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Sterling Ruby’s Calvin Klein Collaboration Profiled in NYT

March 24th, 2017

Sterling Ruby, via NYTSterling Ruby’s collaborations with Calvin Klein are featured in New York Times this month, with the artist redesigning the brand’s New York headquarters floor to ceiling with his own works and installations.  “If we’re talking about gender, sexuality, highs, lows, politics — all of those things can be played within the context of this massive corporate American brand, too,” he says. “Maybe these spaces could be a platform for the hypocrisies of both the art and fashion worlds.”
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Art Newspaper Spotlights Albers Foundation-Funded Cultural Center in Senegal

March 24th, 2017

Thread in Senegal, via Art NewspaperThe Art Newspaper profiles Thread, an arts and culture hub built in Sinthian, Senegal by the Josef and Anni Albers Foundation and Le Korsa, and funded by the sale of a single painting by the artist in 2014.  “Part of what we always come back to is the notion of minimal means for maximum effect. Josef and Anni believed in the value of starting at zero in any process,” says Director Nick Murphy. “From there, you can go anywhere.”
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Prado Director Miguel Falomir Profiled in Economist

March 24th, 2017

Prado MuseumThe Economist profiles Miguel Falomir, the new director of Spain’s Prado Museum, as he begins his work at the helm of the museum this month.  Falomir succeeds Miguel Zugaza, who helped move the Prado forward once it broke ranks with the country’s civil service.  “It was very introverted,” Falomir says of the museum. “Not any more.”
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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]