Richard Serra美国, 1938–2024Plate Roll Prop
关于这件雕塑
A lead plate, bent at a 45-degree angle, leans against the wall and supports the weight of a tightly rolled tube. Serra preferred lead for its suggestion of heavy industry, its softness, and its lack of sheen. The downward pull of gravity and the simple logic of the engineering keep the metal in place and emphasize the weight and density of Serra’s chosen material. Seventy-fifth anniversary gift of Agnes Gund 1991.214
克利夫蘭藝術博物館
作品信息
- 馆藏编号
- 1991.214
已收入目录
出处
- 克利夫蘭藝術博物館
- 图片： 克利夫蘭藝術博物館 — © Richard Serra / Artists Rights Society (ARS), New York
与此同时，在Richard Serra的生活中
完整生平1968
Group show “Nine at Castelli”
At the Castelli Warehouse in New York he shows “Prop” and “Scatter Piece” and makes “Splashing” by throwing molten lead into the angle between floor and wall.
1969
Jasper Johns's commission and a plate in the corner
Jasper Johns commissions a “Splash Piece” for his studio; while heating the lead plates, Serra sets one of the larger ones in the corner, where it stands on its own. It becomes a pivotal moment, soon followed by his break into space.
1969
First solo exhibition in the United States
At the Leo Castelli Warehouse in New York he exhibits ten lead “Prop Pieces”, a “Scatter Piece” and a “Splash Piece” dedicated to Eva Hesse.
1969
“Anti-Illusion” at the Whitney
His “Casting” is included in the exhibition “Anti-Illusion: Procedures/Materials” at the Whitney Museum of American Art: he again throws molten lead into the angle of floor and wall, pulls away the hardened casting and repeats the action, producing a series of free-standing forms.
1970
First solo museum exhibition
His first solo museum exhibition is held at the Pasadena Art Museum in Pasadena, California.
1970
The Zen gardens of Myoshin-ji in Kyoto
In Japan he spends most of his time studying the Zen gardens and temples of Myoshin-ji in Kyoto. The layout of the gardens reveals the landscape as a total field that can be experienced only by walking, and changes his way of seeing space in relation to time.
