![]() ![]() The sculpture, then, is a way of acting out the verb “to prop” in the medium of lead. The verb here is "to prop." The wall is propping up the tube, and the tube props up the sheet. In l967, the year before he created this piece, he began composing a list of verbs: "to roll, to cut, to tear, to shorten, to chip, to force." and so on. Yet the artist, Richard Serra, claimed he was mainly concerned with the process of making sculpture. Some viewers see the flat wall sheet as a reference to a painting. Notice how the tube casts shadows on the wall and the floor. Narrator: Adam Weinberg is Alice Pratt Brown Director of the Whitney Museum.Īdam Weinberg: At first you may be tempted to think of this work as a study in geometric forms. This sustained tension and possibility of collapse imposes on viewers a heightened awareness of their physical environment and personal vulnerability.Īdam Weinberg: This five-foot square sheet of lead is held in place with a large lead tube propped against the wall. The work relies on the perpendicular supports of the floor and wall for its construction, creating a tenuous balance of thrust and counterthrust. He was particularly interested in the behavior and logic of his material-most often lead-and described his working method as “figuring out what lead does.” For Prop, Serra rolled an 8 x 8 foot sheet of lead into a pole form, which he then used to prop a 5 x 5-foot square lead sheet against the wall. In 1967, he began composing a list of verbs: “to roll, to crease, to fold, to bend.” He then subjected various pliable materials such as lead, latex, and vulcanized rubber to these verbal actions, examining the results to see which turned out to be a viable work of art. ![]() ![]() In the 1960s, Richard Serra used industrial materials to explore the physical conditions of making and viewing sculpture. ![]()
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