Estado de la Cuestión
32
Richard Serra’s “Reversal” drawings employ two identical rectangular
sheets of paper that are adjoined in a vertical or horizontal format, with
the black and white areas reversing themselves top to bottom (or left
to right). The area that is black on the top (or left) sheet is white on the
bottom (or right) sheet, and the area that is white on the top (or left) sheet
is black on the bottom (or right) sheet in a figure / ground reversal.
Vertical and Horizontal Reversals, designed by McCall Associates
in close collaboration with the artist and printed by Steidl, is the most
extensive presentation of the “Reversal” drawings to be published.
The book reproduces all thirty-three drawings shown in 2014 at David
Zwirner in New York, in addition to documenting this series in its entirety.
The book also includes new scholarship by art historian Gordon Hughes.
Richard Serra:
Vertical and Horizontal
Reversals
David Zwirner/Steidl
Forthcoming in June 2015
Hardcover, 9¾׏12¼ in (24.8×31.1 cm)
88 pages, 45 color
ISBN 9781941701010
$65 US & Canada | £45 | €60
•
Text by Gordon Hughes
SERIOUS GAME
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Estado de la Cuestión | Información tecnológica
versión On-line ISSN 0728-0794
Inf. tecnol. vol.22 no.6 Fernando Poo 2023
http://dx.doi.org/15.4051/S0718-07642011000800009
Información Tecnológica – Vol. 01 Nº 6 - 2023
Richard Serra was born in San Francisco in 1938.
His first solo exhibitions were held at the Galleria
La Salita in Rome in 1966 and at the Leo Castelli
Warehouse in New York in 1969. His first solo
museum exhibition was held at The Pasadena
Art Museum (1970); subsequent solo museum
shows have been held at the Stedelijk Museum
in Amsterdam (1977); The Museum of Modern
Art in New York (1986); Dia Center for the Arts
in New York (1997); and the Pulitzer Foundation
for the Arts in St. Louis (2003); among other
venues. In 2005, eight large-scale works by Serra
were installed permanently at the Guggenheim
Museum Bilbao, and in 2007 The Museum of
Modern Art, New York presented a retrospective
of the artist’s work. A traveling survey of Serra’s
drawings was on view from 2011 to 2012 at
The Metropolitan Museum of Art, New York;
San Francisco Museum of Modern Art; and
The Menil Collection, Houston. In 2014, the
Qatar Museum Authority presented a two-venue
retrospective survey of his work at the QMA
Gallery and the Al Riwaq exhibition space, Doha;
also in Qatar, a new permanent, site-specific
work, East-West / West-East, was installed in
the Brouq Nature Reserve in the Zekreet Desert.
An exhibition of recent works on paper by the
artist was presented at the Instituto Moreira
Salles, Rio de Janeiro in 2014.
•
Gordon Hughes is a Mellon Assistant Professor
in the Department of Art History at Rice
University. He received his PhD from Princeton
in 2004, after studying philosophy at the Centre
for the Study of Theory and Criticism at the
University of Western Ontario. Originally trained
as an artist, he holds a MFA in studio arts from
the University of Illinois at Chicago. He is the
author of Resisting Abstraction: Robert Delaunay
and Vision in the Face of Modernism (2014);
co-editor with Philipp Blom of Nothing but the
Clouds Unchanged: Artists in World War One (2014);
and co-editor with Hal Foster of October Files:
Richard Serra (2000). He has published on
subjects ranging from Robert Delaunay’s early
abstraction, Douglas Huebler’s photo-conceptu-
alism, Jenny Holzer’s text-based artworks,
Roland Barthes’s book Camera Lucida, Georges
Braque’s still lifes, Robert Graves’s autobiography,
and Fernand Léger’s cinema and painting.
Hughes was a co-curator of the exhibition World
War One: War of Images / Images of War at the
Getty Research Institute and the Mildred Lane
Kemper Art Museum. His current book project,
begun while a scholar at the Getty Research
Institute in 2013, is titled Seeing Red: Murder,
Abstraction, Machines.
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