Richard Serra, Gutter Corner Splash/Night Shift, 1969/1995. Tearing pieces of lead from industrial rolls, Serra heats them in a vessel that sits above an acetylene flame. One fact is salient, if generally ignored: Serra’s early works from molten lead no longer exist. In fact, Serra’s Verb List (handwritten in 1967 or 1968 and first published in 1971) has become a default source for any critical account of this early work’s orientation to process.4 The list of 108 terms contains eighty-four transitive verbs representing actions that can be brought to bear on a resistant medium. Photo: Gianfranco Gorgoni. Richard Serra (1939) Richard Serra: 9 Rubber Belts and Neon – 1968; Richard Serra: Tearing Lead from 1:00 to 1:47 – 1968; Richard Serra: Thirty-five Feet of Lead Rolled Up – 1968; Richard Serra: Splashing (lead) – 1968; Richard Serra: Hand Catching Lead – 1968; Richard Serra: Casting – 1969; Richard Serra: Stacked Steel slabs – 1969 Searching the early work’s terms, however, we find that potential loss lies within the implications of its very means. Indeed, in their case, the role of process is deepened by the passage of the lead medium—during the on-site production of a given work—from liquid to solid, a material transformation. Courtesy Gianfranco Gorgoni and Studio of Richard Serra. According to the artist, the much-reproduced Gianfranco Gorgoni photograph in which Serra appears to be splashing lead with an extravagant overhand throw was taken after work on his splash/cast piece (for his solo show at Castelli Warehouse in … Robert Smithson, “Fragments of an Interview with P. A. Robert Smithson drew from the entropic implications of process when, speaking of his own work, he opposed “scatter” to “containment,” a binary that recalls the function of site in Serra’s work with reference to container and contained. 2. 13. Richard Serra was born November 2, 1939, in San Francisco. The problem is that it can only be approached in terms of its own negation, so that leaves you with this very raw material that doesn’t seem to exist.” Smithson invokes a “suspension of destination,” wherein location can be neither measured nor named: “You are really going from someplace to someplace, which is to say, nowhere in particular.”10. Each of these shows was devoted to the state of contemporary post-Minimal and Conceptual art practices. 1 Inhoudsopgave Inleiding 2 Hoofdstuk 1: Waarom Jackson Pollock zijn driptechniek hanteerde 6 Hoofdstuk 2: De vroege werken van Richard Serra … The proposal reads like a physics experiment, an exploration of how solids form under different conditions of heat, distance, gravity, and speed. (The individual castings measured roughly four inches by four inches by twenty-five feet.) (Crucially, the works from molten lead, produced during the late ’60s, possess their own freight of politics and psyche, attended as they are by connotations of violence—heat, toxicity, the dropping of bombs—and by memory or loss.) PERHAPS THE CONTENT of process is, broadly speaking, a late-modernist device. in English literature. Photographs show that the action of the splash also leaves particles of molten lead spattered across the surfaces of the wall and floor, beyond the thick deposit. Serra’s largely descriptive titles use both words: splash and cast. Richard Serra’s "Wake" is a major draw at Seattle's new Olympic Sculpture Park. The … Benjamin H. D. Buchloh, “Richard Serra’s Early Work: Sculpture Between Labor and Spectacle,” in Richard Serra Sculpture, 51–52. You are presented with a nonworld. For this purpose he recorded a sermon—concerning Noah and the Flood—from which he extracted a single phrase, “It’s gonna rain” (this, of course, became the name of the piece). A second duality obtains with respect to the artist as producer of the work. Partly inspired by the example of Jackson Pollock and Action Painting, Serra has explained that the Splash series grew out of his interest in an implied, reciprocal relationship between the artist, the work of art, and the subsequent viewer: "I was interested in my ability to move in relation to material and have that material move me." THE PRODUCTION of a splash/cast work occurs in a series of basic steps. Serra began in 1969 to be primarily concerned with the cutting, propping or stacking of lead sheets, rough timber, etc., to create structures, some very large, supported only by their own weight. Richard Serra’s Splash Pieces in vergelijking met de drippings van Jackson Pollock Astrid Ubbink S4250370 Begeleider: dr. W. Weijers 21-07-2016 . According to Smithson, a nonsite “just goes on constantly permuting itself into this endless doubling, so that you have the nonsite functioning as a mirror and the site functioning as a reflection.” Within the parameters of the work, “existence becomes a doubtful thing. Unless otherwise noted, quotations and paraphrased remarks by Richard Serra are drawn from a conversation with the author on June 30, 2015. Richard Serra Monumenta 2008. Richard Serra Splashing 1968. There is a striking reciprocity between the principle of splash/cast and the concept of the nonsite, but the terms Serra shares with Smithson are set in motion toward radically opposing ends. In other words, the work consists of two operations that are ascribed to the material qualities of the medium itself: what it does as a liquid when it is applied—it splashes; and what it does as it solidifies when its temperature decreases—it casts. Richard Serra, Verb List, in Richard Serra: Writings/Interviews (Chicago: University of Chicago Press, 1994), 3–4. (“To splash” appears on the list.) Four were made for group shows in which he was invited to participate. It may also have been a source of ambivalence: According to Serra, the fragile nature of the objects made by his friend Eva Hesse (to whom the splash/cast piece in his solo exhibition for Castelli was dedicated) gave him pause, encouraging him to consider the longevity of his own work. However, Serra returned to the medium of molten lead in 1980, producing nine more works over the course of sixteen years, and three of those pieces have been preserved. Further, the composition and correction (or annihilation) of the journal assimilate themselves to the narrator’s own account of reading the manuscript and, by extension, to Bernhard’s composition—his writing and rewriting—of the novel that contains it. He lives and works in Tribeca, New York and on the North Fork, Long Island. The first is that of the book’s narrator; the second is that recorded in the journal of the narrator’s close friend Roithamer, a scientist and university lecturer who has taken his own life. The relevance of Bernhard to Serra becomes evident when one acknowledges that the exposed implementation of process can possess a recursive function: that form activates fate. Originally published in Artforum, February 1969, 22. Serra produced the first six such works in fairly rapid succession in 1968 and 1969. In the mid-1960s Richard Serra began experimenting with nontraditional art materials like fiberglass, neon, and rubber, and also with the language involved in the physical process of making sculpture.The result was a list of action verbs—among them “to roll, to crease, to curve”—that Serra compiled, wrote on paper, and then enacted on the materials he had collected in his studio. The verbs—many of which describe recognizable processes in Serra’s practice—are listed as infinitives: to roll, to crease, to fold, to split, to cut, to knot, to spill, to lift, to suspend, to heap, to gather, to scatter, to enclose, to join, and so on. Like so much else produced during this period of advanced art practice, the early splash/cast pieces now live in historical imagination alone. Such an analysis is not just semantic, for the ambiguities that belong to the language are fully at stake within the material logic, and therefore the content, of these works. Mr. Serra’s “splash pieces” were nothing if not hot. Steve Reich, “Music as a Gradual Process,” in Writings on Music, 1965–2000, ed. 1. 8. 5. The flaw—a mechanical failure that can be credited to the “agency” of the machine—instigated a discovery that originated with a sensation, the bilateral passage of sound as medium through the body and out into the room. November 1939 in San Francisco) ist einer der bedeutendsten lebenden US-amerikanischen Bildhauer. Process, in turn, implicates change, a temporal register. Yve-Alain Bois, “The Use Value of ‘Formless,’” in Bois and Rosalind E. Krauss, Formless: A User’s Guide (New York: Zone Books, 1997), 13–40.
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