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Public sculpture by Anish Kapoor in Chicago, Illinois, United States

This article is about the sculpture in Chicago. For the modern dance group, see Cloud Gate Dance Theater.

Coordinates: 41°52′57.67″Northward 87°37′23.97″West  /  41.8826861°N 87.6233250°Due west  / 41.8826861; -87.6233250

Deject Gate
A large, highly-polished, mirrored bean-shaped sculpture seen from the east, reflecting the skyscrapers to the north along East Randolph Street (The Heritage, Smurfit-Stone Building, Two Prudential Plaza, One Prudential Plaza, and Aon Center.
Artist Anish Kapoor
Yr 2006
Medium Stainless steel sculpture
Dimensions ten m × xiii m × 20 m (33 ft × 42 ft × 66 ft)
Location Millennium Park, Chicago, Illinois, U.Due south.
Website millenniumparkfoundation.org/fine art-architecture/cloud-gate/

Cloud Gate is a public sculpture by Indian-born British artist Anish Kapoor, that is the centerpiece of AT&T Plaza at Millennium Park in the Loop community area of Chicago, Illinois. The sculpture and AT&T Plaza are located on top of Park Grill, between the Chase Promenade and McCormick Tribune Plaza & Ice Rink. Constructed betwixt 2004 and 2006, the sculpture is nicknamed "the Bean" because of its shape, a name Kapoor initially disliked, simply later grew addicted of. Made upwards of 168 stainless steel plates welded together, its highly polished exterior has no visible seams. Information technology measures 33 by 66 by 42 feet (ten by 20 past xiii 1000), and weighs 110 brusque tons (100 t; 98 long tons).

Kapoor's blueprint was inspired by liquid mercury and the sculpture's surface reflects and distorts the metropolis's skyline. Visitors are able to walk effectually and nether Cloud Gate 's 12-foot (iii.7 grand) loftier curvation. On the underside is the "omphalos" (Greek for "navel"), a concave chamber that warps and multiplies reflections. The sculpture builds upon many of Kapoor'south creative themes, and information technology is popular with tourists equally a photo-taking opportunity for its unique cogitating properties.

The sculpture was the result of a design contest. After Kapoor'southward design was chosen, numerous technological concerns regarding the design's structure and assembly arose, in addition to concerns regarding the sculpture's budget and maintenance. Various experts were consulted, some of whom believed the design could non exist implemented. Eventually, a viable method was found, only the sculpture'south construction cruel behind schedule. It was unveiled in an incomplete form during the Millennium Park grand opening celebration in 2004, before being concealed once again while it was completed. Deject Gate was formally dedicated on May xv, 2006, and has since gained considerable popularity, both domestically and internationally.

Design [edit]

McDonald's Cycle Center BP Pedestrian Bridge BP Pedestrian Bridge Columbus Drive Exelon Pavilion NE Exelon Pavilion NE Exelon Pavilion SE Exelon Pavilion SE Exelon Pavilion NW Exelon Pavilion NW Exelon Pavilion SW Exelon Pavilion SW Harris Theater Jay Pritzker Pavilion Lurie Garden Nichols Bridgeway Nichols Bridgeway Chase Promenade North Chase Promenade Central Chase Promenade South AT&T Plaza Boeing Gallery North Boeing Gallery South Cloud Gate Wrigley Square McCormick Tribune Plaza & Ice Rink Crown Fountain Michigan Avenue Randolph Street

Rectangular map of a park about 1.5 times as wide as it is tall. The top half is dominated by the Pritzker Pavilion and Great Lawn. The lower half is divided into three roughly equal sections: (left to right) Wrigley Square, McCormick Tribune Plaza, and Crown Fountain. North is to the left.

Epitome map of Millennium Park; eastward is at the acme. Each feature or characterization is linked.

