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Richard Serra
Master of the tectonic nature of sculpture
Susan Cross + Tracey Bashkoff, December 31, 2007
Richard Serra_Sculpture: Forty Years
_New York_USA
Richard Serra_Sculpture: Forty Years
_New York_USA
 
Since 1970 Serra has worked predominantly in steel, a material commonly associated with architecture and engineering, disciplines the artist has often looked to for an understanding of the origins of sculpture. With the introduction of steel as a medium, the scale of his works increased dramatically. They could no longer be considered discrete objects; their meaning and constitution could not be separated from their environment or be discerned by the viewer without a peripatetic examination. This interest in a perceptual experience, contingent on movement through space and time and, in Serra's words, on “memory and anticipation,” was kindled by the artist's introduction to the Zen gardens of Kyoto during a six-week visit to Japan in 1970: In the Zen garden, there is no fixed view. The influence of the trip manifested itself in many subsequent works, including the ones presented here, whose exterior views give no clue to interior form.

Richard Serra_Sculpture: Forty Years
_New York_USA
Richard Serra_Sculpture: Forty Years
_New York_USA
 
Richard Serra_Sculpture: Forty Years
_New York_USA
Richard Serra_Sculpture: Forty Years
_New York_USA
 
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