'Weight is a value for me–not that it is any more compelling than lightness, but I simply know more about weight than about lightness and therefore I have more to say about it, more to say about the balancing of weight, the diminishing of weight, the addition and subtraction of weight, the concentration of weight, the rigging of weight, the propping of weight, the placement of weight, the locking of weight, the psychological effects of weight, the disorientation of weight, the disequilibrium of weight, the rotation of weight, the movement of weight, the directionality of weight, the shape of weight.'
Gagosian is pleased to present recent sculptures and drawings by Richard Serra.
At 980 Madison Avenue, a series of new diptych and triptych drawings will be on view.
Four new works from Serra's Rounds series will fill the entire West 24th Street gallery. Each forged-steel sculpture is composed of multiple 50-ton elements of differing diameters and heights.
Bisecting the West 21st Street gallery space will be Reverse Curve (2005), a sculpture measuring 99 feet long and 13 feet high. Originally conceived in 2005 for a public project in Reggio Emilia, Italy, Reverse Curve is finally being realised for the first time.
In conjunction with these exhibitions, Gagosian and Anthology Film Archives will present a three-day retrospective of Serra's films and videos from October 17 through 19, drawn from the collections of the Museum of Modern Art, Anthology Film Archives, Joan Jonas, and Stiftung Situation Kunst. This is the first time that all of the artist's film and video work will be shown together. The screening on October 19 will be followed by a panel discussion between curators Søren Grammel, Chrissie Iles, and Jeffrey Weiss, moderated by art historian Benjamin Buchloh. Additional screenings of the full program will take place on October 20 and 23.
The exhibition will be accompanied by a fully illustrated catalogue with an essay by Julian Rose.
Press release courtesy Gagosian.
Sculptors have always had it tough. Any unique instance of exploratory form in three-dimensions ultimately can't compete with the diverse world of objects and the inexorable gravity that pressurizes it all into our consciousness. Historical ways to outwit this "outside" pressure have ranged from twisting an animated mimesis from the...