kcrowsey2501: October 2010

1. What were Richard Serra's goals for the installation?

Serra's goal for the Duveen Galleries was to not take away from its original space, but to redefine it. He wanted to reinforce the scale of the architecture elements.

2. Define the field Serra is referring to when he states that his sculptural elements need to create "enough tension within the field to hold the experience of presence in the place". How do you define "experience of presence"?

The field is referred to as the open space that is not a vocal point within the gallery. The "experience of presence" is seen to be very reliant on the how a person affects that space and how it as a whole is presented.

3. How do the columns, pedestal condition, octagonal space and vertical axis challenge Serra?

The columns are huge vertical structures that are made to be a foyer like space from one gallery to the next. The pedestal condition challenges a vertical elevation that is different from all the other spaces, yet still in perspective with everything else as a whole. The octagonal space is vocal space that controls the rest of the space. Serra had to overcome all of this and still make it work together.

4. What is effective in terms of the shape, scale and number of the two square elements in the Duveen Galleries?

The scale wasn't read into well and its angle was set up in a defining way to work with the sculptures and the architectural set up. The square elements were positioned to stress the horizontal axis that was lacking compared to the vertical axis that was so overriding.

5. Describe the differences and similarities between Barnett Newman's and Richard Serra's work.

Barnett Newman's work is easier to read and comprehend. Newman’s work doesn’t work with space. Richard Serra uses his space as a whole. Horizontal axis, vertical axis and perspective are very important to Serra in this work. Serra considers everything in his work, making sure everything flows.