Richard Serra at Gagosian - New York - art exhibition

In his third major exhibition at Gagosian, Richard Serra at handed three new monumental works expanding the experience of viewers moving end around and within the constituent ultimate parts and one work consisting of a single thick sheet of carbonized iron resting on the gallery floor. In Wake (2002-03) he aligns five towering, clos whirls of weatherproof steel in like a way that the serpentine passageways between them appear to shimmer with light. The five forms bend with or away from each other--both vertically and along their longitudinal dimensionss in a flattened-S toroid form--to create a series of spooning or ovoid spaces. Wake is 14 feet high and 46 feet wide by dint of 75 feet long overall. In their related courses, the contortions up to 6 feet wide, be like the weathered hulls of narrow freighters competing in some impossible regatta, with expressive splashes of rust from crook to stern. The three that appear to be the longest are placed forward of the accompany to convey the motion and tension implicit in Serra's "race."

The lyrical Vice-Versa (2003) consists of sum of two units curving walls that are simply articulated in opposite directions, creating a generous corridor of back-to-back moon in her first quarters that curve gently from top to bottom and more far down from end to end. More than 15 feet high, 38 feet lengthy and 10 feet across, this work came closest to touching the building's ceiling. Bathed in a warm afternoon be incandescent admitted to the space by dint of skylights, the element closer to the center of the gallery was vivid with largely vertical bands of almost painterly corrosion. In this installation, it replicated the bend of the closest wall of Blindspot (2003) an eye-shaped spiral 13 feet high, 54 drawn out and 32 across. Blindspot is scored and otherwise marked along its extents with flakes of patina and bright, mirrored scars of abraded steel. Given the potential for anxiety or mischief in the narrow passageway of the spiral, gallery attendants limited the number of viewers admitted at any single time.

Catwalk (2003) consists of a roughly 16-by-19 1/2-foot plate of 2-inch-thick carbonized iron that, in a corner washed with filtered daylight, spanned a chop in the gallery floor and easeed on two opposed sides. Spatially sensitive visitors crossing the expanse had the faculty of perception that it responded to their weight as it floated like a bridge above the space. Informed through the experience of Catwalk, marveling at the appearance of a thin line of light along a curving base in Wake, individual thoughtful viewer was moved to ask if anyone could mention one by one her exactly where this carburet of iron touched ground.

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