Word: serra
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Dates: during 1990-1999
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...pushing 60, Richard Serra is the John Henry, the steel-drivin' man, of American sculpture at the century's end. There are a few other sculptors of comparable distinction around--Martin Puryear comes to mind--but in the handling of heavy metal Serra has no peer; there, he is the most original figure since David Smith, who died more than three decades ago. It was Serra, with his ability to involve the human body as a participant in his work--demanding something more from a spectator than the sole act of looking, and yet harshly rewarding the eye as well...
Since then Serra has had few public commissions in America, and much of his major work has been done in Europe--for example, Exchange, 1996, a soaring array of seven trapezoidal slabs, 65 ft. high, propped together over a highway traffic circle outside Luxembourg City. The chance to see any number of his large pieces together is rare. They tend to be too big for museums, too heavy for their floors, and their installation is brutally costly. And so the current show of seven new pieces, the Torqued Ellipses, in the Geffen Contemporary building at Los Angeles' Museum of Contemporary...
...think this election will be won or lost on the independent [voters]," said Emanuel G. Serra, a First Suffolk District state representative and Cellucci supporter...
Despite these omissions, Ward's version of heaven is stunning on purely visual terms. Eduardo Serra, the cinematographer who gave The Wings of the Dove a lush color scheme resembling fresh paint, goes further by setting the early scenes of heaven actually in a painting. The imagery is banal--must the perfect place be out of a paint-by-numbers watercolor?--but richly presented. The art direction suggests that PolyGram spent an inordinate amount of money on the film...
...copy faces large from small photographs. "Large" means enormous--canvases 8 ft. or 9 ft. high, filled with the staring face of someone you probably don't know and who has no special public existence. (All Close's sitters were his friends, mostly artists such as the sculptor Richard Serra or the painter Joe Zucker, none of them well known at the time. He has never done a commissioned portrait.) He began his big faces in the late 1960s, working directly from black-and-white photographs he took himself. The results were very strange. The images weren't "expressive." Their...