Art
Richard Serra
RICHARD SERRA
Sculpture: Forty Years at MoMA June 3–September 10, 2007
The exhibition is organized by Kynaston McShine, Chief Curator at Large, MoMA and Lynne Cooke, curator, Dia Art Foundation.
Richard Serra In Conversation with Jeffrey Weiss is forthcoming.
Belts, 1966-67. Vulcanized rubber, and neon tubing. 6’ x 25’ x 20” (182.9 cm x 7.6 m x 50.8 cm). Solomon R. Guggenheim Museum, New York. Panza Collection
Plinths, 1967. Fiberglass, rubber, and neon tubing. Five pieces, each: 8” x 8’ x 13/16” (20.3 cm x 2.4 m x 2 cm). Centre Georges Pompidou, Musée national d’art moderne, Paris
To Lift, 1967. Vulcanized rubber. 36” x 6’8” x 60 (91.4×200 × 152.4 cm). Collection of the artist
Prop, 1968. Lead. Plate: 60×60 × 1/8” (152.4×152.4×0.3 cm), pole: 8’ (2.4 m) long. Whitney Museum of American Art, New York. Gift of the Howard and Jean Lipman Foundation, Inc.
1-1-1-1, 1969. Lead. Four Plates, each: 48×48” (121.9×121.9 cm), pole: 7’ (2.1 m) long. Kunstsammlung Nordrhein-Westfalen, Düsseldorf
5:30, 1969. Lead. Four plates, each: 48×48 x ¾” ( 121.9×121.9×1.9 cm), pole: 60” (152.4 cm) long. Collection of the artist
Cuttting Device: Base Plate Measure, 1969. Lead, wood, stone, and steel. Overall 12” x 18’ x 15’7 ¾” (30.5×549×498 cm). The Museum of Modern Art, New York. Gift of Philip Johnson, 1979
One Ton Prop (House of Cards), 1969. Lead antimony, four plates. Each 48×48 × 1” (122×2.5 cm) The Museum of Modern Art, New York. Gilft of the Grinstein Family, 1986
Delineator, 1974-75. Hot-rolled steel. Two plates, each: 1” x 10’ X 26’ (2.5cmx 3.1m x7.9 m). Collection of the artist.
Circuit, 1972. Hot-rolled steel. Four plates each: 8’ x 24’ x 1”. Installation in the exhibition Documenta 5. Kassel, 1972.
Equal-Parallel: Guernica-Bengasi, 1986. Weatherproof steel. Four slabs, two: 58 ½ x 58 ½” x 9 ½” (148.6×148.6×24.1 cm), two: 58 ½ x 16’4 1/8” x 9 ½” (148.6 cm x 5 m x 24.1 cm) Museo Nacional Centro de Arte Reina Sofia, Madrid
Intersection II, 1992-93. Weatherproof steel, four identical conical sections. Two sections 13’ 1 ½” (400 cm) high x 51’ 9” (1570 cm) along the chord x 2 1/8” (5.4 cm) thick; two sections 13’ 1 ½” (400 cm) high x 51’ 9” (1570 cm) along the chord x 2 1/8” (5.4 cm) thick. The Museum of Modern Art, New York. Gift of Jo Carole and Ronald S. Lauder, 1998
Torqued Ellipse IV, 1998. Weatherproof steel. 12’3” x 26’6” x 32’6” (373.4×807 ×990.6 cm). The Museum of Modern Art, New York. Fractional and promised gift of Leon and Debra Black, 1999
Band, 2006. Weatherproof steel. Overall: 12’9” x 36’5”x 71’9 ½” (3.9×11.1×21.9 m), plate: 2” (5.1 cm) thick. Los Angeles County Museum of Art. Gift of Eli and Edythe Broad
Sequence, 2006. Weatherproof steel. Overall: 12’9” x 40’8 3/8” x 65’ 2 3/16” (3.9×12.4×19.9 m). Collection of the artist.RECOMMENDED ARTICLES
Richard Serra
By Alfred Mac AdamJUNE 2022 | ArtSeen
The now rain-streaked poster for this dual show, still visible on 10th Avenue, is a photograph of Richard Serra watching as a huge claw lifts his work: a red hot, 10-foot-high solid steel cylinder.
Turba Tol Hol-Hol Tol: The Chilean Pavilion at the 59th Venice Biennale
By Monika FabijanskaJUNE 2022 | ArtSeen
The 59th Venice Biennale's main exhibition is groundbreaking. Not only the majority of artists identify as women, many are queer, non-white, and self-taught artists, but curator Cecilia Alemani also studied the Venice Biennial’s historical omissions, filling in the works by women which could and should have been shown since the early 20th century—exposing roots of feminist art, the arteries and veins connecting the past and the present.
Shuzo Azuchi Gulliver: Cinematic Illumination
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For this MoMA exhibition, Gulliver and curator Sophie Cavoulacos bring Ginza to Manhattan, translating this vibrant installation to the museum space with intoxicating and transformative effect.
Water, Wind, Breath: Southwest Native Art in Community
By Jonathan FinebergAPRIL 2022 | ArtSeen
Lucy Fowler Williams, a curator from the University of Pennsylvania Museum of Archaeology and Anthropology, has brought an historical overview to both the Water, Wind, Breath catalogue and to the exhibition itself, telling the history of the encounter between technologically advanced European cultures and Native Americans in the eighteenth, nineteenth, and early twentieth centuries.
