I use black because it is a color that doesn’t transport elusive emotions.
Gagosian is pleased to present Rifts, an exhibition of recent drawings by Richard Serra.
The Rifts get their name from the distinctive white shapes—elongated triangles—that punctuate their otherwise unrelenting tarmac blackness, and perhaps from the geological term for a rent in the earth’s surface caused by moving tectonic plates. These sharp-edged triangular rifts are negative shapes, the white of the blank paper. An invention in drawing but one demanding their own rigor, they happen at the junction of two sheets of paper.
The stringent intelligible structures of the Rift Drawings obstruct us from seeing their white divisions expressively as other kinds of rupture—psychological, historical, ontological. Yet minimal metaphors of drawing remain: tension, balance, presence, space. The imposing scale and gross materiality of the Rifts hover just long enough on this border, perhaps, to make us more conscious of the operations of metaphor in our relationship to drawing.
The first Rifts date from 2011, and were shown at the Menil Collection, Houston, in 2012; and at Gagosian Paris, London, and Los Angeles, 2013–17.
In 2011, a major publication focusing on Serra’s drawings, Richard Serra Drawing: A Retrospective, was published by the Menil Collection; and in 2017, Richard Serra: Drawings 2015–2017 was published by Gagosian and Steidl on the occasion of the exhibition Richard Serra: Drawings 2015–2017: Rambles, Composites, Rotterdam Verticals, Rotterdam Horizontals, Rifts at Museum Boijmans Van Beuningen, Rotterdam.
From Richard Serra: Trevor Noah’s Message Against Racial Injustice
In response to enduring racial injustices and the recent widespread civil unrest, Richard Serra urges people to watch this video commentary by Trevor Noah, host of The Daily Show.
The Art of Perception: Richard Serra’s Films
For eleven years, from 1968 to 1979, Richard Serra created a collection of films and videos that felt out the uncharted phenomenological boundaries of the medium. Carlos Valladares explores a selection of these works.
Gagosian Quarterly Fall 2019
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
Intimate Grandeur: Glenstone Museum
Paul Goldberger tracks the evolution of Mitchell and Emily Rales’s Glenstone Museum in Potomac, Maryland. Set amid 230 acres of pristine landscape and housing a world-class collection of modern and contemporary art, this graceful complex of pavilions, designed by architects Thomas Phifer and Partners, opened to the public in the fall of 2018.
Extended through January 11, 2020
September 17, 2019–January 11, 2020
555 West 24th Street, New York