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By Dr Marcus Bunyan Leave a Comment. He lives and works in Tribeca, New York, and on … At the other extreme is Reich’s, in which process activates what might be described as an existential form of entropic momentum—an annulment, a coming apart (something almost figured by the physical impact of process on Reich’s experience of the work). And the toss is a gesture of dispersion, even disposal—we speak of that which is cast off or cast away. To the key factors of raw material and room space we can add that of the bodily sensation of the perceiving subject or beholder, for whom the actuality of location is consolidated and redoubled rather than (as with the nonsite) distributed across time and space. In this series, Serra threw molten lead from a ladle, splattering the liquefied metal against the ninety degree angle where the floor met the wall. Gutter Corner Splash marks the debut of Serra's work in metal sculpture and demonstrates his experimenting with the various properties of the medium. A second duality obtains with respect to the artist as producer of the work. The text is composed of two interior monologues that eventually run together. In some cases, the cooled lead is pulled away from the wall and displayed on the floor as an autonomous object—a cast. The very process of producing the work establishes the parameters of that work’s fundamental identity as a form of sculpture. Richard Serra throws molten lead inside SFMOMA. Like so much else produced during this period of advanced art practice, the early splash/cast pieces now live in historical imagination alone. The infinitives tell us that Serra’s work of the mid to late ’60s implicates the agency of the body—of the author as a physical agent in the production of a work that foremost serves to demonstrate the principles and actions of its own making. Steve Reich, “Music as a Gradual Process,” in Writings on Music, 1965–2000, ed. ~Richard Serra and I met at the Odeon in Lower Manhattan in the early 1980s, back when that restaurant was still a hangout for artists and writers who lived in the neighborhood. Moreover, the function of site deepens the connotations of unstable means: The temporality of the work as event holds two material opposites, splash and cast, while a given work’s disappearance constitutes an intensive reversal of its sitedness—its osmotic grip. While working in steel mills to support himself, Serra attended the University of California at Berkeley and Santa Barbara from 1957 to 1961, receiving a Bachelor of Fine Arts degree in English literature. 7. Richard Serra at Gemini GEL An artist renowned for monumental sculpture in industrial materials seems an unlikely inclusion in a print collection; however Richard Serra is just that. Due to risks posed by toxicity and heat during the production of a work, the artist wore heavy clothing, protective goggles, and often a respirator. in English literature. Yet for Serra the forming properties of a given medium were of paramount significance to the work’s critical relation to the history of sculpture. Serra, who was schooled at Yale with classmates Frank Stella, Chuck Close, and Nancy Graves, has been called “cerebral, single-minded, austere, as steely and uncompromising as his work.” “I have a certain obstinacy, a certain willfulness that has got me in trouble but it has also got me through,” he has quipped. Yet Serra’s move bypasses the nonsite, in which raw material plus information produces “dislocation”—the so-called suspension of destination. We need hardly be reminded of the dangers inherent in divorcing art practices from the social and political climates in which they took place; in this case, the very mention of the year 1968 as the date of Splashing should serve sufficientnot ice. 3. Given these conditions of medium and change, can we further say that a work’s material and conceptual terms bear meaningful relevance to its eventual fate? This video documents the installation of Richard Serra's Gutter Corner Splash: Night Shift (1969/1995). The penultimate line of Correction draws these strands together in order to make a profound, if self-evident, claim, one that accounts, with respect to the protagonist and to the author, for both life and work: “Das Ende ist kein Vorgang”—the end is no process.13. Serra’s materialism is channeled into what he describes as the inseparability of work from “context”—a work’s “osmotic grip into the planes of the room,” to quote Max Kozloff’s inspired observation in these pages in 1969.11 In subsequent splash/cast pieces, where the lead is pried from the wall, the work’s dependence on context is maintained by displaying the casts in the room where they were made. In this regard, the complex “logic of the procedure”12 shows that the work bears a critical relation not only to the history of sculptural practice but to itself. While working in steel mills to support himself, Serra entered the University of California, Berkeley and graduated in 1957 with a B.A. The relevance of Bernhard to Serra becomes