![]() ![]() In 19, his work was the subject of comprehensive retrospectives at the Centre Pompidou in Paris and the Museum of Modern Art in New York, respectively. This fiery, fifty-three-year old modern master has permanent installations in 14 countries and his work figures in collections of contemporary art in most major museums. If truth be told, there is no metaphor, and Richard Serra needs no introduction. But to say that those have particular metaphors in terms of my work in a larger aspect would just be untrue.” Mass happens to be one of them…weight…placement…context…. Extremely articulate, Serra talks about his sculptural concerns: “I think I’ve chosen particular aspects in the making of sculpture that locate content in various areas: Balance happens to be one to them. A few of the artist’s drawings propped up on the back of a worn leather sofa. An all white loft, top floor, sky-lit with sparse pieces of mission furniture. Serra says of the moment: “All the raw material that I needed is contained in the reserve of this memory which has become a reoccurring dream.” ![]() Suddenly this dead weight became a graceful, buoyant mass of steel. ![]() There they found a tanker, in way, being readied for a launch which seemed, to his four-year-old mind, “As big as a skyscraper on its side.” As the cables were released and the ship ripped through the scaffolding on its way to sea, the boy watched, transfixed. It is revealing that one of Richard Serra’s earliest memories, as a boy in San Francisco, is of driving over the Golden Gate Bridge to a shipyard where his father was a pipe-fitter. New York Studio School, Drawing Marathonby Tina Barney Warning to Significance Huntersby Thom Merrick Objects in Mirror Are Closer Than They Appearby Jill Eisenstadt ![]()
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