Ο γλύπτης Richard Serra

Richard Serra  [1938- ]

Sculpture, Minimal Art

Splashing 1968 
 The initial one was made in 1968 for “9 at Leo Castelli,” organized by Robert Morris at Castelli Warehouse in New York.

ψέκασε μολύβι πάνω στη γραμμή που ορίζει το τέλος του πατώματος & την αρχή του τοίχου, καθιστώντας δυσδιάκριτο τον ορίζοντα όπου συναντώνται τα δύο στοιχεία
[τα πρώτα αυτά έργα του από λυωμένο μόλυβδο δεν υπάρχουν πια...]

Richard Serra: Splashing, 1968.
In 1968 Serra made his piece titled Splashing by throwing molten lead in the corner where the floor meets the wall in the warehouse of the art dealer Leo Castelli. This work was part of the exhibition "9 at Castelli" in 1968.

Φυσικά, λόγω της τοξικότητας της διαδικασίας & των υψηλών θερμοκρασιών, ο καλλιτέχνης φοράει ειδική στολή και αναπνευστήρα.
Ο Σέρα ήταν φίλος με τον μουσικό Philip Glass (ο οποίος είχε δουλέψει ως υδραυλικός και ήξερε κάποια πράγματα περί κατεργασίας μολύβδου)   που τον βοηθούσε στη διαδίκασία τήξεως του μετάλλου.

Richard Serra

Strike: To Roberta and Rudy    1971

ατσάλινος τοίχος
διαστάσεις:     ύψος 246.4 x  μήκος 731.5 x πάχος  3.8 cm
βάρος περίπου 3 τόνοι

μετά από παραμονή ενός χρόνου στην Ιταλία, επηρεάστηκε από την arte povera και άρχισε να χρησιμοποιεί μη παραδοσιακά υλικά

η γλυπτική ως φυσικική επίδειξη μεταβατικών ρημάτων της λίστας του, του 1967-8

το (ΕΛΑΦΡΑ) ΚΕΚΛΙΜΕΝΟ ΤΟΞΟ
tilted arc
ή (κατά τους επικριτές) "ο σκουριασμένος ατσάλινος τοίχος" "rusted steel wall", 

 tilted arc

ένα δυσοίωνο σκουριασμένο τείχος που στερεί από το άτομο την ελευθερία του,
 ή μια δίοδος προς την αυτογνωσία & την καλύτερη κατανόηση του κόσμου;

 General Services Administration
(The Government paid $175,000 for ''Tilted Arc'' and about $50,000 to have it removed.)

το συγκεκριμένο είδος ατσαλιού είναι ανθεκτικό στις αντίξοες καιρικές συνθήκες, σηλαδή δε διαβρώνεται, αλλά δεν είναι λουστραρισμένο όπως συνηθίζεται στα μινιμαλιστικά έργα, η δε χαρακτηριστική του πατίνα θυμίζει σκουριά...


Tilted Arc was a controversial public art installation by Richard Serra, displayed in Foley Federal Plaza in Manhattan from 1981 to 1989. The art work consisted of a 120-foot long, 12-foot high solid, unfinished plate of rust-covered COR-TEN steel. Advocates characterized it as an important work by a well-known artist that transformed the space and advanced the concept of sculpture, whereas critics focused on its perceived ugliness and saw it as ruining the site. Following an acrimonious public debate, the sculpture was removed on 15/March/1989 as the result of a Federal lawsuit, and has never been publicly displayed since, in deference to the artist's wishes.
 Serra sued the GSA, claiming violations of his contract, his copyright, and his right to Free Speech. A court found that the government owned the sculpture and thus could do as it saw fit. In 1989, the sculpture was removed in pieces and put in storage indefinitely.

the rusted steel wall bisecting Federal Plaza - has been disassembled in the dead of night and carted off to a yard in Brooklyn, where its three parts lie stacked and packaged behind barbed wire.


