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New York Times Details Galleries’ Shifting Relationships to Physical Spaces

March 1st, 2021

A piece in the New York Times this week notes the shifting relationships galleries are taking towards physical spaces, including the possibility that galleries may soon abandon their physical locales.“The question is whether galleries will continue to have space in London,” says Frieze’s Simon Fox. The organization has opened its own gallery space at No. 9 Cork Street that works with a range of galleries and dealers. “The answer to that, in time, might be ‘no.’” 
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New Munch Museum Building to Open Soon

February 24th, 2021

After a lengthy construction period, the new Munch Museum building in Oslo is preparing to open, the Architectural Digest reports.
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UK Reopening Plans See Shops Opening a Full Month Before Museums

February 24th, 2021

The UK has announced that museums will not be able to reopen until Mid-May, a full month after shops and retail galleries.  “It just makes no sense,” says Rebecca Salter, the president of the Royal Academy of Arts . On the 12 April all the retail will open on Piccadilly and our gates will stay shut, I don’t get the logic of it frankly. It just doesn’t feel joined up to me … I’m angry.”
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REFERENCE LIBRARY

Richard Serra

b. 1939
Lives and works in:

New York state and Nova Scotia

Represented by:

Gagosian Gallery, New York

Education includes:

University of California BA, Santa Barbara
Yale BFA, New Haven, CT
Yale CFA, New Haven, CT

Serra is a sculptor most well known for his gargantuan, site-specific steel sculptures that completely envelope their viewers. These sculptures are comprised of carefully arranged walls gently curving on two axes with space in between for people to walk within the looming rusted passageways. He is often cited as a minimalist, as his work emphasizes materiality and engagement between viewer, site and the work. Serra is known for his avid devotion and development of the notion of process art. All of these intentions, place him in the category of the neo- avant- garde, as defined by Burger.

Serra’s career was jump-started by his Splash series (1968-1970). He dripped and splashed molten lead on the juncture between the wall and the floor. This work was a crucial moment in art history for the site specific artwork, while simultaneously drawing on Jackson Pollock’s emphasis on process and the use of industrial materials in 20th century Russian avant garde works.

Serra’s work became embroiled in controversy, when a commissioned large scale, site specific sculpture Tilted Arc (1981) was removed from the Federal Plaza due to public dismay after eight years of battle. Workers in the area complained that the gently curving 3.5 meter tall piece of steel interfered with pedestrian traffic in the square. The city suggested that the piece be moved. Consistent to the tenets of site-specificity, Serra famously retorted, “To remove the work is to destroy it.” The piece was taken down and turned into scrap metal in 1989.

Serra continues to construct the huge steel installations he is now famous for. His first solo show was in the Leo Castelli ware house, Serra continues to show with Castelli as well as Gagosian Gallery. He has exhibited extensively around the world, including at the MOMA, the Guggenheim Bilbao, Kunsthalle Tubingen, and the Musee National d’Art Moderne.

Serra at MOMA June 3- September 10, 2008 [Art Observed]