Lying between Lake Michigan to the east and the Loop to the w, Grant Park has been Chicago's front yard since the mid-19th century. Its northwest corner, due north of Monroe Street and the Fine art Constitute, east of Michigan Artery, south of Randolph Street, and west of Columbus Drive, had been Illinois Central rail yards and parking lots until 1997, when it was made available for development by the city every bit Millennium Park.[1] For 2007, the park was Chicago's 2nd largest tourist attraction, abaft only Navy Pier.[2]

In 1999, Millennium Park officials and a group of fine art collectors, curators and architects reviewed the artistic works of thirty different artists and asked ii for proposals. American creative person Jeff Koons submitted a proposal to erect a permanent 150-pes (46 m) sculpture of a playground slide;[3] [iv] his glass and steel pattern featured an ascertainment deck ninety feet (27 m) above the ground that was accessible via an lift.[5] The committee chose the second blueprint past internationally acclaimed artist Anish Kapoor. Measuring 33 past 66 past 42 feet (10 past xx past 13 chiliad) and weighing 110 short tons (100 t; 98 long tons), the proposal featured a seamless, stainless steel surface inspired by liquid mercury.[6] This mirror-similar surface would reflect the Chicago skyline, but its elliptical shape would distort and twist the reflected paradigm.[7] As visitors walk effectually the structure, its surface acts similar a fun-house mirror as information technology distorts their reflections.[8]

Headshot of an Indian man with gray hair and black shirt

Anish Kapoor's design proposal was chosen over works by 30 unlike artists.

In the underside of the sculpture is the omphalos, an indentation whose mirrored surface provides multiple reflections of whatsoever subject area situated below it.[ix] The noon of the navel is 27 anxiety (eight.2 m) higher up the ground. The concave underside allows visitors to walk underneath to see the omphalos, and through its arch to the other side so that they view the entire structure.[ten] During the thou opening week in July 2004, press reports described the bellybutton as the "spoon-like underbelly".[eleven] [12] The stainless steel sculpture was originally envisioned as the centerpiece of the Lurie Garden at the southeast corner of the park. However, Park officials believed the piece was too big for the Lurie Garden and decided to locate information technology at AT&T Plaza, despite Kapoor's objections.[thirteen] Skyscrapers to the north along Eastward Randolph Street, including The Heritage, the Smurfit-Stone Edifice, Two Prudential Plaza, Ane Prudential Plaza, and Aon Center are visible, reflected on both the e and w sides of the sculpture.

Although Kapoor does not draw with computers, computer modeling was essential to the procedure of analyzing the complex form,[14] which created numerous problems. Since the sculpture was expected to be outdoors, concerns arose that it might retain and acquit heat in a way that would arrive too hot to bear on during the summertime then cold that one'due south natural language might stick to it during the winter. The extreme temperature variation between seasons was also feared to weaken the structure. Graffiti, bird droppings and fingerprints were as well potential bug, as they would bear on the aesthetics of the surface.[4] [xv] The about pressing effect was the need to create a single seamless outside for the external shell, a feat architect Norman Foster once believed to be about impossible.[15]

While the sculpture was existence constructed, public and media outlets nicknamed it "The Bean" considering of its shape, a proper name that Kapoor described as "completely stupid".[13] Months later on, Kapoor officially named the piece Deject Gate.[16] (Kapoor eventually accepted the nickname of "The Bean".[17]) Critical reviews describe the sculpture as a passage between realms.[18] Three-quarters of the sculpture'due south external surface reflects the sky and the proper noun refers to it interim as a type of gate that helps bridge the space between the sky and the viewer.[xix] The sculpture and plaza are sometimes referred to jointly as "Cloud Gate on the AT&T Plaza".[20] Information technology is Kapoor's first public outdoor piece of work in the United States,[20] and is the work by which he is all-time known in the country according to the Fiscal Times.[21]

Structure and maintenance [edit]

A crane lifts a large, oval-shaped ring in front of several large buildings

The British applied science firm Atelier Ane provided the sculpture's structural design,[22] [23] and Performance Structures, Inc. (PSI) was chosen to fabricate it because of their ability to produce almost invisible welds.[3] The projection began with PSI attempting to recreate the design in miniature. A high-density polyurethane foam model was selected past Kapoor, which was then used to blueprint the final structure, including the interior structural components.[24] Initially, PSI planned to build and assemble the sculpture in Oakland, California, and ship information technology to Chicago through the Panama Culvert and St. Lawrence Seaway. However, this programme was discarded after park officials deemed information technology likewise risky, then the decision was made to transport the individual panels by truck and to assemble the structure on-site, a task undertaken past MTH Industries.[3] [24] [25]

