of 2006 shows off our new beaming optimism.

I love them both.
Two examples of public art that make one feel good to be in the place where they are.

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06/14/2007

Both Sides Now, L.A and Chicago

Back in Daleyville, I’m trying to absorb what I’ve learned from Los Angeles. To integrate that place with the place I live now, Chicago. Hm. What do you think? Should we install John Baldessari’s cloud carpet from the L.A. County Museum of Art around the base of “Cloud Gate” in Chicago’s Millennium Park?

Maybe just temporarily – (smile).
More thoughts on L.A. soon.

-E

Mark di Suvero, works and the man, in Millennium Park – Chicago

04/15/2007

Who’s the guy chilling in Millennium Park?


Why, it’s the artist himself – Mark di Suvero. He’s up when there’s work to be done.






You load sixteen tons, and whadya get? Yoga is the name of the sculpture.
It features a (moving in the wind) Pantheon-like oculus. These heavy, heavy beams turn gracefully in the wind.


Mark di Suvero.

His works are going up in Millennium Park. In the Boeing (outdoor) Galleries. 5 of them.

Three went up today, the one above, and Shang

and Rust Angel


I like the color. It goes with the colorful faces on the Crown Fountain; and color is always welcome in the park.

All of the di Suvero’s are on access with Cloud “The Bean” Gate, which is a fine juxtaposition. Metal/metal, but highly polished/not and sensuous curves/industrial and harder lines. Each informs the other and helps you appreciate it.

Another difference is, “the Bean” is extremely photogenic. di Suvero’s works are not. You have got to experience them. You must walk through them, and touch them, and then they talk to you – or sometimes they sing adn make music. They tell you how they’re constructed and how what looks so heavy can also float and how they don’t have a center point where you think it might be. What’s not there is as important as what is. Their raw, visceral, sweet power looks great in Millennium Park. I’ll write more about them soon.

And you’re supposed to have fun with them.


Watching them go up today was even sexy. It was such beautiful weather I had to pull myself away from the park. Two more go up tomorrow.

They’ll be there for nearly a year. Lucky us.
-E

01/08/2007





Magdalena Abakanowicz’s sculpture, Agora, in Grant Park. Is it supposed to rust like that? I know it’s cast iron, but, it doesn’t look good. And it’s even running onto the concrete.

I’m told initial rusting like this is normal for iron and that it should stop, and that the cast iron will stabilize as brownish (with some red, but not bright red) surface.

This all reminds me that years ago, when Chicago was on the way down, we put up the Picasso statue, in Cor-Ten steel. Made to rust. As the city was doing. But now Chicago’s beaming and the Kapoor “bean” in radiant stainless steel is our symbol. So why this?

Maybe Claes Oldenburg should design to erect nearby,
a large enough tube of ?

Non-rusty thoughts on Abakanowicz’ gory ‘Agora’ by clicking here.

01/08/2007





Magdalena Abakanowicz’s sculpture, Agora, in Grant Park. Is it supposed to rust like that? I know it’s cast iron, but, it doesn’t look good. And it’s even running onto the concrete.

I’m told initial rusting like this is normal for iron and that it should stop, and that the cast iron will stabilize as brownish (with some red, but not bright red) surface.

This all reminds me that years ago, when Chicago was on the way down, we put up the Picasso statue, in Cor-Ten steel. Made to rust. As the city was doing. But now Chicago’s beaming and the Kapoor “bean” in radiant stainless steel is our symbol. So why this?

Maybe Claes Oldenburg should design to erect nearby,
a large enough tube of ?

Non-rusty thoughts on Abakanowicz’ gory ‘Agora’ by clicking here.

10/05/2006


You know I like ‘Cloud Gate’ by Anish Kapoor. Aka ‘the bean’ in Millennium Park.
I told you so in all these posts.

Here’s more insight into it, from the paper with the best arts reporting in the English language, The Guardian (UK).

Photograph: AP

10/05/2006


You know I like ‘Cloud Gate’ by Anish Kapoor. Aka ‘the bean’ in Millennium Park.
I told you so in all these posts.

Here’s more insight into it, from the paper with the best arts reporting in the English language, The Guardian (UK).

Photograph: AP

05/05/2006

Kapoor, Einstein, Michelangelo and Mies

I said, the other day that Anish Kapoor’s “Cloud Gate” in Millennium Park bends light and space, a la Einstein. And it does. But it also bends time. When you walk up to it, you’re looking for yourself (isn’t that what art is all about?) and there’s a moment when you can’t find yourself, and you’re lost, and then as you get a little closer, you regain your Self; but in that momentary lapse, when You were gone, time stopped. That’s my Theory of How we Relate to Our Selves.


