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The Blackest Black? ART FIGHT ft. Stuart Semple vs Anish Kapoor

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Anish Kapoor ‘Shooting Into the Corner’ (2008-9)

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Anish Kapoor ‘Shooting Into the Corner’ (2008-9)

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For Kapoor, ‘Red is the colour of the earth, it’s not a colour of deep space; it’s obviously the colour of blood and body...the darkness it reveals is a much deeper and darker darkness than that of blue or black.’
When asked about the colour of his childhood homeland in India, Kapoor commented, ‘I’m sure it’s red’.”
“Kapoor celebrates colour’s completely nonverbal nature with proto-verbal symbolism. Without needing words or even articulated thought, colour functions as a direct and visceral route to metaphor.
Kapoor has returned often to red for its singular capacity to express something fundamental. Red is a bright, extroverted presence that beckons, yet at the same time it stands for a darker, internal world. ‘It’s the colour of the interior of our bodies. Red is the centre.’
(Stella Paul, ‘Chromaphilia: The Story of Colour in Art’)

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Was developed by Yves Klein in association with Edouard Adam, a Parisian art paint supplier. The uniqueness of IKB does not derive from the ultramarine pigment, but rather from the matte, synthetic resin binder in which the colour is suspended, and which allows the pigment to maintain as much of its original qualities and intensity of colour as possible.
The synthetic resin used in the binder is a polyvinyl acetate developed and marketed at the time under the name Rhodopas M or M60A by the French pharmaceutical company Rhône-Poulenc. Adam still sells the binder under the name "Médium Adam 25"

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14 monumental paintings by abstract expressionist Mark Rothko. The Houston landmark, commissioned by John and Dominique de Menil, opened in February 1971. Deep purple and velvety black panels hung within octagonal-shaped chapel. Expressive power of colour - used in place of figurative images.  Large colour fields intended to envelop viewer - meditative/reflective - sitting in solitude. Spiritual qualities and experience. Patrons (the de Menils) believed in the power of dialogue, spirituality and power of art to transform social/political changes (post war years)