Richard Serra at Gagosian

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Richard Serra at Gagosian from pensum.wordpress.com
(ArtReview) Richard Serra talks about his new exhibition, simply titled Sculpture, at Gagosian in London. The show consists of four large new steel works: two 'torqued toruses' (2007), a straight flat piece called (after the Portuguese poet and author) Fernando Pessoa (2007-8), and a labyrinth called Open Ended (2007-8) – installed successfully after a mess at the steel mill and some frantic last minute cleaning. At the press conference, Serra spoke about how he wants to honour his material, steel, why he ignored architects' advice to build pieces of this scale in concrete, and why he refutes notions of the sublime in his work. more about "Richard Serra at Gagosian ", posted with vodpod
Oct
2008
pensum added this video and said
(ArtReview) Richard Serra talks about his new exhibition, simply titled Sculpture, at Gagosian in London. The show consists of four large new steel works: two 'torqued toruses' (2007), a straight flat piece called (after the Portuguese poet and author) Fernando Pessoa (2007-8), and a labyrinth called Open Ended (2007-8) – installed successfully after a mess at the steel mill and some frantic last minute cleaning. At the press conference, Serra spoke about how he wants to honour his material, steel, why he ignored architects' advice to build pieces of this scale in concrete, and why he refutes notions of the sublime in his work.
Oct
2008
pensum added this video and said
(ArtReview) Richard Serra talks about his new exhibition, simply titled Sculpture, at Gagosian in London. The show consists of four large new steel works: two 'torqued toruses' (2007), a straight flat piece called (after the Portuguese poet and author) Fernando Pessoa (2007-8), and a labyrinth called Open Ended (2007-8) – installed successfully after a mess at the steel mill and some frantic last minute cleaning. At the press conference, Serra spoke about how he wants to honour his material, steel, why he ignored architects' advice to build pieces of this scale in concrete, and why he refutes notions of the sublime in his work.

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Oct 20, 2008
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