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.../miscellaneous - is a personal journal self educational in nature, containing notes and images that inspire me, or that I wish to learn more about - as such, it includes works by other people as noted with full acknowledgment and credit to authors and sources.

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annentthings:

Richard Serra answers: why make art?


(via annentthings)
dont-trip:

richard serra : Sculpture - Wake - Seattle, WA.

photo attribution:  Matt Niebuhr 2010

dont-trip:

richard serra : Sculpture - Wake - Seattle, WA.

photo attribution:  Matt Niebuhr 2010


(via dont-trip)
Wake, Richard Serra on Flickr.Richard Serra, Wake 2003 weatherproof steel, 14 x 75 x 46 feet
Olympic Sculpture Park, Seattle, Washington
Photographs: Matt Niebuhr, 2010
One aspect that I really appreciate about Serra’s work with weathering steel, is the material responding to environmental conditions, (developing a unique skin appearance over time) It is this aspect of understanding how materials age, that creates the opportunity for something unique to become relative to place / shape.

Wake, Richard Serra on Flickr.

Richard Serra, Wake 2003 weatherproof steel, 14 x 75 x 46 feet

Olympic Sculpture Park, Seattle, Washington

Photographs: Matt Niebuhr, 2010

One aspect that I really appreciate about Serra’s work with weathering steel, is the material responding to environmental conditions, (developing a unique skin appearance over time) It is this aspect of understanding how materials age, that creates the opportunity for something unique to become relative to place / shape.

RICHARD SERRADouble Rift #3, 2011Paintstick on handmade paper105 1/8 x 199 1/8 inches framed (267 x 505.8 cm)

DRAWINGSNOVEMBER 23, 2011 - JANUARY 7, 2012 Gagosian gallery: Paris

RICHARD SERRA
Double Rift #3, 2011
Paintstick on handmade paper
105 1/8 x 199 1/8 inches framed (267 x 505.8 cm)

DRAWINGS
NOVEMBER 23, 2011 - JANUARY 7, 2012
 Gagosian gallery: Paris

"His drawings “are not about something, they are something,” … (well maybe, given that Serra’s particular drawings are more materialistic than most drawings, what’s fair to say is that we’re asked to believe their function is to not depict illusions….)"

Richard Serra (American, b. 1939)Untitled, 1972–1973Paintstick on paper; 37 13/16 x 50 in.Whitney Museum of American Art, New York; Purchase with funds from Susan Morse Hilles, 74.10© Richard SerraPhoto: Sheldan C. Collins
Exhibition info @ http://www.metmuseum.org

Richard Serra (American, b. 1939)
Untitled, 1972–1973
Paintstick on paper; 37 13/16 x 50 in.
Whitney Museum of American Art, New York; Purchase with funds from Susan Morse Hilles, 74.10
© Richard Serra
Photo: Sheldan C. Collins

Exhibition info @ http://www.metmuseum.org

Richard Serra “Verb List”

Richard Serra, “Verb List Compilation: Actions to Relate to Oneself” 
[1967-1968]



to roll
to crease
to fold
to store
to bend
to shorten
to twist
to dapple
to crumple
to shave
to tear
to chip
to split
to cut
to sever
to drop
to remove
to simplify
to differ
to disarrange
to open
to mix
to splash
to knot
to spill
to droop
to flow

to curve
to lift
to inlay
to impress
to fire
to flood
to smear
to rotate
to swirl
to support
to hook
to suspend
to spread
to hang
to collect
of tension
of gravity
of entropy
of nature
of grouping
of layering
of felting
to grasp
to tighten
to bundle
to heap
to gather

to scatter
to arrange
to repair
to discard
to pair
to distribute
to surfeit
to compliment
to enclose
to surround
to encircle
to hole
to cover
to wrap
to dig
to tie
to bind
to weave
to join
to match
to laminate
to bond
to hinge
to mark
to expand
to dilute
to light

to modulate
to distill
of waves
of electromagnetic
of inertia
of ionization
of polarization
of refraction
of tides
of reflection
of equilibrium
of symmetry
of friction
to stretch
to bounce
to erase
to spray
to systematize
to refer
to force
of mapping
of location
of context
of time
of cabonization
to continue
 
Richard Serra, “Wake” 2003 weatherproof steel, 14 x 75 x 46 feet
Olympic Sculpture Park, Seattle, Washington
Photograph: Matt Niebuhr, 2010
“One of my earliest recollections… I remember walking the arc of the hull with my father, looking at the huge  brass propeller, peering through the stays.  Then, in a sudden flurry of activity, the shoring props, beams, planks, poles, bars, keel blocks, all the dunnage, was removed, the cables released, shackles dismantled, the come-alongs unlocked. There was a total incongruity between the displacement of the  enormous tonnage and the quickness and agility with which the task was carried out. ” Richard Serra, 1988.   - Serra’s parables of gravity and architecture by  Dave Hickey - page 6 - Weight and Measure Drawings.

