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Title: Verb List (1968-69)
Artwork Description & Analysis: Although usually regarded as an artist’s statement (akin to a private, reflective diary entry), Verb List might also be regarded as the artist’s chronological, aesthetic agenda, setting out his subsequent development in sculpture. If the “to” verbs are thought of as denoting acts already accomplished, and the “of” verbs as connoting those he has yet to undertake, Verb List may also be viewed as a shorthand, visual retrospective of Serra’s entire career, compressing past, present, and future into a single material object. Like a map, or a theoretical diagram, Verb List finally “stands in,” as a visual and conceptual proxy for something more physically tangible, or virtually touchable: sculpture itself. Serra’s later, monumental walls in steel would ultimately come to embody, in more abstract and open-ended terms, what the artist has chosen to conjure here in the “mind’s eye” of the beholder, indeed by way of strictly linguistic medium.
(via - theartstory.org)

Title: Verb List (1968-69)

Artwork Description & Analysis: Although usually regarded as an artist’s statement (akin to a private, reflective diary entry), Verb List might also be regarded as the artist’s chronological, aesthetic agenda, setting out his subsequent development in sculpture. If the “to” verbs are thought of as denoting acts already accomplished, and the “of” verbs as connoting those he has yet to undertake, Verb List may also be viewed as a shorthand, visual retrospective of Serra’s entire career, compressing past, present, and future into a single material object. Like a map, or a theoretical diagram, Verb List finally “stands in,” as a visual and conceptual proxy for something more physically tangible, or virtually touchable: sculpture itself. Serra’s later, monumental walls in steel would ultimately come to embody, in more abstract and open-ended terms, what the artist has chosen to conjure here in the “mind’s eye” of the beholder, indeed by way of strictly linguistic medium.

(via - theartstory.org)

— 2 hours ago
http://www.xavierhufkens.com/artists/erwin-wurm
Melting House, 2009Wood, styrofoam, resin, paint125 × 290 × 260 cm | 49 ¼ × 114 ⅛ × 102 ⅜ inches

http://www.xavierhufkens.com/artists/erwin-wurm

Melting House, 2009
Wood, styrofoam, resin, paint
125 × 290 × 260 cm | 49 ¼ × 114 ⅛ × 102 ⅜ inches

— 2 hours ago with 1 note
Erwin Wurm - Artist Biography & Works - Xavier Hufkens →
— 2 hours ago
dvais:

#ErwinWurm #Bicycle #Sculpture

dvais:

#ErwinWurm #Bicycle #Sculpture

— 2 hours ago with 11 notes
arturinthewoods:

Melting House II, Erwin Wurm, 2009

arturinthewoods:

Melting House II, Erwin Wurm, 2009

(Source: design-museum.de)

— 2 hours ago with 25 notes
"I never begin to construct with a specific intention. I don’t work from a priori ideas and theoretical propositions. The structures are the result of experimentation and invention. In every search there is always a degree of unforeseeability, a sort of troubling feeling, a wonder after the work is complete, after the conclusion. The part of the work that surprises me invariably leads to new works. Call it a glimpse; often this glimpse occurs because of an obscurity which arises from a precise resolution."
Richard Serra (via theartstory.org)
— 3 hours ago with 1 note
Richard Serra Discusses Artistic Tools and Strategies →
— 3 hours ago
"I think if you want to make art, at some point you have to suspend judgment, and you have to involve yourself with play and not worry about the outcome."

Richard Serra

(via 990000)

— 4 hours ago with 19 notes
"I think most work comes out of work and out of perception of work."
Richard Serra, “On Art,” c. 1985 (via nickkahler)
— 4 hours ago with 9 notes