Anish Kapoor online

Brighten the Corners has designed a new website for Anish Kapoor that lets the artist’s work speak for itself

Brighten the Corners has designed a new website for Anish Kapoor that lets the artist’s work speak for itself…

The homepage of the site at anishkapoor.com presents a simple list of names, events, websites and more obscure terms that seem like they might be the titles of artworks. It becomes clearer as to what each word might represent when users clicks on one of the subject categories listed at the top: Works, Thought Experiment, Links and About. The relevant content in the list is then flagged up in the subject’s colour. (NB: Thought Experiment contains a host of studio shots of works in development, ideas etc).

The design of the site is very much tailored to focus on the stunning visuals of Kapoor’s pieces and to allow for exploration. Further information on Kapoor himself, or a particular exhibition, is largely gleaned from links to external sites – to a feature by The Guardian, or to the BBC’s Imagine profile, for example.

“Design for the arts can be so serious and stuffy,” says the studio’s Billy Kiosoglou. “It’s like any excitement or playfulness in the work gets lost, so we wanted to get away from all that: we wanted to approach the site in a way that was true to the spirit of the work and did it justice.”

The content itself varies from beautifully shot art pieces, sketchbook images, YouTube clips and other links such as Clould Gate Google, essentially a Google Image search for Kapoor’s much-photographed piece in Chicago.

“The content can speak for itself,” says Kiosoglou, “so the design was focused on organising it in an appropriate way, rather than presenting it in a certain light. We have always found site maps really interesting, as they are often better designed than the website itself, so I guess you could say that we’ve done both a website and a sitemap in this case.”

Design and art direction: Billy Kiosoglou and Frank Philippin. Programming and CMS: Stéphan Barbé.

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