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Auktionsarchiv: Los-Nr. 28

Richard Serra

Schätzpreis
2.500.000 $ - 3.500.000 $
Zuschlagspreis:
2.322.500 $
Auktionsarchiv: Los-Nr. 28

Richard Serra

Schätzpreis
2.500.000 $ - 3.500.000 $
Zuschlagspreis:
2.322.500 $
Beschreibung:

Richard Serra Palms 1985 Cor-ten steel, 2 plates plate one: 141 3/4 x 118 1/8 x 2 7/8 in. (360 x 300 x 7.3 cm) plate two: 141 3/4 x 94 1/2 x 2 3/4 in. (360 x 240 x 7 cm) This work is sold subject to the artist and the buyer agreeing on the site for the sculpture and the manner and position in which it is to be displayed.
Provenance Acquired directly from the artist Akira Ikeda Gallery, Japan Private collection, Japan Exhibited Tokyo, Akira Ikeda Gallery, Richard Serra June 6 – July 30, 1983, September 17 – October 26, 1985 Literature Akira Ikeda Gallery, Richard Serra Tokyo, 1986, pl. 11 (illustrated) Verlag Gerd Hatje, Richard Serra Stuttgart, 1987, pl. 114 (illustrated) Catalogue Essay I think that sculpture, if it has any potential at all, has the potential to create its own place and space, and to work in contradiction to the places and spaces where it is created. RICHARD SERRA (Richard Serra 1984, taken from “Extended Notes from Sight Point Road”, Richard Serra Writings Interviews, Chicago, 1994, p. 169) In his revolutionary practice of and writings on sculpture, architecture, and drawing, Richard Serra has reshaped ideas about structural aesthetics and meaning for over forty years. Palms, 1985, in its imposing façade and industrial boldness, gives us a unique statement about many of the historical assumptions regarding sculpture that Serra has helped to rethink. Among these, Serra makes the quest of the sculptor not a vain journey to glorify the human form or disguise the structural nature of his medium, but rather to join the perspective of the viewer to the purpose of the piece: “In all my work the construction process is revealed. Material, formal, contextual decisions are self-evident. The fact that technological process is revealed depersonalizes and demythologizes the idealization of the sculptor’s craft. The work does not enter the fictitious realm of the “master.” I would just as soon have the work available to anyone’s inspection. That evidence can become part of the content” (Richard Serra 1984, Richard Serra Writings Interviews, Chicago, 1994, p. 169). Since his revolutionary Prop pieces of the 1960s, Serra has continued to break the mold of the sculptor who conforms to Classical notions of beauty. In his famous “list of verbs” from the latter part of that decade, Serra showed his proclivity for active sculpture; he desired to take into account the possibilities of materials involved, and whether they can break, bend, grind or interact in any natural fashion. Through emphasizing the capabilities of a structural medium rather than its limitations, Serra has developed a new formal language for a new era of sculptural aesthetics. By shaping and pushing lead (and later, as in the present lot, Cor-ten steel) into provocative assemblies, Serra further showed that the completion of a work occurs not with the final polish, but with the viewer’s interaction with the work. Furthermore, Serra has shown that the most profound sculpture is that which also shapes the space that contains it. Aside from its abilities to cast shadows or create light, a sculpture can function in direct contrast to its surroundings, transforming an ordinary warehouse or courtyard into a space that captivates a viewer and invites both public reflection and private introspection. Serra ascertained that it is not a confluence of new forms or complex structures that lends a work artistic exclusivity, but a profoundly simple interpretation by the viewer: “I think in any work of art, whether one’s dealing with volume, line, plane, mass, space, color, or balance, it’s how one chooses to focus on either one of these aspects that gives the work a particular resonance and differentiates it from other people’s work”-Richard Serra 1992, taken from an interview with Patricia Bickers (Richard Serra Writings Interviews, Chicago, 1994, p. 265). Palms, 1985, comprised of two massive Cor-ten steel plates, stands nearly twelve feet in height, its industrial prowess rising above the viewer. Neither of the two plates have been either polished or painted in order to make them superficially appealing, and they stand uncompromising in their revelation of the Cor-ten steel’s naturally rough and varied texture. Connected via a single line of balance, each plate supports the pres

