Process Art
"The significance of the work is in its effort not in its intentions. And that effort is a state of mind, an activity, an interaction with the world." - Richard Serra


Richard Serra, Hand Catching Lead, 1968.











Serra's verb list

"To roll, to fold, to bend, to shorten, to shave, to tear, to chip, to split, to cut, to splash..."


"process art"
Richard Serra, Verb List, 1967.











Richard Serra, To Lift, 1967. Vulcanized rubber, 36" x 6' 8" x 60".












Serra Throwing Lead

Zeus or Poseidon, Bronze, 460 – 450 BCE.

Richard Serra throwing lead at Leo Castelli warehouse, 1969.












Richard Serra, Splashing, 1968.











Richard Serra, Gutter Corner Splash/Night Shift, 1969/1995.











Corner Prop
Richard Serra, Corner Prop, 1969.











Richard Serra, One Ton Prop (House of Cards), 1969.
Richard Serra, Trip Hammer, 1988.











Richard Serra, Balanced, 1970. Hot-rolled steel 246.4 x 157.5 x 2.5 cm 97 x 62 x 1".











Richard Serra, Delineator, 1974 -75. Two Hot-Rolled Steel Plates, each 1" x 10' x 26'


Installation of Delineator at MoMA











Eva Hesse, Hang Up, 1965 -1966.





















Eva Hesse, Untitled (Rope Piece), 1966.











Autumn Rhythm

Jackson Pollock, Autumn Rhythm (Number 30), 1950.











Eva Hesse, Ringaround ARosie, 1965.

Eva Hesse, Accession III, 1967.











“Art and work and art and life are very connected and my whole life has been absurd. There isn’t a thing in my life that has happened that hasn’t been extreme- personal health, family, economic situations…absurdity is the key word…It has to do with contradictions and oppositions. In the forms I use in my work the contradictions are certainly there.  I was always aware that I should take order versus chaos, stringy versus mass, huge versus small, and I would try to find the most absurd opposites or extreme opposities.” – Eva Hesse

Eva Hesse, Repetition Nineteen III, 1968.











Eva Hesse, Contingent, 1969.























Lynda Benglis, Corner Piece, 1969.












Lynda Benglis, pouring pai69
Lynda Benglis, Contraband, 1969.











Barry Le Va, On Edge, Shatter, Scatter, 1968.











Arte Povera = Arte povera means literally ‘poor art’ but the word poor here refers to the movement’s signature exploration of a wide range of materials beyond the traditional ones of oil paint on canvas, bronze, or carved marble. Materials used by the artists included soil, rags and twigs. In using such throwaway materials they aimed to challenge and disrupt the values of the commercialised contemporary gallery system. (Tate Museum)


Michelangelo Pistoletto, Venus of the Rags, 1967/1974.











Jannis Kournellis, Untitled (12 horses), 1969.