The violence of his throw is brought to life through the 'after-image' - his  performance embedded in the object. Serra recently enjoyed a huge burst of publicity, thanks to his 2007 MoMA retrospective, "Richard Serra Sculpture: Forty Years." The illustrated text Incidentes Melódicos del Mundo Irracional (“Melodic incidents of an irrational world”) contains 40 original engravings by Leopoldo Mendez. Lead, 19 x 108 x 179 inches. SERRA, RICHARD (1939– ), U.S. sculptor and draftsman. . x 108 in.

Find this Pin and more on Art Board by Isaac Buie. Once solidified, we are invited to reconstruct Serra's action in our mind. Thus it pertains to the low-lying zone of anti-form, or the A second duality obtains with respect to the artist as producer of the work. The process of creation is embodied in the work: hardened lead thrown against the base of a wall when molten. As a materialist, Serra shares certain concerns with other artists, including Smithson and Carl Andre (who actually imagined showing his work according to a progression of media based on the order of the periodic table). Inspired early in his career by modern dance—notably through his relationship with members of New York City’s influential Judson Church dancers—and Japanese Zen gardens, the artist sought to create works that engage viewers in movement, taking in his large-scale sheet-metal pieces by navigating the space around them. Richard Serra's 1968 work Splashing is one of those inherently evocative works which takes on new lives through the different media it engages. . Benjamin H. D. Buchloh, “Richard Serra’s Early Work: Sculpture Between Labor and Spectacle,” in 7. Serra’s materialism is channeled into what he describes as the inseparability of work from “context”—a work’s “osmotic grip into the planes of the room,” to quote Max Kozloff’s inspired observation in these pages in 1969.A splash/cast piece is a compound entity that collapses rather than dislocates its temporal and spatial coordinates by using medium to seize site. Robert Smithson, “Fragments of an Interview with P. A. Richard Serra's 1968 work Splashing is one of those inherently evocative works which takes on new lives through the different media it engages. Absence will forever condition what we say about the works, whether or not we explicitly account for it. They followed, in effect, from the instructions to himself Serra had made the previous year in the form of a list of transitive verbs-"to roll, to crease, to fold, to splash, to spill"- … artforum.com is a registered trademark of Artforum International Magazine, New York, NY.

Like so much else produced during this period of advanced art practice, the early splash/cast pieces now live in historical imagination alone. During the course of the year 1968-69, Richard Serra made nearly a hundred works that involved simple manipulations of lead. Moreover, the function of site deepens the connotations of unstable means: The temporality of the work as event holds two material opposites, splash and cast, while a given work’s disappearance constitutes an intensive reversal of its sitedness—its osmotic grip. your own Pins on Pinterest According to Smithson, a nonsite “just goes on constantly permuting itself into this endless doubling, so that you have the nonsite functioning as a mirror and the site functioning as a reflection.” Within the parameters of the work, “existence becomes a doubtful thing. The process of creation is embodied in the work: hardened lead thrown against the base of a wall when molten.

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