Auktionsarchiv: Los-Nr. 28
Auktion:
Datum:
07.11.2011
Auktionshaus:
Phillips
New York
Beschreibung:

Richard Serra Palms 1985 Cor-ten steel, 2 plates plate one: 141 3/4 x 118 1/8 x 2 7/8 in. (360 x 300 x 7.3 cm) plate two: 141 3/4 x 94 1/2 x 2 3/4 in. (360 x 240 x 7 cm) This work is sold subject to the artist and the buyer agreeing on the site for the sculpture and the manner and position in which it is to be displayed.
Provenance Acquired directly from the artist Akira Ikeda Gallery, Japan Private collection, Japan Exhibited Tokyo, Akira Ikeda Gallery, Richard Serra June 6 – July 30, 1983, September 17 – October 26, 1985 Literature Akira Ikeda Gallery, Richard Serra Tokyo, 1986, pl. 11 (illustrated) Verlag Gerd Hatje, Richard Serra Stuttgart, 1987, pl. 114 (illustrated) Catalogue Essay I think that sculpture, if it has any potential at all, has the potential to create its own place and space, and to work in contradiction to the places and spaces where it is created. RICHARD SERRA (Richard Serra 1984, taken from “Extended Notes from Sight Point Road”, Richard Serra Writings Interviews, Chicago, 1994, p. 169) In his revolutionary practice of and writings on sculpture, architecture, and drawing, Richard Serra has reshaped ideas about structural aesthetics and meaning for over forty years. Palms, 1985, in its imposing façade and industrial boldness, gives us a unique statement about many of the historical assumptions regarding sculpture that Serra has helped to rethink. Among these, Serra makes the quest of the sculptor not a vain journey to glorify the human form or disguise the structural nature of his medium, but rather to join the perspective of the viewer to the purpose of the piece: “In all my work the construction process is revealed. Material, formal, contextual decisions are self-evident. The fact that technological process is revealed depersonalizes and demythologizes the idealization of the sculptor’s craft. The work does not enter the fictitious realm of the “master.” I would just as soon have the work available to anyone’s inspection. That evidence can become part of the content” (Richard Serra 1984, Richard Serra Writings Interviews, Chicago, 1994, p. 169). Since his revolutionary Prop pieces of the 1960s, Serra has continued to break the mold of the sculptor who conforms to Classical notions of beauty. In his famous “list of verbs” from the latter part of that decade, Serra showed his proclivity for active sculpture; he desired to take into account the possibilities of materials involved, and whether they can break, bend, grind or interact in any natural fashion. Through emphasizing the capabilities of a structural medium rather than its limitations, Serra has developed a new formal language for a new era of sculptural aesthetics. By shaping and pushing lead (and later, as in the present lot, Cor-ten steel) into provocative assemblies, Serra further showed that the completion of a work occurs not with the final polish, but with the viewer’s interaction with the work. Furthermore, Serra has shown that the most profound sculpture is that which also shapes the space that contains it. Aside from its abilities to cast shadows or create light, a sculpture can function in direct contrast to its surroundings, transforming an ordinary warehouse or courtyard into a space that captivates a viewer and invites both public reflection and private introspection. Serra ascertained that it is not a confluence of new forms or complex structures that lends a work artistic exclusivity, but a profoundly simple interpretation by the viewer: “I think in any work of art, whether one’s dealing with volume, line, plane, mass, space, color, or balance, it’s how one chooses to focus on either one of these aspects that gives the work a particular resonance and differentiates it from other people’s work”-Richard Serra 1992, taken from an interview with Patricia Bickers (Richard Serra Writings Interviews, Chicago, 1994, p. 265). Palms, 1985, comprised of two massive Cor-ten steel plates, stands nearly twelve feet in height, its industrial prowess rising above the viewer. Neither of the two plates have been either polished or painted in order to make them superficially appealing, and they stand uncompromising in their revelation of the Cor-ten steel’s naturally rough and varied texture. Connected via a single line of balance, each plate supports the pres

Auktionsarchiv: Los-Nr. 28
Auktion:
Datum:
07.11.2011
Auktionshaus:
Phillips
New York
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