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Richard Serra, người đúc lại tác phẩm điêu khắc trên quy mô lớn, qua đời ở tuổi 85
28 Mar, 2024
bức tường nghiêng bằng thép rỉ sét, khối đá hoành tráng và hình khối to lớn và khó hiểu tạo ra những môi trường mà bạn phải đi qua hoặc đi vòng quanh mới có thể trải nghiệm trọn vẹn
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Richard Serra, who set out to become a painter but instead became one of his era’s greatest sculptors, inventing a monumental environment of immense tilting corridors, ellipses and spirals of steel that gave the medium both a new abstract grandeur and a new physical intimacy (sự gần gũi thể xác mới), died on Tuesday at his home in Orient, N.Y., on the North Fork of Long Island. He was 85.
The cause was pneumonia, John Silberman, his lawyer, said.
Mr. Serra’s most celebrated works had some of the scale of ancient temples (quy mô ngôi chùa cổ) or sacred sites and the inscrutability (khó hiểu) of landmarks like Stonehenge. But if these massive forms had a mystical effect, it came not from religious belief but from the distortions of space created by their leaning, curving or circling walls and the frankness of their materials (sự thẳng thắn về chất liệu).
They almost inevitably imparted a frisson of danger, in part because they stood on their own — as did all of Mr. Serra’s work — without benefit of screws, bolts or welds. His leaning pieces relied on their computer-plotted curves and tilts for stability. The flat, upright, slablike elements of some pieces — suggesting both sturdy walls (bức tường vững chắc) and gravestones — stood because they were rarely less than six inches thick. And when Mr. Serra’s forms expanded into solid cylinders (which he called “rounds”) or near cubes of solid forged steel, they were unquestionably stable, even when stacked one on the other (chồng lên nhau).
Mr. Serra seemed every inch the sculptor. He had a compact, muscular build, a powerfully shaped head that was covered with unruly curls until he started keeping his hair closely cropped, a combative personality, and an expression that bordered on fierce even when he smiled.
One of his last commissions was completed in 2014 in the Qatari desert: “East-West/West-East,” for the Brouq Nature Reserve, a public park on a peninsula 40 miles from Doha, the capital of Qatar. The work consists of four tall standing steel plates that span a kilometer of desert flanked by low gypsum bluffs. The plates’ tops are all the same height regardless of the level of the ground, which changes to such an extent that the two outer plinths are 55 feet high and the two inside ones are only 48 feet high (all are 13 feet wide).
source: nytimes,
Tags: artHồng Nhung
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