ένα τόξο διαστάσεων 40μ. * 4 μ. * 6 εκ.
κλείνει την πλατεία με την κυρτή πλευρά προς το σιντριβάνι
το γλυπτό όχι ως όριο, αλλά ως πέρασμα, γέφυρα, δίοδος

a] Serra wanted passers-by to experience the sculpture in a physical way. He said that the long, curving metal sheet would “encompass the people who walk on the plaza in its volume,” altering their experience of the space as they moved to and from the surrounding government buildings.

b] Serra saw public art as a way to expose and critique the surrounding public space, not to beautify it.

c] Serra and his supporters also stated that the artwork was site specific—that it was designed specifically for the Federal Plaza space. Because Tilted Arc engaged with its surroundings, it could not simply be moved to another location like other sculptures. The removal of the sculpture from Federal Plaza would destroy it.

Martha Schwartz, benches and plantings in Federal Plaza, installed 1997
αυτό το έργο, με τα καμπύλα παγκάκια, αντικατέστηκε το 1997 το κεκλιμένο τόξο του Σέρα,
κατά τους αντιπάλους του έργου του Σέρα, έτσι αποκαταστάθηκε η χρηστική αξία του χώρου της πλατείας

Richard Serra: Torqued Ellipses
συνεστραμμένες εκλείψεις
στο βιομηχανικό χώρο του πρώην εργοστασίου της Nabisco
στο Dia Art Foundation, Beacon, N.Y
ατσάλινες πλάκες που φτιάχτηκαν σε ναυπηγείο

A filmmaker I met in Bilbao, Spain, wandering through Mr. Serra’s sculptures there, likened the experience to movies. He thought the paths Mr. Serra devised within the works, between curving walls of steel, which suddenly jog, then arrive, unexpectedly, at cavities or enclosures, were like plot twists with surprise endings. Except there are no beginnings or endings in the sculptures. A novelist who has written about the Holocaust said the high, curving steel walls leaned over him threateningly, leading him until he became disoriented and lost, into what he felt were penned-in spaces, bringing to mind a concentration camp. The art scared him, he said, but he also loved it.

“the terrifying sublime,”
το τραμαχτικό υψηλό 

Shift is a large outdoor sculpture by American artist Richard Serra, located in King City, Ontario, Canada about 50 kilometers north of Toronto. The work was commissioned in 1970 by art collector Roger Davidson and installed on his family property.^[1] Shift consists of six large concrete forms, each 20 centimetres thick and 1.5 metres high, zigzagging over about four hectares of rolling countryside.

Richard Serra – St John’s Rotary Ark, 1980, New York

Union of the Torus and the Sphere  2001
Weatherproof steel





 bibliography

Κώστας Ιωαννίδης "Τείχη και περάσματα στη γλυπτική του Richard Serra."
στο ΤΕΙΧΗ demo 1 ΜΙΕΤ 2014

DUE PROCESS: RICHARD SERRA’S EARLY SPLASH/CAST WORKS

Richard Serra Verblist 1967–68

Richard Serra Strike: To Roberta and Rudy

 

 A Conversation with Richard Serra

 

At Critical Mass, Richard Serra

Art in America, October 1986, Vol. 74, N° 10,
pp. 152-155
by Wade Saunders

  Tilted Arc wikipedia

Richard Serra, Tilted Arc [khan academy]

ART VIEW; The Messy Saga of 'Tilted Arc' Is Far From Over [N.Y.T.]

Richard Serra, "Torqued Ellipse IV"

 Richard Serra talks about discovering "the potential for what steel could be."

Man of Steel  By MICHAEL KIMMELMAN    JUNE 1, 2007  άρθρο των NYT

Railroad Turnbridge (1976)   video
One of the most important avant-garde films of this period, Richard Serra's Railroad Turnbridge attempts to grasp what Rosalind Krauss termed "a relationship, a transitivity... The physical turnbridge is the support of this experience, not its subject."

Richard Serra – St John’s Rotary Ark, 1980, New York

Richard Serra [bography & photos - sidewalls]