The sculpture's weight raised concerns. Estimating the thickness of the steel needed to create the sculpture'southward desired aesthetics before fabrication was difficult.[26] Cloud Gate was originally estimated to counterbalance sixty short tons (54 t; 54 long tons) when completed.[27] However, the final figure was almost twice every bit heavy at 110 short tons (100 t; 98 long tons). This extra weight required engineers to reconsider the sculpture's supporting structures. The roof of the Park Grill, upon which Cloud Gate sits, had to exist built strong plenty to bear the weight. The big retaining wall separating Chicago's Metra railroad train tracks from the Due north Grant Park garage supports much of the weight of the sculpture and forms the back side of the restaurant. This wall, along with the residue of the garage's foundation, required additional bracing before the piece was erected.[26] Cloud Gate is further buttressed past lateral members underneath the plaza that are anchored to the sculpture'due south interior construction by tie rods.[24]

Inside Cloud Gate'south polished outside shell are several steel structures that keep the sculpture standing. The first structural pieces, ii type 304 stainless steel rings, were put into identify in February 2004. As structure connected, crisscrossing pipe trusses were assembled between the ii rings.[28] The trusses and supporting structures were only present for the construction phases. The finished sculpture has no inner bracing.[29] The supporting structural components were designed and constructed to ensure that no specific betoken was overloaded, and to avoid producing unwanted indentations on the exterior beat. The frame was also designed to aggrandize and contract with the sculpture as temperatures fluctuate. As a effect, the ii large rings supporting the sculpture move independently of each other, allowing the shell to move independently of the rings.[24]

When Cloud Gate'due south interior components were completed, construction crews prepared to work on the outer beat out; this comprises 168 stainless steel panels, each 3⁄eight inch (10 mm) thick and weighing 1,000 to 2,000 pounds (450 to 910 kg).[30] They were made using 3-dimensional modeling software.[24] Computers and robots were essential in the bending and shaping of the plates,[25] which was performed past English language bike and a robotic scanning device.[31] Metal stiffeners were welded to each panel's interior face to provide a small degree of rigidity. Virtually a third of the plates, forth with the unabridged interior structure, were made in Oakland.[24] The plates were polished to 98 percent of their final state and covered with protective white film earlier being sent to Chicago via trucks.[32] Once in Chicago, the plates were welded together on-site, creating 2,442 linear anxiety (744 thou) of welded seams.[30] Welders used keyhole welding machines rather than traditional welding guns.[vi] The plates were made and so precisely that no on-site cutting or filing was necessary when lifting and plumbing fixtures them into position.[30]

When construction of the shell began in June 2004, a big tent was erected effectually the piece to shield it from public view.[33] Construction began with the bellybutton, where plates were attached to the supporting internal steel structure, from the inside (underside) of the sculpture downwards to the outermost surfaces.[32] This sequence acquired the structure to resemble a big sombrero when the bottom was complete.[34]

The shell of Deject Gate was fully erected for the m opening of Millennium Park on July 15, 2004, although it was unpolished and thus unfinished, because its assembly had fallen backside schedule. The slice was temporarily uncovered on July eight for the opening, although Kapoor was unhappy with this equally it allowed the public to run across the sculpture in an unfinished state.[35] The original plan was to re-cock the tent effectually the sculpture for polishing on July 24, merely public appreciation for the piece convinced park officials to leave it uncovered for several months. The tent was once again erected in January 2005 as a 24-person crew from Ironworkers Local 63 polished the seams between each plate.[xxx] [36] In order to grind, sand and polish the seams, half dozen levels of scaffolding were erected around the sides of the sculpture, while climbing ropes and harnesses were used to polish harder-to-attain areas.[xxx] When the upper and side portions of the shell were completed, the tent was once once more removed in Baronial 2005. On October 3, the umbilicus was airtight off as workers polished the final section.[37] Every weld on the Deject Gate underwent a five-stage process, required to produce the sculpture's mirror-like finish.[30]

