Sculptors

"The idea is that the object has a language unto itself."

"These include a select group of Mr. Kapoor's early pigment sculptures, beguiling mirror-polished stainless steel sculptures and cement sculptures on display for the first time,""

"The exhibition also includes highlights such as the monumental work Svayambh, which in Sanskrit, means 'self-generated'."

"Architects have always hoped to find a way to skip that stage between design and finished building."

"Is it my role as an artist to say something, to express, to be expressive? 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."

"I think I’ve had three or four moments in my work over the last twenty-five years that have been real discoveries. The pigment pieces felt to me as if they were a discovery about an object and what an object can be; how an object can be and not be. Then, of course, the void pieces. The idea that if I empty out all the content and just make something that is an empty form, I don’t empty out the content at all. The content is there in a way that’s more surprising than if I tried to make a content. So, therefore, the idea that subject matter is somehow not the same as content. Then, in a different sort of way, moving from matte surfaces to shiny surfaces. In terms of the fact that the traditional sublime is the matte surface, deep and absorbing, and that the shiny might be a modern sublime, which is fully reflective, absolutely present, and returns the gaze. This feels like a new way to think about the non-objective object."

"Mr Kapoor's work dates from his breakthrough using this medium of hyper-reflective polished and was created in a decade that witnessed Mr Kapoor winning the Premio Duemilla Prize for his British Pavilion at the Venice Biennale in 1990, winning the Turner Prize in 1991 and staging a major retrospective at the Hayward Gallery in 1998."

"Sotheby's was proud to offer the monumental work by Anish Kapoor, which manifests all the pioneering ingenuity in material and spatial possibilities that characterise the very best output of the world-renowned sculptor."

"So that actually adds another dimension but that’s not the reason (why he was commissioned). We really felt that the spiritual and immaterial aspects of his work would really make for a strong statement with respect to a work paying tribute to Teddy.[ Teddy Kollek, long-time Mayor of Jerusalem]."

"We have known Anish for a long time. The museum acquired his work in the early 1980s initially and there was always talk of trying to think of an appropriate site specific commission with him. What actually happened is that after Teddy died, a dear friend of Teddy who is also close to the museum offered a grant to commission a sculptural work in Teddy’s memory. And it occurred to us almost on the spot that this might be just the moment to commission something from Anish.”"

"He came up with this very simple idea which was recognising that the location which we identified, which is an axial view straight up the main promenade of the museum at its highest point, would be the place where a simple hour glass form would offer the opportunity to invert the Jerusalem sky and built landscape. And that’s what he created – and it’s a superb thing."

"We picked him because he is a great sculptor. The flip side is it makes it quite interesting to work with him because not only was he born in India – he has an Indian father and a Jewish mother of Iraqi heritage – but he lived in Israel for a few years as a young man before he moved to the UK."

"Red is a colour I’ve felt very strongly about. Maybe red is a very Indian colour, maybe it’s one of those things that I grew up with and recognise at some other level. Of course, it is the colour of the interior of our bodies. Red is the centre."

"It’s magnificent, it’s really great. It is quite simple and quite a pure piece."

"It will remain (shiny) most definitely.It will need periodic polishing – (but) it’s there (permanently)"

"I am interested in sculpture that manipulates the viewer into a specific relation with both space and time. Time, on two levels; one narratively and cinematically as a matter of the passage through the work, and the other as a literal elongation of the moment. This has to do with form and colour and the propensity of colour to induce reverie. Consequently, I hope, an elongation of time. Space is as complex, the space contained in an objectmust be bigger than the object which contains it. My aim is to separate the object from its object-hood."

"The UK has two things, the arts and education, and both of them it pushes into the corner. It's the hugest, hugest mistake. Why do British ministers meet anyone from the arts other than to cut them? Compared to Germany, Britain has got quite a long way to go there, frankly."

"Discover how Kapoor’s continual experimentation with structure and medium has led him to work with a wide variety of materials from clay, fibreglass and paint pigment, to steel and wax, creating beautiful, strange and intriguing works that counter conventional ideas of art."

"It looks stunning and it does exactly what we hoped.”"

"He (Piet Mondrian) couldn't look after himself properly. He was terrible [sic] thin, and seemed to live mostly on currants and vegetable stew, because he followed the Haye diet."

"More often than not, [people] expect a painting to speak to them in terms other than visual, preferably in words, whereas when a painting or a sculpture needs to be supplemented and explained by words it means either that it has not fulfilled its function or that the public is deprived of vision,"

"There is no indication of success up to now in the bringing together of art and science. To achieve success the artist must be spiritually at home in the field of science so he can think and feel in the same way as the scientist. A spiritual union, not a technical one, is requested."

"If I were an academician.. ..or a believer in a higher reality outside me, as most people are (lucky creatures!), I would have no need for any justification for painting landscapes, or portraits, or social realism. I would rely on my so-called common sense, on which I see and feel, and I would enjoy it. Or I would fix one point in the distant haze of that unknown reality, would try to approach it as nearly as I could, and would find solace in the fanatical belief that I am the only one who is portraying that reality which is the only truth."

"Art and Science are two different streams which rise from the same creative force and flow into the same ocean of the common culture, but the currents of these two streams flow in different directions."

"It needs a poet like Schwitters to show us that unobserved elements of beauty are strewn and spread all around us and we can find them everywhere in the portentous as well as in the insignificant, if only we care to look, to choose and to fit them into a comely order."

