The reactions to the death of Richard Serra, at age 85, on March 26, 2024 at his home in New York State, are immediate, multiple and unanimous.
An artist who disrupted the scale of sculpture, who pushed minimal art to the climax, who attacked the space of museums (the Guggenheim Bilbao in 1994), 1900 architecture (the Grand Palais in 2008), industrial remains (the DIA: Beacon north of New York, inaugurated in October 2007, and three of its
Torqued Ellipses
as permanent installations), making black and steel its raw materials.
An imperial figure in “postwar” and then contemporary art with his monumental works in Corten steel plates, the American artist has left his mark in all the major museums.
Social networks are logically buzzing with tributes.
Art historians, museum directors, writers entrust us with their testimonies.
“Without equivalent”
Alfred Pacquement, former director of the National Museum of Modern Art, from 2000 to 2013, curator of the “Promenade”…
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