Phase Name Equipment used Sandpaper type Purpose
1 Rough cut 5-pound (2.3 kg), iv½-inch (110 mm) electrical grinder 40-grit Removed welded seams
2 Initial contour 15-pound (half dozen.8 kg), ii-inch (51 mm), air-driven belt sander fourscore-grit, 100-grit and 120-grit Shaped the weld contours
3 Sculpting air-driven 10-pound (4.5 kg), ane-inch (25 mm) belt sander 80-grit, 120-dust, 240-grit and 400-grit Smoothed the weld contours
4 Refining double action sander 400-dust, 600-dust and 800-grit Removed the fine scratches that were left from the sculpting stage
5 Polishing 10-inch (250 mm) electrical buffing wheel ten pounds (4.v kg) of rouge Buffed and polished the surface to a mirror-like terminate

Cloud Gate was finally completed on August 28, 2005, and officially unveiled on May 15, 2006.[38] [39] The cost for the piece was get-go estimated at $half-dozen 1000000; this had escalated to $xi.5 1000000 past the fourth dimension the park opened in 2004,[twoscore] with the final figure continuing at $23 million in 2006.[iv] No public funds were involved; all funding came from donations from individuals and corporations.[four]

Kapoor's contract states that the synthetic piece should be expected to survive for one,000 years.[41] The lower half-dozen feet (one.eight one thousand) of Cloud Gate is wiped down twice a 24-hour interval by mitt, while the entire sculpture is cleaned twice a year with twoscore U.S. gallons (33 imp gal; 150 L) of liquid detergent. The daily cleanings use a Windex-similar solution, while the semi-annual cleanings use Tide.[42] A notable February 2009 rare incident saw ii names etched in letters about 1 inch (25 mm) tall on the northeast side of the curved sculpture. The graffiti was removed past the same firm that did the original polishing.[43]

Reception [edit]

A large white tent sits on the roof of a cafe building set in front of a skyscraper and blue sky.

A tent was erected to embrace Cloud Gate while it was being polished in 2004 and 2005.

Chicago Mayor Richard M. Daley declared the day of the sculpture's dedication, May 15, 2006, to be "Deject Gate Day". Kapoor attended the commemoration, while local jazz trumpeter and bandleader Orbert Davis and the Chicago Jazz Combo played "Fanfare for Cloud Gate", which Davis composed.[44] The public took an instant liking to the sculpture, affectionately referring to information technology as "The Bean".[45] Deject Gate has get a popular piece of public art[8] [46] and is at present a fixture on many souvenirs such as postcards, sweatshirts, and posters.[47] The sculpture has attracted a large number of locals, tourists, and art aficionados from around the earth.[48] The sculpture is at present the slice past which Kapoor is most identified in the United States.[49]

Time describes the slice as an essential photo opportunity, and more than of a destination than a work of art.[8] The New York Times writes that it is both a "tourist magnet" and an "boggling fine art object",[48] [l] while United states of america Today refers to the sculpture as a awe-inspiring abstract work.[51] Chicago art critic Edward Lifson considers Cloud Gate to be among the greatest pieces of public art in the world.[44] The American Welding Club recognized Cloud Gate, MTH Industries and PSI with the grouping's Extraordinary Welding Award.[52] Fourth dimension named Millennium Park i of the ten best architectural achievements of 2004, citing Cloud Gate as one of the park's major attractions.[53]

What I wanted to do in Millennium Park is make something that would engage the Chicago skyline ... so that i will see the clouds kind of floating in, with those very tall buildings reflected in the work. And then, since it is in the form of a gate, the participant, the viewer, volition be able to enter into this very deep bedroom that does, in a way, the aforementioned thing to 1'southward reflection as the outside of the slice is doing to the reflection of the city around.

