Richard Serra began making prints in 1972. Since then, his continued investigations into printmaking have produced an innovative body of work that is as large as it is varied. While Serra's prints explore the perceptual possibilities suggested by his sculptural work, they are not merely illustrative, but rather autonomous works of art that constantly push the medium to its limits. Conveying a sense of weight, instability, and potential motion, Serra's graphic works possess a physical presence that provokes reactions similar ...
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Richard Serra began making prints in 1972. Since then, his continued investigations into printmaking have produced an innovative body of work that is as large as it is varied. While Serra's prints explore the perceptual possibilities suggested by his sculptural work, they are not merely illustrative, but rather autonomous works of art that constantly push the medium to its limits. Conveying a sense of weight, instability, and potential motion, Serra's graphic works possess a physical presence that provokes reactions similar to those experienced in the presence of his sculptures. Rounding out the publication's visuals, two essayists explore the many ramifications of presence in Serra's work.
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Seller's Description:
HARDCOVER Good-Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name-GOOD Standard-sized.
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Seller's Description:
Very Good. No Dust Jacket as Issued. Size: 6 5/8" x 6 5/8"; VERY GOOD / NO DJ. Former library book. 79 pp. Pages completely clean and unmarked; only library treatment is a label on the front endpaper. Mainly plates of Serra's works. Foreward by Adam Weinberg, essay by Allison Kemmerer, essay by Richard Axsom. Cover is heavy duty cardboard, white with black titling. Some faint smudges, bump on bottom edge of back cover, otherwise in near-to-new condition: top/tail of spine, corners, and other edges crisp, clean, not bumped.
