Last fall’s Anish Kapoor exhibition opened at the Royal Academy, London, and travelled in the spring to the Guggenheim Bilbao. The catalog (Amazon) included text by Homi K. Bhabha, Nicholas Bourriaud, Jean de Loisy, and Sir Norman Rosenthal.
At the same time, Phaidon published the “most comprehensive monograph” on Kapoor, by David Anfam, with essays by Johanna Burton and Richard Deacon and an interview by Donna De Salvo.
Spring 2009 also saw “Shooting into the Corner” at the MAK in Vienna. (Catalog by Hatje Cantz, with text by Vito Acconci, Bettina M. Busse, Peter Noever, August Ruhs, Burghart Schmidt, Gabriel Ramin Schor, Michael Stavaric.) In the fall, “Memory,” a commission for the Deutsche Guggenheim in Berlin, travelled to the Solomon R. Guggenheim Museum in New York. “Memory” received a review by Ken Johnson (New York Times) and a catalog with text by Steven Holl (with David van der Leer), Christopher Hornzee-Jones, Henri Lustiger-Thaler, Sandhini Poddar, and Gayatri Chakravorty Spivak.
The previous year, in Boston, Nicholas Baume organized a small Kapoor survey for the ICA: “Past, Present, Future.” It was reviewed by Roberta Smith (New York Times), Sebastian Smee (Boston Globe), and Richard Lacayo (Time). The catalog for that show, published by MIT, included essays by Baume, Mary Jane Jacob, and Partha Mitter.
Previously, Malin Hedlin Hayden(now associate professor at the University of Stockholm) published a Ph.D. thesis from the University of Uppsala: Out of Minimalism: The Referential Cube: Contextualising Sculptures by Antony Gormley, Anish Kapoor and Rachel Whiteread (Worldcat; Amazon).