—Anish Kapoor[20]

When the park outset opened in 2004, Metra police stopped a Columbia College Chicago journalism student who was working on a photography project in Millennium Park and confiscated his film considering of fears of terrorism.[54] In 2005, the sculpture attracted some controversy when a professional person photographer without a paid permit was denied access to the piece.[55] As is the case for all works of art currently covered by United States copyright constabulary, the artist holds the copyright for the sculpture. This allows the public to freely photo Cloud Gate, merely permission from Kapoor or the City of Chicago (which has licensed the fine art) is required for whatsoever commercial reproductions of the photographs. The city outset set up a policy of collecting allow fees for photographs. These permits were initially prepare at $350 per 24-hour interval for professional still photographers, $1,200 per day for professional videographers and $l per hour for wedding photographers. The policy has been inverse so permits are just required for large-calibration flick, video and photography requiring x-person crews and equipment.[56]

In add-on to restricting photography of public art, closing a public park for a private outcome has too been controversial. In 2005 and 2006, virtually all of Millennium Park was airtight for a day for corporate events. On both occasions, as one of the park's chief attractions, Cloud Gate was the focus of controversy. On September 8, 2005, Toyota Motor Sales Us paid $800,000 to hire near venues in the park including Cloud Gate on AT&T Plaza from 6 a.thousand. to 11 p.k.[57] [58] On August vii, 2006, Allstate paid $700,000 to rent the park. For this price, Allstate acquired the visitation rights to a different set of features and but had exclusive access to Cloud Gate later iv p.m.[59] These corporate closures denied tourists admission to Kapoor's public sculpture, and commuters who walk through the park were forced to have alternative routes. City officials stated that the coin would help finance free public programs in Millennium Park.[57]

In 2015, a sculpture like to Deject Gate was reported in Karamay, China at the site of an oil discovery, which according to Eduardo Peñalver, the Dean of Cornell Law School, "very probably" is a copyright infringement confronting Cloud Gate.[lx] Though designed to resemble an oil bubble, Kapoor hoped that legal action would be taken against what he termed a Chinese knockoff.[61] Mayor Rahm Emanuel was less concerned and said that information technology was a flattering imitation.[62]

Artistic themes [edit]

Relevant Kapoor themes [edit]

I promise what I accept washed is make a serious work, which deals with serious questions about course, public infinite and an object in space. You can capture the popular imagination and hold other points of interest, only that is not what I ready out to do, although there is inevitably a certain spectacular in an object similar this.

—Anish Kapoor[41]

Anish Kapoor has a reputation for creating glasses in urban settings past producing works of extreme size and calibration.[21] Before creating Cloud Gate, Kapoor had created art that distorted images of the viewer instead of portraying images of its own. In and then doing, he acquired feel blurring the boundary betwixt the limit and the limitless.[63] Kapoor drew on past feel to design Cloud Gate, in particular the designing of Sky Mirror (2001), a 20-foot (6.one m) 10-short-ton (9 t; ix-long-ton) concave stainless steel mirror that likewise used a theme of distorted perception on a yard scale.[63]

Kapoor'south objects often aim to evoke immateriality and the spiritual, an outcome he achieves either by carving dark voids into stone pieces, or more recently, through the sheer shine and reflectivity of his objects.[45] This Indian artist's works have no fixed identity, but rather occupy an illusionary space that is consistent with eastern theologies shared by Buddhism, Hinduism and Taoism, as well as Albert Einstein'south views of a non-three-dimensional globe.[18] Kapoor explores the theme of ambiguity with his works that place the viewer in a state of "in-betweenness".[64] The artist often questions and plays with such dualities as solidity–emptiness or reality–reflection, which in turn allude to such paired opposites every bit flesh–spirit, the here–the beyond, east–west, heaven–earth, etc. that create the disharmonize between internal and external, superficial and subterranean, and conscious and unconscious.[65] Kapoor likewise creates a tension between masculine and feminine inside his art past having concave points of focus that invite the entry of visitors and multiplies their images when they are positioned correctly.[65] [66]

Cloud Gate themes [edit]

