Moving Earth
   

 

 

 

 

 

 

 

 

 

 

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"
"post-minimalism"
Richard Serra, Verb List, 1967.
 

 

 

 

 

 

 

 

 

 

 

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

 

 

 

 

 

 

 

 

 

 

Zeus

Serra Throwing Lead

Zeus or Poseidon, Bronze, 460 – 450 BCE.

Richard Serra throwing lead at Leo Castelli warehouse, 1969.

 

 

 

 

 

 

 

 

 

 

Splashing

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

 

 

 

 

 

 

 

 

 

 

Double Negative

Double Negative

Michael Heizer, Double Negative, 1968 - 1970.
Center for Land Use Interpretation, Michael Heizer, Double Negative present day

 

 

 

 

 

 

 

 

 

 

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.