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One does afford oneself the luxury to come into the studio and all day, every day, spend one's life making aesthetic propositions. What an immense luxury

Anish Kapoor

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Anish Kapoor
Age: 70
Born: 1954
Born: March 12
Architect
Drawer
Jewelry Designer
Painter
Scenographer
Sculptor
Visual Artist
Bombay
Sir Anish Kapoor
Sir Anish Mikhail Kapoor
Anish Mikhail Kapoor
Luxury
Oneself
Spend
Propositions
Making
Immense
Doe
Aesthetic
Come
Afford
Every
Studio
Life
Studios

More quotes by Anish Kapoor

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I am Indian, and I'm proud of it. Indian life is mythologically rich and powerful.
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I, in the end, make art for myself.
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What interests me is the sense of the darkness that we carry within us, the darkness that's akin to one of the principal subjects of the sublime - terror
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It's precisely in those moments when I don't know what to do, boredom drives one to try a host of possibilities to either get somewhere or not get anywhere.
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Work grows out of other work, and there are very few eureka moments
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If you get a bad review, you take that in your stride.
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Content arises out of certain considerations about form, material, context-and that when that subject matter is sufficiently far away.
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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.
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My work is not about my life history. It's not about the story of my neurosis
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I am really interested in the idea that art can reach wider, can go further, can go beyond the art world, why not? People are intelligent, people are visually intelligent, and why shouldn't the work be able to engage some of that?
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I've always felt that if one was going to take seriously this vocation as an artist, you have to get beyond that decorative facade
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One does not set out with the idea that I've just had a great idea and now I'm going to go and carry it out. Almost all art that's made like that doesn't go anywhere.
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Being an artist is a very long game. It is not a 10-year game. I hope I'll be around making art when I'm 80
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Maybe the way we have learned to look has changed in the last 25 years, and the exotic is much more acceptable. There are many artists now, younger artists, who work out of the exotic
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What one does in the studio is to pose a series of problems to oneself. I've got to look for some deeper meaning, for some reason for this thing to be in the world. There's enough stuff in the world.
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There's something imminent in the work, but the circle is only completed by the viewer.
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I feel the symbolic world is the nub of a problem for an artist
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It is important that artists are not outside the equation, we don't stand on the sidelines. Artists are part of the story of a response, we cannot stand aside and let others make the response.
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One cannot set out to make a work that's spiritual. What is a contemporary iconography for the spiritual? Is it some fuzzy space?
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All ideas grow out of other ideas
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