Kapoor frequently speaks of removing both the signature of the artist from his works as well as any traces of their fabrication, or what he refers to as "traces of the paw".[18] [45] He aspires to brand his works look like they take contained realities that he reveals rather than creates.[eighteen] For him, removing all the seams from Cloud Gate was necessary in lodge to make the sculpture seem as though it was "perfect" and ready-made. These effects increase the viewer'south fascination with it and makes them wonder what it is and where it came from.[46] His attempts to hibernate his works' seams as an artist stand in contrast to Frank Gehry's architectural designs in the park, Jay Pritzker Pavilion and BP Pedestrian Bridge, which display their seams prominently.[xvi]

Cloud Gate is described as a transformative, iconic work.[67] It is similar to many of Kapoor's previous works in the themes and issues information technology addresses. While the sculpture'south mirror effects are reminiscent of fun-house fairground mirrors, they also have a more serious intent; they assist dematerialize this very big object, making it seem light and most weightless.[viii] [68] Cloud Gate is considered Kapoor's most ambitious utilize of complex mirrored course dynamics.[69] Kapoor challenges his viewers to internalize his work through intellectual and theoretical exercise. By reflecting the sky, visiting and non-visiting pedestrians and surrounding compages, Cloud Gate limits its viewers to fractional comprehension at any time. The interaction with the viewer who moves to create his ain vision gives it a spiritual dimension.[64] The sculpture is described as a disembodied, luminous course,[64] which is likewise how his earlier thou Names (1979–80) was described when information technology addressed the metaphysical and mystical.[65]

The viewer physically enters the art when he walks underneath information technology into its "navel". The belly button is a "warped dimension of fluid space". In this dimension, solid is transformed into fluid in a disorienting multiplicative manner that intensifies the experience. It is emblematic of Kapoor's work to deconstruct empirical space and venture into manifold possibilities of abstruse infinite.[69] The experience is described every bit a displaced or virtual depth that is equanimous of multiplied surfaces.[seventy]

According to project manager Lou Cerny of MTH Industries, "When the light is correct, you tin't see where the sculpture ends and the sky begins."[71] The sculpture challenges perception by distorting and deforming the surrounding architecture.[72] The skyscrapers along East Randolph Street to the northeast (Two Prudential Plaza, and Aon Middle), due north (One Prudential Plaza) and northwest (The Heritage, Crain Communications Edifice) are reflected on Deject Gate's surface when viewed from either the east or the westward. The sculpture also warps viewers' perception of time by irresolute the speed of movements such equally the passing of clouds.[72]

Although in the conventional sense Cloud Gate is not an opening that leads anywhere in the same way that monumental gates do, information technology frames a view and is celebratory in the way it creates a formalism place. The work is credited with achieving a new level or understanding described as a transubstantiation of material, reminiscent of that which the artist experienced during a 1979 trip to Bharat. Kapoor's 1000 Names evolved immediately after this trip; twenty-v years later he created Cloud Gate, an object that emerged from material forms to get immaterial.[eighteen]

Kapoor often relies on tenets of Hinduism in his art and says that "The experience of opposites allows for the expression of wholeness."[18] Primal dualities that are 1, such as the lingam and yoni, are important to Indian civilization, and Cloud Gate represents both the male person and female in one entity by symbolizing both the vagina and testicles.[eighteen] Thus, it represents the tension between the masculine and the feminine.

In popular civilization [edit]

The sculpture has been used every bit a backdrop in commercial films, notably in the 2006 Hollywood moving picture The Pause-Up, which had to reshoot several scenes because the sculpture was nether cover for the initial filming.[73] It is also prominently featured in the ending scene of Source Code. Director Duncan Jones felt the structure was a metaphor for the movie'southward subject field thing and aimed for it to be shown at the starting time and end of the movie.[74] The sculpture served every bit an aesthetic and symbolic setting for the 2012 film The Vow when the lead characters share a kiss nether it.[75] [76] It also appears in the video to "Homecoming", a vocal by Chicago native Kanye West, featuring Chris Martin of the band Coldplay.[77] The sculpture is also featured in the 2008 mumblecore film Nights and Weekends. It was also featured in the Bollywood film Dhoom three [78] and the 2014 movie Transformers: Age of Extinction, the fourth installment in the Transformers serial.[79] A modified reproduction of Cloud Gate is likewise included in Watch Dogs, a video game released in 2014 that takes place in Chicago.[80] Dissimilar the real sculpture, the in-game replica is a curved, white torus.[81] A movement to Windex the Bean was started in 2017, gaining the attention of over thirty thousand people on Facebook. The event took place on Nov xv, 2017, because of a consensus that the Bean is dirty and needs to be cleaned.[82]

