Artist Richard Serra, dead at 85, offered a strange (and strangely intimidating) new way to think about sculpture.
Richard Serra made modern sculpture exciting. He did it by creating the feeling that it might fall on you.at 85, both a wonderful artist and intermittently vulnerable to accusations that he was a bully.
against each other like the walls of a card house. No welding. No plinth. Nothing propping them up except each other.“One Ton Prop” proposed a strange — and strangely intimidating — new way to think of sculpture. It was physical — emphatically so. But it was also psychological. It involved you in ways that had nothing to do with stories or sentimentality but that somehow went beyond pure form.
The colors and textures are important. They pull you in to the sculptures’ surfaces, even as you’re conscious of your body’s relationship to something that is overwhelmingly large — almost too big to grasp, and definitely too big to explain. Serra was a practitioner — I would say the greatest — of what was sometimes called “walk-in modernism.” That’s to say, you don’t just admire his sculptures from afar. You walk into and out of them. Looming over you, they close in on you, then veer away from you. And they make you conscious of time as you make your way through, along or around them.
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