Post by Mellisa Robbins (Mellisa Robbins’ post is part of a collaboration between artblog and Moore College of Art and Design’s Culture in the Classroom program. Mellisa is one of two students in Terri Saulin’s Professional Practices class chosen by Libby and Roberta to have their posts published on artblog. We look forward to seeing more of Mellisa’s writing on artblog in the future.) Margo Wolowiec’s Catching Thread at Grizzly Grizzly is a testament to our throwaway culture of social media, and how we make sense of it all. Wolowiec’s woven pieces at first seem like densely layered abstracts, but upon closer inspection, ... More » »
The Dia: Beacon, 80 miles north of New York City, houses an impressive collection of pared down, phenomenological works from the past fifty years by Dan Flavin, Andy Warhol, Sol Lewitt, Imi Knoebel, Walter De Maria, Donald Judd, Gerhard Richter, Robert Smithson, Fred Sanbeck, Joseph Beuys, Bernd and Hilla Becker, William Heizer, Lawrence Weiner, Richard Serra, John Chamberlain, Robert Ryman, Agnes Martin, Franz Erhard Walther, Louise Bourgeois, Robert Irwin, On Kawara, Bruce Nauman, and (not on view currently) Blinky Palermo and George Trakas.
Post by Max Mulhern Richard Serra at Gagosian in London, installation detail The verb is one of the most powerful tools in a sculptor’s toolbox. Richard Serra once made a list of the verbs describing his actions when sculpting.“To Lift” was one such verb. Once he lifted the edge of a rectangular rubber mat and in one action created volume and contour (and a sculpture). To Roll, To Bend, To Curve and To Cut are other verbs that pop to mind as well although, surprisingly, To Construct doesn’t. To Pose (Juxtapose) and To Balance take its place. Richard Serra, installation ... More » »
Richard Serra at Gagosian in 2006. Sculptor Richard Serra, whose Brobdingnagian barricades and looming steles still manage to stun–even now that we know what to expect–is speaking Thursday, Oct. 25 at the University of Pennsylvania for the department of Penn Design, Meyerson Hall, B1, 5:30 p.m.
By Daniel Payavis With Richard Serra’s retrospective exhibition (it closed Sept. 10) at the Museum of Modern Art (see post) and the Philadelphia Museum of Art’s Notations: Kiefer, Polke, Richter currently up (see Look! video here), I have had ample opportunity to ponder the work of both Richter and Serra, certainly two of the most significant artists in the last thirty years. Their names reach out as far into the realm of common knowledge as contemporary artists’ names go; their work maintains international interest, yet it would seem that this is as similar as the two artists get. After all, ... More » »
Post by Andrea Kirsh Cafe Serra, photo by friend of artblog Doug Witmer a.k.a. the king of the Green Line Cafe (well, he shares the title), appreciates the juxtaposition of people’s needs for art and for refreshments Jerry Saltz, in his review of the Richard Serra exhibition at MoMA (through Sept. 10) cites a female curator who disparaged Serra’s work as “big dick art.” Well I’m not one to dis either that portion of the male anatomy or the association of sexuality with artistic production. The idea has a long lineage: Victor Hugo famously said “Imagination is intelligence with an ... More » »
Richard Serra sculptures in the Sculpture Garden, MoMA. Note the photographer on the roof taking overhead pictures. MoMA was packed last Thursday. I said to Steve remember when we used to come visit the old MoMA, the little squishy MoMA? We would make trips to New York from Madison all the time in the late 1970s. We were always there the week between Christmas and New Years, a high tourist invasion time. Yet our trips to MoMA — in my rosy memory — were not marred by uber-crowded conditions. Crowd in front of Picasso’s Demoiselles D’Avignon, now celebrating its hundredth ... More » »