Deject Gate plays a prominent office in Battle Footing, the 17th title in the Dresden Files urban fantasy novel serial by Jim Butcher. In the Chicago of the novels, the sculpture was deputed past Queen Mab, ruler of the Winter Court of Faerie, and proves to be hiding a large stockpile of armaments. Its placement by the Wintertime Courtroom was in anticipation of a massive supernatural attack on the city of Chicago.[83]

Lawsuit against National Rifle Association [edit]

A June 2017 NRA video entitled The Clenched Fist of Truth used an paradigm of Cloud Gate. Anish Kapoor sued the NRA to terminate running the video, pay any profits gained equally a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees.[84] The conform was settled in December 2018 with the removal of the image from the NRA video, with no cash payment made to Kapoor, according to the NRA.[85]

See also [edit]

  • List of public art in Chicago

References [edit]

Notes [edit]

  1. ^ Gilfoyle, Timothy J. (August six, 2006). "Millennium Park". The New York Times . Retrieved June 24, 2008.
  2. ^ "Crain's Listing Largest Tourist Attractions (Sightseeing): Ranked by 2007 attendance". Crain's Chicago Business. Crain Communications Inc. June 23, 2008. p. 22.
  3. ^ a b c Schulze, Franz (November 2004). "Sunday afternoon in the Cyber-Age Park: the city'south new greensward features Frank Gehny's latest, plus "interactive" sculptural works by Jaume Plensa and Anish Kapoor". Art in America: 66–69.
  4. ^ a b c d Ahmed-Ullah, Noreen South. (May 16, 2006). "Bean's gleam has creator beaming – Creative person Anish Kapoor admits being surprised by aspects of 'Deject Gate' at Monday'south dedication ceremony in Millennium Park". Chicago Tribune. Newsbank. Retrieved July 17, 2008.
  5. ^ Artner, Alan G. (April 25, 2004). "Arts & Amusement". Chicago Tribune. Newsbank. Retrieved September 19, 2008.
  6. ^ a b Sharoff, p. 61
  7. ^ Daniel, Caroline; Jeremy Grant (September 10, 2005). "Classical city soars to a higher place Capone clichés". The Financial Times. The Financial Times Ltd. Retrieved July 31, 2008. (registration required for entire article)
  8. ^ a b c d Lacayo, Richard (June 5, 2008). "Anish Kapoor: Past, Present, Future". Time. Time Inc. Archived from the original on June 12, 2008. Retrieved July half dozen, 2008.
  9. ^ Gilfoyle, p. 203
  10. ^ Gilfoyle, p. 261
  11. ^ "News". Journal Gazette (Mattoon, IL). Newsbank. July 17, 2004. Retrieved August 5, 2008.
  12. ^ "Edible bean, fountain highlight park opening". The Southern Illinoisan. Newsbank. July 17, 2004. Retrieved August 5, 2008.
  13. ^ a b Nance, Kevin (July 14, 2004). "The Edible bean's os of contention". Chicago Lord's day-Times. Newsbank. Retrieved July 10, 2009.
  14. ^ Baume, p. 53
  15. ^ a b Gilfoyle, p. 202.
  16. ^ a b Bernstein, Fred A. (July eighteen, 2004). "Fine art/Architecture; Big Shoulders, Big Donors, Big Fine art". The New York Times . Retrieved June i, 2008.
  17. ^ Weiss, Hedy (Oct 13, 2017). "Anish Kapoor, 'Cloud Gate' artist: 'I telephone call information technology "The Edible bean," too'". Chicago Sunday-Times. Archived from the original on October fifteen, 2017. Retrieved October 15, 2017.
  18. ^ a b c d eastward f g Baume, pp. 123–132
  19. ^ Gilfoyle, pp. 263–4
  20. ^ a b c "Cloud Gate on the AT&T Plaza". Millennium Park. Archived from the original on May 19, 2008. Retrieved May 31, 2008.
