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Reviews (1)

A clear look into the mind of a great artist and philosopher
I have been a fan of Richard Serra's from the moment I first viewed the torqued elipses. I looked for his work and information about him all over the place, all of which sparked my interest. I saw this book and I was incredibly curious to read what an artist who does so much head work has to say, and whether it would be clear and understandable. I was so pleased to find that Serra was incredibly open, direct, honest, well-expressed, with an even humorous turn-of-phrase at times, which was refreshing. I highly recommend the essays and interviews 'Extended Notes From Sight Point Road,' 'About Drawing: An Interview,' and 'An Opinionated Museum Goer.' I personally found myself agreeing with much of what Serra said and wrote, in fact, to my surprise, he was able to articulate many of my thoughts better than I ever had. A great, influential man, and I highly recommend this book by and about him. ... Read more

Book Description

A critical primer on artist Richard Serra's work. ... Read more

Reviews (2)

little treasure
A wonderful little book to get you looking at Serra's work in a critical fashion. I haven't read all the essays just yet, but so far they've been quite good. A priori art history knowledge required, but none about Serra's work. Serra is certainly one of the greatest artists working today, so to have a little companion like this makes his work all the more interesting.

an excellent compilation
The Library Journal review above makes this book sound terrifyingly difficult. In fact, if you're the kind of person interested in buying a critical work on Serra, you're probably "up" enough to read this with ease. It's a loose collection of interviews, criticism and essays, including what I think is the best piece I've read on Serra yet, by Krauss. Not too much prior knowledge of contemporary art history is assumed, and the book is thankfully light on defining genres and sub-sub-genres in which to put Serra's work. ... Read more

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This digital document is an article from Epoca, published by Difusora de Informacion Periodica, S.A. (DINPESA) on April 26, 1999. The length of the article is 581 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: La imposible levedad.(Richard Serra; Exposicin; Museo Guggenheim; Bilbao, Espaa)(TT: Impossible levity.)(TA: Richard Serra; Exhibition; Guggenheim Museum; Bilbao, Spain)(Columna)
Publication: Epoca (Magazine/Journal)
Date: April 26, 1999
Publisher: Difusora de Informacion Periodica, S.A. (DINPESA)
Page: 66(1)

Article Type: Columna

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Book Description

Richard Serra's Tilted Arc, a 120-foot curved Cor-Ten steel structure in New York City's Federal Plaza, was destroyed in the spring of 1989 by the General Services Administration, the federal agency that had commissioned and installed what was Serra's most ambitious and probably most important public sculpture. These documents from the public hearing and the court proceedings are an essential primary source for scholars of art and law, providing a complete and moving record of censorship in the arts.

The impassioned speeches by important artists, political figures, and by federal employees for and against the sculpture's removal also make fascinating reading. Among those testifying at the hearing were Marion Javits, reading a letter from her husband, the dying Senator Jacob Javits; Congressman Theodore Weiss; artists Claes Oldenburg and Frank Stella; filmmaker Emile de Antonio; and Museum of Modem Art director William Rubin. Richard Serra's introduction presents his own acerbic view of the government's case. ... Read more

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Fascinating minimalism
Richard Serra's Weight and Measure drawings are absolutely fascinating minimalist statements (although, like most examples of minimalism, they certainly aren't for every taste). As their name implies, they are not emotional expressions (like the work of Rothko) or heavily-distilled versions of real images (like many of Ellsworth Kelly's pictures). Instead, they seem to follow Donald Judd's dictum that a size, volume, or shape is something of itself; what to make of that something is largely up to the viewer. I, personally, love the way that the huge (often 10 feet tall) drawings are smooth and calming from a distance, but turn out to have a harsh and earthy texture when the viewer moves to a closer location. Unfortunately, this is not visible in a book of small reproductions such as this one. (I wish that the authors had included a detail of one of the works.) Sometimes, you just have to see the real artwork for yourself. ... Read more

Book Description

Since its installation at and subsequent removal from New York City's Federal Plaza, noted sculptor Richard Serra's Tilted Arc has been a touchstone for debates over the role of public art. Installed in 1981, the 10-foot-high, 120-foot-long curved wall of Cor-Ten self-rusting steel instantly became a magnet for criticism. Art critics in the New York Times and the Village Voice labeled it the city's worst public sculpture, and many denounced it as an example of the elitism associated with art and as an obstacle to the use and enjoyment of the plaza.

Harriet F. Senie explores the history of Tilted Arc, including its 1979 commission and the heated public hearings that eventually led to its removal in 1989 (it was dismantled and is currently stored in a government warehouse in Maryland). Analyzing the archive of popular opinion, Senie shows how the sculpture was caught in an avalanche of shifting local and national discussions about public funding for the arts. She examines the tactics of those opposed to the sculpture and the media's superficial and sensational coverage of the controversy, reframing the dialogue in terms of public art, public space, and public policy instead of the question of whether the removal of Tilted Arc was poetic justice or a dangerous precedent. Senie provides an enlightening history and analysis of a controversy that will continue to inform our discussions about public art for years to come.

Harriet F. Senie is director of museum studies and professor of art history at the City University of New York's City College and professor of art history at CUNY's Graduate Center. ... Read more

Reviews (1)

For whom is public art?
Tilted Arc by Richard Serra, one of the largest public sculptures commissioned for a Federal building, was removed from its New York site in 1989, only eight years after it was installed, as a result of the most famous conflict between artist and public opinion. The book describes in detail the fate of a difficult work by this great (if macho) living sculptor, analyzing the multiple issues and problems that surround the public art process. Harriet Senie is one of the very rare modern art historians who have concentrated on public art, and the one who knows most about its history and politics. Unencumbered by the complexities of present critical theory, she writes in the simple language of the journalist (not inappropriate for the subject and its audience), trying to be fair to all points of view.

The Preface of the book outlines its entire content, while the four chapters (1. Commission, Installation, Removal; 2. Public Opinion; 3. Reframing the Controversy; and 4. After Tilted Arc) are neatly divided into many subsections with titles easy to follow. A Conclusion summarizes the subject and the complex questions it raises. In-between, Senie manages to discuss quite a bit of Serra's art before and after Tilted Arc, and to quote his uncompromising and always illuminating opinions... The fifty-five b&w reproductions, while of rather grim grayness, illustrate adequately the artist's related works and comparable public plazas with sculptures by other artists.

Aside from bringing together a great deal of material about this particular public art debate, Senie's book is also an invaluable source of information on public art policies in this country and on the history of federally-sponsored public art of the last quarter of the 20th century (the NEA and GSA programs). While perhaps a little repetitive, it is a goldmine of information and a must for artists, historians and policy makers interested in public sculpture. ... Read more

Book Description

This attractively designed volume documents Serra and Erfurt's landmark collaborations, which were presented at the Tate Gallery in London. ... Read more

Book Description

This digital document is an article from Parachute: Contemporary Art Magazine, published by Parachute Contemporary Art on July 1, 1998. The length of the article is 952 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Richard Serra (exhibition).
Author: Ben Portis
Publication: Parachute: Contemporary Art Magazine (Magazine/Journal)
Date: July 1, 1998
Publisher: Parachute Contemporary Art
Issue: 91Page: 65

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