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Feb

04

By:

Taylor Zakarin

The World Turned Outside In, 2003
Polished Stainless Steel
Edition 2 of 3
24 x 107 x 60 inches

Collection Louis Vuitton

 

I hope by now, many of you have had an opportunity to go into NorhPark’s CenterPark Garden – partially because it is a beautifully landscaped greenspace in the middle of a shopping center, but also because of the great art out there. One of my favorite pieces we have on view at NorthPark is Indian-born British sculptor Anish Kapoor’s The World Turned Outside In.

Almost every work of art at NorthPark is a part of the Nancy A. Nasher and David J. Haemisegger Collection or the Patsy and Raymond Nasher Collection from the incredible Nasher Sculpture Center. However, there are a few works on view that have been loaned to us from other institutions. This Anish Kapoor work is one such interesting option. Bernard Arnault, the Chairman & Chief Executive Officer of LVMH group, is a famed art collector. Between his personal collection and works that Louis Vuitton has acquired, the brand works hard to incorporate art not only in luxury good collaborations, but also within the décor of their store. Our NorthPark location was lucky enough to be included in the list of LV stores that has a piece by a major artist.

Anish Kapoor came to prominence in the 1980s for the quality of quiet lyricism that pervades his work. He takes inspiration from both Eastern and Western culture, drawing on his own biography to create works that are powerfully spiritual. In the U.S. he is best known for his sculpture in Chicago’s Millennium Park titled Cloud Gate, nicknamed the “Bean.”
 


Where the work is on view in CenterPark Garden, it is in continuous engagement with its surroundings, reflecting the ever-changing sky and landscape in a distorted form. The title is a literal reference to the effects of Kapoor sculpture – by curving the highly-reflective metal inward on itself, Kapoor has created a mirror of the world, turned outside in. What I’ve found to be most interesting about this work is visitors desire to get close to the piece – presumably to see their reflection – and instead see a skewed and inverted image. In many ways, the viewers and all the reflections created by the work are as much a part of The World Turned Outside In as the stainless steel structure itself. 

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