"[The Constructive idea..] has revealed a universal law that the elements of a visual art such as lines, colours, shapes, possess their own forces of expression independent of any association with the external aspects of the world; that their life and action are self-conditioned psychological phenomena rooted in human nature; that those elements are not chosen by convention by any utilitarian or other reason as words and figures are, they are not merely abstract signs, but they are immediately and organically bound up with human emotions. The revelation of this fundamental law has opened up a vast field in art giving the possibility of expression to those human impulses and emotions which have been neglected."

"The point they (Lissitzky, Rodchenko, Tatlin, Gabo, the neo-Plasticists, and so on) all had in common was to be inside and outside at the same time... For me, to be inside and outside is to be in an unheated studio with broken windows in the winter, or taking a nap on somebody’s porch in the summer."

"We take four planes and we construct with them the same volume as of four tons of mass."

"No new artistic system will withstand the pressure of a growing new culture until the very foundation of Art will be erected on the real laws of life. Until all artists will say with us... All is a fiction... only life and its laws are authentic and in life only the active is beautiful and wise and strong and right, for life does not know beauty as an aesthetic measure... efficacious existence is the highest beauty. Life knows neither good nor bad nor justice as a measure of morals... need is the highest and most just of all morals. Life does not know rationally abstracted truths as a measure of cognizance, deed is the highest and surest of truths. Those are the laws of life. Can art withstand these laws if it is built on an abstraction, on mirage, and fiction?..."

"Space and time are the only forms on which life is built and hence art must be constructed... The realisation of our perceptions of the world in the forms of space and time is the only aim of our pictorial and plastic art... We renounce the thousand-year-old delusion in art that held the static rhythms as the only elements of the plastic and pictorial arts. We affirm in these arts a new element, the kinetic rhythms as the basic forms of our perception of real time."

"I realized that the image I had been given by my teachers, the scientists.. ..by their way of looking at Nature, was just another stage setting with all the magnificence and ingenuity that the genius of any artist produces in a work of art. I realized that in my scientific journey I had been under the power of a magic spell of a work of art whose reality was just as true as the verity of the image in an artist's vision."

"From the very beginning of the Constructivist Movement it was clear to me that a constructed sculpture, by its very method and technique brings sculpture very near to architecture.. .My works of this time up to 1924.. ..are all in the search for an image which would fuse the sculptural element with the architectural element in one unit. I consider this Column the culmination of that search."

"Up to now sculptors have preferred the mass and neglected or paid little attention to such an important component of mass as space.. ..we consider it as an absolute sculptural element. I do not hesitate to affirm that the perception of space is a primary natural sense which belongs to the basic senses of our psychology"

"..adding Space perception to the perception of Masses, emphasizing it and forming it, we enrich the expression of Mass.. ..through the contrast between them whereby Mass retains its solidity and Space its extension."

"What we cannot express by the art of thinking, by the art of Science or philosophy or logic, we can and should express by the poetic, visual, or some other arts. It is for that reason that I consider morals and aesthetics one and the same; for they cover only one impulse, one drive inherent in our consciousness - to bring our life and all our actions into a satisfactory relationship with the events of the world, as our consciousness want it to be, in harmony with our life and according to the laws of consciousness itself - Naum Gabo"

"Science looks and observes and art see and foresees. Every great scientist has experienced a moment when the artist in him saved the scientist."

"The shapes we are creating are not abstract, they are absolute."

"[ Constructivism is] not as a tool or even a specific method, but rather as a perfect union of the coming state and the movement's 'spiritual' aims."

"We know only what we do, what we make, what we construct; and all that we make, all that we construct, are realities. I call them images, not in Plato's sense (namely that they are only reflections of reality), but I hold that these images are the reality itself and that there is no reality beyond this reality except when in our creative process we change the images: then we have created new realities."

"Either build functional houses and bridges or create pure art or both. Don't confuse one with the other. Such art is not pure constructive art, but merely an imitation of the machine."

"The true artist always refuses to conform to any standards others than his own. That’s why the attacks in Russia against Shostakovitch and Prokofiev are identical to the attacks that have been made here against American pioneers of abstract painting like Davis, Holty, or Morris. In Russia it was Malevich and Gabo, in this country at the moment it is people like Rothko, Baziotes, Pollock, my self and many others who are being attacked. The names may vary, but the methods, the motives; the objects of attack are essentially the same. Only meritocracy is forever immune, because it is forever ready to conform. (his comment on the attacks on artistic freedom in 1948."

"I have come to the conclusion that a work of art restricted to what the artist has put in it is only a part of itself. It only attains full stature with what people and time make of it. It involves the whole complex of human relation to life. It is a mode of thinking, acting, perceiving and living."

"The growth of new ideas is more difficult and lengthy the deeper they are rotted in life. Resistance to them is the more obsitnate and exasperated the more persistent their growth is."

"I love colors...as much as I love concepts."

"Ars sana in corpore sano. (Healthy art in a healthy body.)"

"Istanbul these days has as much dynamism as New York."

"Ich bin das erste lebende kunst museum."

"Art shouldn’t be only the aesthetics we hang on the wall, but a dynamic to shape the society."

"Today the term “global” can no longer constitute a serious topic for an in depth intellectual discussion because it simply means “Camerica”."

"In the brief life span of the Italian Futurist movement, the short-lived Umberto Boccioni was a blazing comet.. .Boccioni was a fiery theoretician of the movement, drafting two Futurist Manifestos in 1910 and 1912 that exalted the force and energy of contemporary life. They called for an art that glorified speed, violence and the machine age, one that above all reflected the dynamism of an engine-driven civilization."