evident when one acknowledges that the exposed implementation of process can possess a recursive function: that form activates fate. For Smithson, the relevance of the two terms serves the concept of the nonsite, boxlike containers of raw material (soil, stones) from a specific location in nature—a site that belongs, as he put it, to the “outer fringe.” The relation of the landscape to the installation is governed by a condition of displacement according to which the sensation of nonsite is a “dislocation” in space and time. RICHARD SERRA: Different materials react to structure in different ways. The flaw—a mechanical failure that can be credited to the “agency” of the machine—instigated a discovery that originated with a sensation, the bilateral passage of sound as medium through the body and out into the room. Richard Serra's 1968 work Splashing is one of those inherently evocative works which takes on new lives through the different media it engages. 13. This is not that.”1 His works from the mid to late 1960s were intended to express the actions of “process.” In so doing, they demonstrate the deployment of basic procedures that activate the primary qualities of media derived from construction and industrial fabrication, such as fiberglass and vulcanized rubber. (All early works in lead by Serra, such as his props, are subject to the instability of the medium itself, which, being relatively soft, gradually fails to hold a form over time.) Philip Glass, Words Without Music: A Memoir (New York: Liveright, 2015), 247–52. According to Smithson, a nonsite “just goes on constantly permuting itself into this endless doubling, so that you have the nonsite functioning as a mirror and the site functioning as a reflection.” Within the parameters of the work, “existence becomes a doubtful thing. where I would have first seen Richard Serra's Splash Piece [Splashing, 1968], which also had an enormous impact on me. x 179 in. Richard Serra, Splash Piece: Casting, 1969-1970. There are, of course, qualities of a given iteration that set it apart from others; such distinctions are in fact definitional to works of this kind. THE PRODUCTION of a splash/cast work occurs in a series of basic steps. Yve-Alain Bois, “The Use Value of ‘Formless,’” in Bois and Rosalind E. Krauss, Formless: A User’s Guide (New York: Zone Books, 1997), 13–40. We speak of the agency of Serra as author (together with the efforts of Glass and others) in motivating process in the early works: lead works in which the medium is torn, cut, folded, and rolled, for example, as well as melted and splashed; large, heavy scraps of pliable rubber that are cut and strewn or hung from the wall and re-formed by gravitational pull; and the many works—in lead and then steel—that are categorically referred to as props. Richard Serra was born November 2, 1939, in San Francisco. ... the latter of which has been a continuing value in Serra's art. 12. Absence will forever condition what we say about the works, whether or not we explicitly account for it. A statement the artist composed for the Fall/Winter 1970–71 issue of Aspen pushes the precept to an extreme: In the text, Serra proposes a work that would be produced from a “quantity of [molten] lead” dropped from a height of fifteen thousand to thirty thousand feet into a body of water or other “soft earth site.” “The liquid lead volume in descent forms a precise spherical mass: a continuous solid, a ball, a bomb.” Two supporting references are added: to Richard Feynman’s Lectures on Physics (published in 1963) and to the Shot Tower in Baltimore, an early-nineteenth-century structure once used in the making of spherical lead shot (blobs of molten lead were dropped down the length of the shaft—some two hundred feet—where they landed in a vat of water). In other words, the demise of a splash/cast piece, while not a given, is anticipated by the very circumstances of the work’s fabrication. His reputation as a forceful debater also put me on guard. Executed and installed in Jasper John’s studio, New York. This aspect of the work robs sculpture of a coherent body—and, by extension, of its relation to the embodiment of the beholder.6 Still, in passing through two states, the lead begins by supporting anti-form (splash) and ends by supporting an indexical object (cast) that, while lowly or residual, is precisely defined. Yet with reference to his list of transitive verbs, the premise of Serra’s early work depends on the agency not just of the artist but of the medium: the way the medium “behaves” in response to an application of force. They followed, in effect, from the instructions to himself Serra had made the previous year in the form of a list of transitive verbs-"to roll, to crease, to fold, to splash, to spill"- … Searching the early work’s terms, however, we find that potential loss lies within the implications of its very means. This reflects on his process-based style. For this purpose he recorded a sermon—concerning Noah and the Flood—from which he extracted a single phrase, “It’s gonna rain” (this, of course, became the name of the piece). In fact, two failures of a kind are in play: As the preacher’s words fall increasingly out of phase, language, Reich explains, is reduced to “noise.” When used to “set” the human voice, the phasing technique actually produces a kind of affect: “The emotional feeling is that you’re going through the cataclysm, you’re experiencing what it’s like to have everything dissolve.”9, Concerning the discourse on process, then, at one extreme is Johns’s observation, in which process is said to represent an equivalence between object and event. Visit the Frank Lloyd Wright–designed Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. Gutter Corner Splash: Late Shift. The discovery of phasing in 1965 was accidental. 