See them pointing? They found themselves, (their Selves?) happily.

And the second thing I want to relate, is…

Michelangelo said, to sculpt, take a block of marble, and take away what doesn’t need to be there. Mies, in his buildings, took away what didn’t need to be there. No pitched roof, no window frames, etc. Michelangelo learned from the Greeks. Early Greeks sculpted by first carving in from the front, then carving in from the side, until the two met. Look at 860 – 880 Lake Shore Drive, by Mies.

Wish I had a better picture, but – see how one is frontal and one is a side view? Then, you put them together in your mind.

So much of Mies is about – how buildings are made. I’ve seen how when moving around his buildings an open becomes a solid. Or approaching a work of his, first (sequentially) you are given a floor, then columns, then walls, then a roof; in the way buildings are made. And I’ve stood in front of his buildings and my subconscious mind (in a Seurat kind of way) has filled in the pitched roof, the window frames, the door, the chimney, that are burned into our minds from before we were kids and drew houses like that.*

I’ve certainly stood at 860-880 Lake Shore Drive and wondered at how the two boxes relate to each other and play off of each other so magically.

But I’d never realized that they’re two views of one object, one frontal, and one side view, that the architect will resolve, but never does. And so it remains endlessly fascinating.

* A scientist once said that the Pantheon in Rome knocks us out in its simplicity because it’s just that – it’s the way we draw houses as kids – with three basic shapes – a circle, a square and a triangle.


That’s a very, very, very fine house,
-Edvard.

05/05/2006

Kapoor, Einstein, Michelangelo and Mies

I said, the other day that Anish Kapoor’s “Cloud Gate” in Millennium Park bends light and space, a la Einstein. And it does. But it also bends time. When you walk up to it, you’re looking for yourself (isn’t that what art is all about?) and there’s a moment when you can’t find yourself, and you’re lost, and then as you get a little closer, you regain your Self; but in that momentary lapse, when You were gone, time stopped. That’s my Theory of How we Relate to Our Selves.


See them pointing? They found themselves, (their Selves?) happily.

And the second thing I want to relate, is…

Michelangelo said, to sculpt, take a block of marble, and take away what doesn’t need to be there. Mies, in his buildings, took away what didn’t need to be there. No pitched roof, no window frames, etc. Michelangelo learned from the Greeks. Early Greeks sculpted by first carving in from the front, then carving in from the side, until the two met. Look at 860 – 880 Lake Shore Drive, by Mies.

Wish I had a better picture, but – see how one is frontal and one is a side view? Then, you put them together in your mind.

So much of Mies is about – how buildings are made. I’ve seen how when moving around his buildings an open becomes a solid. Or approaching a work of his, first (sequentially) you are given a floor, then columns, then walls, then a roof; in the way buildings are made. And I’ve stood in front of his buildings and my subconscious mind (in a Seurat kind of way) has filled in the pitched roof, the window frames, the door, the chimney, that are burned into our minds from before we were kids and drew houses like that.*

I’ve certainly stood at 860-880 Lake Shore Drive and wondered at how the two boxes relate to each other and play off of each other so magically.

But I’d never realized that they’re two views of one object, one frontal, and one side view, that the architect will resolve, but never does. And so it remains endlessly fascinating.

* A scientist once said that the Pantheon in Rome knocks us out in its simplicity because it’s just that – it’s the way we draw houses as kids – with three basic shapes – a circle, a square and a triangle.


That’s a very, very, very fine house,
-Edvard.

04/29/2006

Bernard Tschumi lectures! May 9th. At the Art Institute. Sponsored by the Architecture and Design Society. Open to the public. Got me to thinking about

Tschumi’s Parc de la Villette in Paris.

It’s a precursor to Chicago’s Millennium Park.
The two urban parks do share a certain – object or form. At Parc de la Villette it looks like this:

” La Geode ” in the Paris park doubles as an IMAX Theater.

It shines and reflects and curves space in much the same way as a certain shiny object in a certain Chicago park that we have certainly written about – ” Cloud Gate ” – because that one is a shiny work of genius and we can’t get enough of it.
This, not purely round but in intriguing shapes, is a far superior work of art than the Geode in Paris. Theirs reflects space a la Newton, but ours bends space and light a la Einstein.

But go see the architect of the French park lecture on May 9th.
If it’s archi-babble, so Tschumi. (smile)

-Edouard