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...nearest relation, though, is architecture. Through a gap in the wall, you can walk into each of Serra's Torqued Ellipses and contemplate its interior space. Serra got the idea from a Baroque church in Rome: Francesco Borromini's San Carlo alle Quattro Fontane, whose plan is a quatrefoil stretched to a near ellipse. Standing in it, Serra wondered, "What if I turn this form on itself?" But the closest architectural sibling of these new sculptures is the work of Serra's friend Frank Gehry, the designer of the spectacular Guggenheim museum in Bilbao, Spain, with its freely twisted...

Author: /time Magazine | Title: Art: Steel-Drivin' Man | 10/19/1998 | See Source »

...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...

Author: /time Magazine | Title: Art: Steel-Drivin' Man | 10/19/1998 | See Source »

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...

Author: /time Magazine | Title: Art: Steel-Drivin' Man | 10/19/1998 | See Source »

...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...

Author: NO WRITER ATTRIBUTED | Title: Cellucci, Harshbarger Vie For Election's Undecided Votes | 10/13/1998 | See Source »

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...

Author: By Jeremy J. Ross, CRIMSON STAFF WRITER | Title: Hell is a Dour Robin Williams; Heaven Can't Stand Him Either | 10/2/1998 | See Source »

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