Not exact matches
a knee - level view from your bit
of pavement; a battered, upturned cooking pot and countable ribs, coughing from your
steel - banded lungs, alone, with your face to the wall; shrunken breasts and a three year old who can not stand; the ringed fingers, the eyes averted and a five - paise
piece in your palm; smoking the babus» cigarette butts to quieten the fiend in your belly; a husband without a job, without a
square meal a day, without energy, without hope; being at the mercy
of everyone further up the ladder because you are a threat to their self - respect; a hut
of tins and rags and plastic bags, in a warren
of huts you can not stand up in, where your neighbors live at one arm's length across the lane; a man who cries out in silence; nobody listening, for everyone's talking; the prayer withheld, the heart withheld, the hand withheld; yours and mine Lord teach us to hate our poverty
of spirit.
Spanning two floors
of the 24 Grafton Street location in London, the exhibition will feature works that relate to the artist's ongoing series
of «collage sculptures» begun in 2016, characterized by
square steel tubing that has been crushed and bent into soft folds that belie their material construction, then painted in a uniform color and variably combined with found
pieces of scrap metal and a smooth, highly polished
steel disk.
Some
of those I'd been most drawn to appeared reduced, hardened and flattened, a little too obvious: the 1973 expanse
of white Enamelac on an aluminium base that shows in a thin line down the left - hand side and along the bottom; a row
of square pieces from the same year, their fat L - shapes
of black (oxidised copper, apparently) set off by smaller white baked - enamel
squares; and 1985's Catalyst III, with its
steel bolts and thin, intermittent lines
of black enamel seeming to divide the aluminium base and contain it in a pointedly incomplete frame.
Yet his work actually encompasses such diverse items as a black - and - white painting based on flickering light on the Seine, gridded paintings with
squares of color arranged by chance, weathered
steel panels, floor
pieces, multi-panel paintings, contour drawings
of leaves and collages on postcards.
Completing the exhibition is an array
of four - foot -
square enamel on wooden panel Hole Paintings and a complementary painted
steel mobile, two sets
of prototypical Shag Paintings, and one hand -
pieced fabric wall hanging.
Many
of her
pieces are executed on small,
square, enamel - coated
steel plates that are combined in grid formations to create very large works.
The
squares of lead and
steel that compose Serra's
pieces, fixed in place by gravity, respond directly to floor works by Carl Andre, such as «Copper Zinc Plain» (1969), also on the fifth floor.
This test measures the force needed to embed a
steel ball -LRB-.444 inch in diameter) to half its diameter in the
piece of wood being tested, with the rating measured in pounds
of force per
square inch.