Squished

Artist biography

Richard Serra born 1939American sculptor, draughtsman and film-maker, born in San Francisco. Studied at the University of California (Berkeley and Santa Barbara) 1957-61 and at Yale University School of Art and Architecture, New Haven, 1961-4. Lived in Paris and Italy 1964-6, then settled in New York. Met Eva Hesse, Steve Reich, Judd, Nauman and others. First one-man exhibition at the Galleria La Salita, Rome, 1966. Worked 1966-7 mainly with rubber, including hanging units like thick harness juxtaposed with a tangled network of neon lights. Then turned to floor pieces: a horizontal wooden form with lighted candles, floor sheets in moulded latex rubber, torn and scattered crumpled pieces of sheet lead, and splashed molten lead. Began in 1969 to be primarily concerned with the cutting, propping or stacking of lead sheets, rough timber, etc., to create structures, some very large, supported only by their own weight; emphasis on the process of making and the character of the material. Also made films concerned with process, e.g. Hand catching Lead 1968. Since 1970-1 has made various large-scale exterior and landscape pieces, as well as monumental black drawings incharcoal or paintstick. Lives in New York.

Published in:
Ronald Alley, Catalogue of the Tate Gallery’s Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.679

Richard Serra
Richard Serra

https://makemistakesoften.wordpress.com/richard-serra/philosophy-and-ideology/bilbao-guggenheim-richard-serra-923/

https://en.wikipedia.org/wiki/The_Matter_of_Time

The Matter of Time

From Wikipedia, the free encyclopedia

The Matter of Time at the Guggenheim Museum Bilbao.

The Matter of Time (in Spanish: La materia del tiempo) is an installation comprising eight pieces of torqued ellipses made of weathering steel (COR-TEN steel), by the US sculptor Richard Serra. It incorporates a series of seven sculptures[1] made of spot-welded sheets of steel that form 14-foot (4.3 m)-high curling walls[2]positioned around the existing sculpture, Snake (Serpiente), that had been commissioned for the museum’s opening in 1997.

Commissioned by the Museo Guggenheim Bilbao, it forms part of the permanent exhibition since 2005. Reviewing the work for The Guardian, art critic Robert Hughes, considered the work to be that of “the best sculptor alive…”[3] going on to add that Serra was also “the only great one at work anywhere in the early 21st century.”.[2]

Made at the rolling mill at Siegen, Germany,[2] and weighing in total 1034 tonnes,[4] it is installed in the museum’s main gallery, the 430-foot (130 m) 80-foot (24 m)[4]Arcelor Gallery, named after its sponsor,[1] but originally known as the Fish Gallery.[5]

Components[edit]

Arranged “to move the viewer through them and through the space surrounding them”,[6] the installation comprises the following pieces (in order of proximity to the entrance):

  1. Torqued Spiral (Closed Open Closed Open Closed) (Torsión espiral (cerrada abierta cerrada abierta cerrada) (2003–04);
  2. Torqued Ellipse (Torsión elíptica) (2003–04);
  3. Double Torqued Ellipse (Torsión elíptica doble) (2003–04);
  4. Snake (Serpiente) (1994–97);
  5. Torqued Spiral (Right Left) (Torsión espiral (derecha izquierda) (2003–04);
  6. Torqued Spiral (Open Left Closed Right) (Torsión espiral (izquierda abierta derecha cerrada)
  7. (2003–04);
  8. Between the Torus and the Sphere (Entre el toro y la esfera) (2003–05);
  9. Blind Spot Reversed (Punto ciego invertido) (2003–05).

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I love the domestic aesthetic of this image I found on facebook. I don’t know who the artist is. It reminds me of the film Up. I particularly like the ornate, oversized window juxtaposed with the small, functional ones. And fabric!!!!! 


 https://news.artnet.com/market/bizarre-booths-at-frieze-masters-340558?utm_content=bufferde133&utm_medium=social&utm_source=facebook.com&utm_campaign=socialmedia

Helly Nahmad's installation, 'The Asylum,' at Frieze Masters. Image: Amah-Rose Abrams
Helly Nahmad’s installation, ‘The Asylum,’ at Frieze Masters.
Image: Amah-Rose Abrams

Helly Nahmad always has to raise the bar. In doing so this year, the gallery created Asylum, an installation inspired by the Art Brut movement that recreated a 1940s mental hospital, throughout which the work of Jean Dubuffet was displayed. People flocked to the booth in droves furiously posting on social media. Although there were many sold stickers on the artworks at the stand, all the focus was on the installation and it was all people spoke about. When bumping into people on the way into the fair, the parting gambit was, “Where is Helly Nahmad?”

This is not like any asylum room I have ever seen, and I’ve seen a few! Writing on walls is a common feature of walls in psychiatric hospitals but rarely colourful like this, usually done in biro. I like the vintage feel of the room, and the colour. 


Helly Nahmad blew everyone’s minds with their stand “The Collector” which saw them recreate the house of an imaginary 1060s art collector in intricate detail.

http://www.artmarketmonitor.com/2014/10/14/helly-nahmad-constructs-his-own-reality-with-imaginary-collectors-frieze-booth/

Helly Nahmad Constructs His Own Reality with Imaginary Collector’s Frieze Booth

Nahmad Frieze Stand 1Helly Nahmad Gallery makes a statement against art as an asset with a Frieze Masters booth that simulates the apartment and life of an anonymous and highly individualistic collector:

an immersive installation of an imaginary collector’s apartment, set in Paris in 1968. Curated by Helly Nahmad, the installation has been designed by British production designer Robin Brown in collaboration with Senior Producer Anna Pank. A newspaper will be distributed from the stand with an introduction by Helly Nahmad and an essay written by Sir Norman Rosenthal.

‘Collected one by one over many years the works in this apartment take us on a journey through one man’s life and spirit. Like a private diary so intimate and personal, this collection is a mirror of the man. It calls into question what collecting really means in today’s world.’                             Helly Nahmad, Founder, Helly Nahmad Gallery


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Insecure attachments to people in childhood, possible reason for object fetishism later in life? 


James Oliver
James Oliver

An example of single point perspective. 


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A different perspective, ariel view of people’s homes in China. 

Yayoi Kusama
Yayoi Kusama

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Through the replication of dots Kusama creates environments which appear very full although there are few actual objects in them. 

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