  21. ^ a b Budick, Ariella (June fourteen, 2008). "Innies and outies". The Financial Times. The Financial Times Ltd. Retrieved July 31, 2008.
  22. ^ Thomas, Neil; Chadwick, Aran (2009). Liquid Threshold. Atelier One. ISBN978-0-9562563-0-0.
  23. ^ "aerotrope profile". Aerotrope. Retrieved February 19, 2010.
  24. ^ a b c d east f Steele, Jeffrey. "Special Project – Chicago'south Millennium Park Project". McGraw-Hill Construction. Archived from the original on October 12, 2008. Retrieved May 31, 2008.
  25. ^ a b Sharoff, p. 55.
  26. ^ a b Gilfoyle, p. 165.
  27. ^ Gilfoyle, p. 402.
  28. ^ "Making Metallic Gleam". USGlass. 42 (4). April 2007. Retrieved June ii, 2008.
  29. ^ Sharoff, p. 51
  30. ^ a b c d e f Nunn, Emily (August 24, 2005). "Making it shine". Chicago Tribune . Retrieved June 3, 2008.
  31. ^ Sharoff, p. 56
  32. ^ a b Gilfoyle, p. 204.
  33. ^ Becker, Lynn. "A photo essay on the making of Anish Kapoor's Deject Gate sculpture in Chicago's Millennium Park". Repeat. Archived from the original on June two, 2008. Retrieved May 31, 2008.
  34. ^ Gilfoyle, p. 206.
  35. ^ "Cloud Gate". Chicago Architecture Info. Archived from the original on November 22, 2018. Retrieved June 1, 2008.
  36. ^ "A place to reflect in Chicago". Los Angeles Times. January 2, 2005. Retrieved June ane, 2008.
  37. ^ Ryan, Karen (August 18, 2005). "Cloud Gate Sculpture in Millennium Park to exist Completely Untented by Dominicus, Baronial 28" (PDF). Millennium Park. Archived from the original (PDF) on June 12, 2010. Retrieved June ane, 2008.
  38. ^ Yates, Jon (July 15, 2004). "Chicago finds 'bean' meets taste test – Sculpture reflects positively on city". Chicago Tribune . Retrieved June 29, 2008.
  39. ^ "The Bean Unveiled". Chicago Tonight. Chicago. May 15, 2006. WTTW. Archived from the original on October three, 2009.
  40. ^ Ford, Liam (July 11, 2004). "Urban center to finally open its new forepart yard – Millennium Park's price tag tripled". Chicago Tribune . Retrieved April 17, 2021.
  41. ^ a b Daniel, Caroline (July 20, 2004). "How a steel edible bean gave Chicago fresh pride". The Financial Times. The Financial Times Ltd. Retrieved Baronial 7, 2008.
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References cited [edit]

  • Baume, Nicholas (2008). Anish Kapoor: Past Present Future. The MIT Press. ISBN978-0-262-02659-eight.
  • Gilfoyle, Timothy J. (2006). Millennium Park: Creating a Chicago Landmark . University of Chicago Printing. ISBN978-0-226-29349-3.
  • Jodidio, Philip (2005). Compages: Art . Prestel. ISBNthree-7913-3279-i.
  • Sharoff, Robert (2004). Better than Perfect: The Making of Chicago's Millennium Park. Walsh Construction Company.
  • Thomas, Neil; Chadwick, Aran (2009). Liquid Threshold. Atelier One. ISBN978-0-9562563-0-0.

External links [edit]

  • Cloud Gate on Anish Kapoor's website
  • City of Chicago Millennium Park
  • Millennium Park map
  • City of Chicago Loop Community Map
  • Cloud Gate at Millennium Park, City of Chicago Archived 2018-02-11 at the Wayback Machine – Images and description of Kapoor's public sculpture
  • Cloud Gate articles in the archive of the Chicago Tribune

clarkthichilvery.blogspot.com

Source: https://en.wikipedia.org/wiki/Cloud_Gate

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