From Library Journal
A sculptor friend glancing through my review copy said "This is not for the layman." Perhaps this first volume of a new paperback series to be called "October Files" (after the art criticism journal October, from whence come many of its essays) could best be described as serious writing about serious art. Lay readers are certainly not excluded from reading serious art criticism, but this book is not intended as an introduction to or overview of the work of Richard Serra, the prominent metal sculptor. Instead, six essays, accompanied by photographs drawn from October and various exhibition catalogs, discuss various aspects of the artist's filmmaking, lead casting, sculpture siting, and philosophy. By turning an intensive gaze on particular segments of the artist's total oeuvre, the reader can proceed to a larger understanding of his work. For academic libraries.DDavid McClelland, Philadelphia
Copyright 2000 Reed Business Information, Inc.
--This text refers to the
About the Author
Richard Serra was born in San Francisco in 1939. While in college, he supported himself by working in steel mills. His work, which stems from Minimalist beginnings in the 1960s, and has been exhibited and permanently installed around the world, is famous for a physicality compounded by breathtaking size and weight. Serra lives in New York and Nova Scotia
Critic and scholar Hal Foster is the author of "The Return of the Real, Vision and Visuality", and "The Anti-Aesthetic: Essays on Postmodern Culture". He has held numerous editorial positions, including at "October", "Zone", "Art in America", and "Artforum", and is presently the Townsend Martin Class of 1917 Professor of Art and Archaeology at Princeton University.