#richard serra
A pink beanie and turquoise high-tops say I’m the art world’s miscreant purveyor of chuckles and flare. Deal with it. When he’s not in his b-boy stance in front of a Richard Serra prow-like sculpture, he’s making tight videos and DJ’ing parties of insubordinate romp. (Photo by Xavier Aaronson)
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![yama-bato:Richard Serra’s “Joe,” December 2009, originally uploaded by The Pulitzer. [+]](https://64.media.tumblr.com/tumblr_lyre00evAS1qahuhjo1_r1_1280.jpg "yama-bato:Richard Serra’s “Joe,” December 2009, originally uploaded by The Pulitzer. [+]")
Richard Serra
Verb List
1967–68
Graphite on paper
2 sheets, each 10 x 8”to support.
Richard Serra. “Verb List,” 1967. Graphite on paper 2 sheets. 10 x 8 in each. Courtesy The Museum of Modern Art, New York and David Zwirner Gallery. © 2013. Richard Serra/Artists Rights Society (ARS), New York.
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Richard Serra, “To Lift,” 1967. Vulcanized rubber. 36 x 80 x 60 in. Courtesy David Zwirner Gallery. Photo: Peter Moore © 2013. Richard Serra/Artists Rights Society (ARS), New York.
In 1958, two years after the death of Jackson Pollock, the artist Allan Kaprow mused about what it means to produce art after the achievements of the late, great Abstract Expressionist. “I am convinced,” Kaprow wrote in his famous essay The Legacy of Jackson Pollock, “that to grasp a Pollock’s impact properly, we must be acrobats, constantly shuttling between identification with the hands and body that flung the paint.”[1] He continues: “This instability [of identification] is indeed far from the idea of a “complete” painting. The artist, the spectator, and the outer world are much too interchangeably involved here.”[2] Kaprow absorbed lessons from Pollock about the expansive possibilities of art making, seeing how as Pollock rhythmically moved around his canvases laid on the floor flinging and pouring paint the act can become equal to or even greater than the product. Kaprow would incorporate this new sensibility into his Happenings: short-lived performance pieces beginning in the late 1950s in which the artist and the audience became the artistic medium in partly staged, partly improvisational actions.By the mid-1960s, at a time when the previous generation’s abstract ideas were increasingly out of fashion, artists were pushing the artistic envelope with radically new materials, approaches and processes. Richard Serra, a young, relatively unknown artist at the time, began to create works from unconventional materials that emphasized gravity and process. Serra, who would become best known for his colossal steel sculptures, began his career making less monumental, though no less significant, process-oriented works. An important new exhibition, Richard Serra: Early Works, at David Zwirner Gallery in New York, brings together an impressive selection of the artist’s work from 1966 to 1971, showcasing Serra’s early explorations with industrial materials and chronicling his interest in how action can become form….
Read More: http://blog.art21.org/2013/05/02/alchemy-richard-serras-early-work/#.Vp2uDlKRJRk
Additional Info: http://www.moma.org/learn/moma_learning/richard-serra-to-lift-1967
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Richard Serra pieces that do what we want them to do and not what Richard Serra wants them to do
The Art of Larry Gagosian’s Empire
The famously bullish art dealer built an empire spanning 16 locations around the globe by never saying no to his artists’ ambitions. With an estimated $1 billion in annual sales, does Larry Gagosian have anything to conquer?
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