| Courtesy Barbara Gladstone Gallery|
|Anish Kapoor Installation|
In "Whiteout", a show of new sculptures at Barbara Gladstone, Anish Kapoor gets to the point.
By LORI ORTIZ
The London based Kapoor creates tension with opposites. His blobular forms are in fact hard alabaster, reflective stainless steel or fiberglass. Inside and outside, negative and positive, are defining features that are illusory in these works. Human-sized, we relate to them almost as partners. In the smaller floor pieces, gleaming stainless reflects the viewer moving around focusing on the objects' size and shape. Not even knee high, their reflections are dizzying. A straight line or grid for bearings is nowhere to be found.
Titles sum up the basic shapes in one or two words. "Implant" is directional; placed to lead the eye into the gallery. Mirrored on its surface, two long fluorescents light the way. "Pregnant Square's" bulbous sheen catches and reduces a configuration of four track lights on the ceiling. The spectator is cloned in the stylized barbell shaped "Double." We confront the amorphous yet unyielding "Sack" in an open legged stance. In these almost diminutive, reflective pieces, grand phenomenology is subjugated to intimate dialogue.
Sculpture by: Anish Kapoor.
Includes individual works: Whiteout; Implant; Spire; Pregnant Square; Double; Vortex; Bridge; Sack; Carousel; Blade
| May 8 - June 25, 2004|
Gallery: Gladstone Gallery
515 West 24th Street
New York NY
Hours: Tuesday - Saturday 10:00 AM - 6:00 PM
Phone: (212) 206-9300
The white space of "Carousel" is vast beyond its size. It seems to turn, but at the same time is disquietingly still. A black wall piece "Vortex" is about five feet. It feels like stage blackout. Its width and circumference are the only known measurements. Like "Vortex," "Whiteout" is impossible to visualize as flat or convex. The title piece is a six-foot cube. The white works hurl light at us with such purity as to cause the form to melt and disappear. Surface and form become one. Dimensions are moot. As always the pristine Kapoor sculptures titillate by inviting forbidden touch and seduce us to explore their depth. But in the new work black and white is the medium. The absence and total of color and light are both vertiginous.
|MAY 14, 2004|
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