Richard Serra, “Wake” 2003 weatherproof steel, 14 x 75 x 46 feet

Olympic Sculpture Park, Seattle, Washington

Photograph: Matt Niebuhr, 2010

“One of my earliest recollections… I remember walking the arc of the hull with my father, looking at the huge  brass propeller, peering through the stays.  Then, in a sudden flurry of activity, the shoring props, beams, planks, poles, bars, keel blocks, all the dunnage, was removed, the cables released, shackles dismantled, the come-alongs unlocked. There was a total incongruity between the displacement of the  enormous tonnage and the quickness and agility with which the task was carried out. ” Richard Serra, 1988.   - Serra’s parables of gravity and architecture by  Dave Hickey - page 6 - Weight and Measure Drawings.

 
Wake 2003
Richard Serra 
weatherproof steel,  14 x 75 x 46 feet
Olympic Sculpture Park, Seattle, Washington
(Photograph: Matt Niebuhr, 2010)
Admiring Richard Serra through photographs remembering that all photographs lie. The thing for me about this particular sculpture is the surface textures - a combination of human touch and natural weathering properties of this special steel.  The spatial quality of these pieces is secondary here for me although there is a little hint of a potentially contemplative space. These photographs do not re-present the quality of the experience but do contain elements of the work that I think are important. 

Wake 2003
Richard Serra 
weatherproof steel,  14 x 75 x 46 feet
Olympic Sculpture Park, Seattle, Washington
(Photograph: Matt Niebuhr, 2010)

Wake 2003

Richard Serra 

weatherproof steel,  14 x 75 x 46 feet

Olympic Sculpture Park, Seattle, Washington

(Photograph: Matt Niebuhr, 2010)

Admiring Richard Serra through photographs remembering that all photographs lie. The thing for me about this particular sculpture is the surface textures - a combination of human touch and natural weathering properties of this special steel.  The spatial quality of these pieces is secondary here for me although there is a little hint of a potentially contemplative space. These photographs do not re-present the quality of the experience but do contain elements of the work that I think are important. 

Wake, 2003 - by Richard Serra - photograph by Matt Niebuhr, 2010

Wake 2003

Richard Serra 

weatherproof steel,  14 x 75 x 46 feet

Olympic Sculpture Park, Seattle, Washington

(Photograph: Matt Niebuhr, 2010)

Richard SerraWeight and Measure III, 1994Paintstick on double laminated Hiromi paper391,2 x 2,5 x 10,2 cm
(of the series: 1989, the series “Weight and Measure,”) - this is a great little catalogue - for only $5 !

work comes out of work.

Richard Serra
Weight and Measure III, 1994
Paintstick on double laminated Hiromi paper
391,2 x 2,5 x 10,2 cm

(of the series: 1989, the series “Weight and Measure,”) - this is a great little catalogue - for only $5 !

work comes out of work.

RICHARD SERRACalvino, 2009Paintstick on handmade paper78 1/2 x 78 1/2 inches (199.4 x 199.4 cm)

“To draw is to have an idea. A drawn line is the basis of construction. To draw is to innovate in multiplicity. The line gives the work an explicable definition. It defines and redefines structure… to cut is to draw a line, it is to separate, to make a distinction.” - Richard Serra - Sculpture: 40 years; Serra’s Abstract Thinking, by John Rajchman (page 65)

Also - via PORT
Gagosian - http://www.gagosian.com - Richard Serra
These new drawings - do not so much seem to be about “the line” - but are more about a differentiation of surfaces and form - process and application…  Very nice.  The oil stick pictures I’ve seen are velvety deep and dark with thick surface texture - nearly an impasto-like painting - these new drawings appear to be similar in texture…

…(Serra) maintains that drawing is “always an indication of how artist thinks.” - see above - pg. 64.

RICHARD SERRA
Calvino, 2009
Paintstick on handmade paper
78 1/2 x 78 1/2 inches (199.4 x 199.4 cm)

“To draw is to have an idea. A drawn line is the basis of construction. To draw is to innovate in multiplicity. The line gives the work an explicable definition. It defines and redefines structure… to cut is to draw a line, it is to separate, to make a distinction.” - Richard Serra - Sculpture: 40 years; Serra’s Abstract Thinking, by John Rajchman (page 65)

Also - via PORT

Gagosian - http://www.gagosian.com - Richard Serra

These new drawings - do not so much seem to be about “the line” - but are more about a differentiation of surfaces and form - process and application…  Very nice.  The oil stick pictures I’ve seen are velvety deep and dark with thick surface texture - nearly an impasto-like painting - these new drawings appear to be similar in texture…

…(Serra) maintains that drawing is “always an indication of how artist thinks.” - see above - pg. 64.