11. Robert Smithson, “Fragments of an Interview with P. A. Richard Serra. 9. The verbs—many of which describe recognizable processes in Serra’s practice—are listed as infinitives: to roll, to crease, to fold, to split, to cut, to knot, to spill, to lift, to suspend, to heap, to gather, to scatter, to enclose, to join, and so on. Housed in a slipcase, this two-volume set documents Serra’s three concurrent 2019 New York exhibitions, which presented five new sculptures and more than twenty drawings by the artist. ... Serra's lead-splashing sculptures were included in The Warehouse Show at the Leo Castelli Gallery in 1968, and Anti-Illusion: Procedures Materials at the Whitney Museum in 1968—both pivotal exhibitions that established a new discourse in the field of sculpture. any genuine understanding of Richard Serra's Splashing and what he was to make afterward. Artist Interviews watch Liz Hernández: Conjuro para la sanación de nuestro futuro . In assigning titles to the works from molten lead, Serra sometimes observes a strict distinction between the separate functions of “splash” and “cast.” The first work in the sequence (the one made at Castelli Warehouse) is called Splashing; images of it show that it consisted of a single continuous deposit of lead. 6. Through the language of Verb List, Serra asks us to accept that a splash/cast piece (among other process-based works of the period) has the capacity to implicate conditions of forming and being, conditions such as gravity, location, and time. Richard Serra, Verb List, in Richard Serra: Writings/Interviews (Chicago: University of Chicago Press, 1994), 3–4. 10. Originally published in Artforum, February 1969, 22. I BEGAN by saying that the early splash/cast pieces are no longer extant. If you hung it in different ways, it would unfurl itself or droop or hang in different ways. (“To splash” appears on the list.) . It may also have been a source of ambivalence: According to Serra, the fragile nature of the objects made by his friend Eva Hesse (to whom the splash/cast piece in his solo exhibition for Castelli was dedicated) gave him pause, encouraging him to consider the longevity of his own work. During the course of the year 1968-69, Richard Serra made nearly a hundred works that involved simple manipulations of lead. Serra produced the first six such works in fairly rapid succession in 1968 and 1969. From San Francisco Museum of Modern Art (SFMOMA) , Richard Serra, Gutter Corner Splash: Night Shift (1969/1995), Lead, 19 × 108 × 179 in El Museo de arte Thyssen-Bornemisza, Madrid, "The Inaugural Installation" at The Broad, Los Angeles, Discover, buy, and sell art by the world’s leading artists, To download, scan this code with your phone’s camera, © Richard Serra / Artists Rights Society (ARS), New York /. in English literature from the University's Santa Barbara campus. WITH RESPECT to the author as actor, then, a work is made by initiating a forming procedure and then surveying the results, which may or may not instigate another work. The prepositional phrases tell us that the actions and materials, in their otherwise nonfunctional, relatively pure states, inevitably articulate laws or principles of the natural world to which the agent or maker must, of course, be said to belong. Splashing (1968) Folded/Unfolded (1969) Foundation: The Verb List. This interaction locks the work into a dependent relation to the space of the room. However, Serra returned to the medium of molten lead in 1980, producing nine more works over the course of sixteen years, and three of those pieces have been preserved. Unless otherwise noted, quotations and paraphrased remarks by Richard Serra are drawn from a conversation with the author on June 30, 2015. (The molten-lead splashes were one of several types of work he ultimately exhibited.) Despite the use of double designations, it can be said that all lead splashings are already castings regardless of whether they are pried loose or left to adhere to the wall and floor. In Smithson’s case this opposition expresses a “dialectical” relation of matter to form. For a recent account of the significance of process and temporality in that context, see Janet Kraynak, Nauman Reiterated (Minneapolis: University of Minnesota Press, 2014), 108–13. Serra’s repeated application of molten lead over the course of a year or so represents an extended practice. 