‘The Flashback’ of a master sculptors work

Anish Kapoor is one of Britain’s most distinguished artists. He has achieved international acclaim for his sensual and beguiling sculptures created using pigment, stone, stainless steel and wax, and his work is represented in major exhibitions, collections and public spaces across the globe.

‘The Flashback’ exhibition is the first survey of Anish Kapoor’s work to be held in the UK outside of London. The exhibition at Longside features earlier work form the Arts Council Collection, with more recent sculpture on loan from the artist and public collections.

The starting point for this exhibition is the Arts Council Collection’s ‘White Sand, Red Millet, Many Flowers’, a very early pigment work which Kapoor has returned to in his thinking over many years. Infectious experimentation with a vast range of materials and forms has continued ever since, as has his investigation into universal themes concerning belief, passion and experience. The exhibition reveals many of the outcomes of the artist’s unique endeavor, including his exploration of voids, mirrored surfaces and vortices.

It's a major series of touring exhibitions from the Arts Council Collection. A new illustrated publication featuring an interview with Anish Kapoor accompanies the exhibition, shop in store or online. For further information visit artscouncilcollection.org.uk or join us for free lunch time talks. The exhibition was previously seen at Nottingham Castle Museum & Art Gallery, Nottingham; Sculpture Court, Edinburgh College of Art, Edinburgh Festival; and Manchester Art Gallery, Manchester.

The Mumbai-born world-renowned artist has a lot going on for in recent months. His ‘Orbit tower’, a bright red mass of captivating crisscrossing metal beams, was a centerpiece of the London Olympics.  He had said, “An Olympic project is kind of like a national project. Think of what the Chinese did. They had Herzog & de Meuron and Ai Weiwei build a stadium for them: politically, they were able to use good design for their own end, to justify the modernity of the Chinese state. We may all roll our eyes, but they did it and got away with it: politically, aesthetically.”