18 inches x 26 feet. Further, the composition and correction (or annihilation) of the journal assimilate themselves to the narrator’s own account of reading the manuscript and, by extension, to Bernhard’s composition—his writing and rewriting—of the novel that contains it. Richard Serra, 80, with his sculpture “Combined and Separated,” consisting of 50-ton forged-steel rounds for his upcoming show at Gagosian Gallery’s 24th Street location. The dislocation is leveraged via the inclusion of maps and photographs, competing systems of information that also represent or describe the site. You are presented with a nonworld. As a materialist, Serra shares certain concerns with other artists, including Smithson and Carl Andre (who actually imagined showing his work according to a progression of media based on the order of the periodic table). Thus it pertains to the low-lying zone of anti-form, or the informe, as theorized by Yve-Alain Bois—the abject space of the ground or floor.5 In Serra’s case, this precinct corresponds to the heavy downward pull of mass (the lead medium), as well as to the beholder’s downcast gaze. One of Serra’s studio assistants at the time was the composer Philip Glass, who participated in the production of all the early splash/cast works (as well as of works demanding the rolling and folding of lead sheets). In one case, the title uses both terms: The work for Johns is called Splash Piece: Casting. Photographs show that the action of the splash also leaves particles of molten lead spattered across the surfaces of the wall and floor, beyond the thick deposit. Through these “corrections,” the process of composing the journal comes to figure Roithamer’s unstable, deeply self-conscious inner life: The manuscript is described as an account of Roithamer’s “conscious existence,” which the corrections are said to destroy. Reich broke the phrase into two loops: “it’s gonna” and “rain.” The two fragments were to be repeatedly played in succession on separate tape recorders, which, via headphones, were made to correspond respectively to his left and right ear. I was in my late twenties, Serra only in his mid-forties, but he was well known, and I was intimidated. McShine and Lynne Cooke, exh. The monumental sculptures of Richard Serra, one of the preeminent sculptors of the 20th century, emphasize or alter viewers' perceptions of space and proportion. The essay was written in 1968 and published in 1969 in the catalogue accompanying “Anti-Illusion: Procedures/Materials,” the exhibition at the Whitney Museum of American Art for which Serra made Casting. In Serra’s works from molten lead, making is grounded in process (this includes the self-forming capacity of a given medium), but process represents forward momentum, which the eventual realization of a work in object form brings to a halt. Steve Reich, “It’s Gonna Rain” (1965; reworked in 1974), in Writings on Music, 21. cat. Kynaston McShine, “A Conversation About Work with Richard Serra,” in Richard Serra Sculpture: Forty Years, ed. You can imagine even someone who was around and seeing the developments that led to Choreomania or the Splash Piece, they're shocking. Richard Serra: Triptychs and Diptychs, Forged Rounds, Reverse Curve is available for online reading from June 14 through July 13 as part of the From the Library series. The Transition to Steel. He also had help. He then transfers the molten lead from the pot and deposits it along the juncture of wall and floor. Richard Serra, One Ton Prop (House of Cards), 1969. See the renowned permanent collection and special exhibitions. Hot-rolled steel 246.4 x 157.5 x 2.5 cm 97 x 62 x 1". Once solidified, we are invited to reconstruct Serra's action in our mind. Serra, like other minimalists, looked to the root of a concept to develop art ideas. As a deposit, the molten lead both marks and fills the juncture of wall and floor, becoming a seam that joins event to object and object to room. “It's all about centralizing the space in different ways. What we know of the first campaign of works from molten lead now belongs to the photographic record, the early criticism, and the memory of those who observed the work at the time (including the artist). Apr 17, 2018 - 0 Likes, 1 Comments - M23 (@m23projects) on Instagram: “Richard Serra “Splashing”, 1968 (detail; molten lead) #RichardSerra (from the exhibition “9 at Leo…” Reich was preparing a work based on the voice of Brother Walter, a Pentecostal preacher in San Francisco, where Reich was living at the time. 5. Both associations recur throughout the period. Tearing pieces of lead from industrial rolls, Serra heats them in a vessel that sits above an acetylene flame. May. (Those that remain were made for museums: the De Pont, Tilburg, the Netherlands; the San Francisco Museum of Modern Art; and the Hamburger Kunsthalle.) The proposal reads like a physics experiment, an exploration of how solids form under different conditions of heat, distance, gravity, and speed. 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