[HN Gopher] Richard Serra, minimalist sculptor whose steel creat...
___________________________________________________________________
Richard Serra, minimalist sculptor whose steel creations awed
viewers, has died
Author : pseudolus
Score : 132 points
Date : 2024-03-27 10:46 UTC (3 days ago)
(HTM) web link (www.artnews.com)
(TXT) w3m dump (www.artnews.com)
| windowshopping wrote:
| I for one have never heard of this artist. Sometimes I feel like
| there's a world of contemporary art that exists entirely apart
| from the layers of society I am exposed to.
| browningstreet wrote:
| This was a fairly prominent moment in his raise to the
| "mainstream":
|
| https://en.wikipedia.org/wiki/Tilted_Arc
| twoodfin wrote:
| Everyone's taste is their own thing, but if you haven't exposed
| yourself to the world of contemporary art, I'd highly recommend
| giving it a try if only to see how it bounces off you.
|
| In my experience, great modern art creates an indelible
| impression that puts to shame all but the most thoughtful
| artifacts of our (largely "disposable by design") popular
| culture.
|
| I distinctly recall wandering through one of Serra's oxidized
| marvels at the Bilbao Guggenheim, just before becoming
| mesmerized by Ragnar Kjartansson's "The Visitors"--now 9 years
| ago.
|
| It's the penetration into memory and the deeper layers of the
| subconscious that really distinguishes the best contemporary
| artists and works.
| eichin wrote:
| I had to dig a bit, but MIT's "Transparent Horizons" (local
| description: "is neither") turns out to be Louise Nevelson's
| work, and "The Great Sail" is a Calder; turns out MIT didn't
| end up with any of Serra's work in the Big Hunk Of Metal genre.
| (On the other hand, unlike Serra, as far as I know none of
| Nevelson or Calder's installations actually killed anyone...)
| fumeux_fume wrote:
| I went to a public university and walked pass/thru/around one
| of his works nearly every day on my way to classes for four
| years. It's actually not a world as far removed as you might
| think.
| acjohnson55 wrote:
| It's unfortunate that you're downvoted, because I can relate. I
| knew nothing of the contemporary art world until I found myself
| working at an art marketplace and media startup. For a few
| years, I was immersed in it. When I left, I wrote in my
| farewell note that I felt like I gained a whole new layer of
| perception of my surroundings. I connected with art
| installations. I sought out galleries and museums when
| traveling.
|
| This is how I became acquainted with Richard Serra's work. His
| pieces are so monumental and immersive that when you encounter
| his work elsewhere, you immediately know it, whether or not you
| remember his name.
|
| So I don't blame you for not feeling a connection. But you
| might find it worthwhile to invest in learning about the art
| world. If you're interested, IMO, the single best thing you can
| do is go on the little scheduled guided tours at museums. The
| docents (volunteer guides) are great at making the art
| relatable.
| toomuchtodo wrote:
| https://en.wikipedia.org/wiki/Richard_Serra
| 0x6A75616E wrote:
| Those are some interesting pieces. It'd be fun to create a game
| where players need to guess between "Art Installation or Random
| Pile of Trash"
| ordu wrote:
| One cannot guess with post-modernism. Classicism has fixed
| standards of beauty, you can measure them looking at a piece of
| an art and grade them. The follow ups like Renaissance art
| tried different standards of beauty, but the idea was the same:
| you measure level of art looking at the art. But post-modernism
| had shown then you can make a pile of trash and it might work
| like an art installation. The really interesting question is if
| any pile of trash can serve as an art installation? Or maybe
| you need a pile with some special characteristics? If so then
| what are those characteristics?
| optionalsquid wrote:
| My first thought was artworks like those of Tim Noble and Sue
| Webster: Literal piles of garbage in several cases, but also
| much more than that.
|
| https://www.artworksforchange.org/portfolio/tim-noble-and-
| su...
| 082349872349872 wrote:
| > _what are those characteristics?_
|
| That's easy: does the particular pile of trash generate any
| interesting discussion?
|
| (for the category-heads: what functors are there into or out
| of the pile of trash?)
|
| EDIT: we have AI generated art; do we have AI art critics
| yet?
| cutemonster wrote:
| > does the particular pile of trash generate any
| interesting discussion?
|
| Then, trash created by a celebrity, is art?
|
| Because knowing that that person did that ugly thing,
| generates discussions (like "wow what did s/he think!? Is
| that the best they can do?")
| 082349872349872 wrote:
| Any straight answer I give to that would probably be long
| and boring and drag in things like "Marianne"'s 2024
| reproduction(fr)[0] of Bourdieu[1].
|
| Here's a shorter (albeit catechistic) version: would you
| count https://news.ycombinator.com/item?id=39873907 as an
| interesting comment?
|
| How does Queen Bey's cover in that comment compare to
| David's Napoleon[2]?
|
| How does Queen Liz' picture from that comment compare to
| her younger self[3]? to the Beyonce cover? to
| Gainsborough's Mr. & Mrs. Andrews[4]?
|
| From the standpoint of the graphic arts[5], do either of
| these queens count as artists? or as celebrities?
|
| In which quadrant of [0] do celebrity news tabs belong?
| "Marianne"? (with what accuracy can we guess a website's
| target quadrant by its immediate visual impression?)
|
| What other questions might we ask?
|
| [0] https://panorama-
| pv5.immanens.com/api/document/3229/1399/xml... [6]
|
| (in french; for related english content:
| https://dynomight.net/img/class/social%20positions.jpg
|
| explained in: https://dynomight.net/class/ )
|
| [1] https://dynomight.net/bourdieu/
|
| [2]
| https://en.wikipedia.org/wiki/Napoleon_Crossing_the_Alps
|
| [3] https://photos.airmail.news/uwcwylyjv86yd02gja659nfc6
| 9sj-c12...
|
| [4] https://www.ways-of-seeing.com/images/ch5_21.jpg
|
| [5] the Muses all seem to be patrons of the
| literary/musical arts; are there equivalents for the
| visual arts? WTF is Urania ("astronomy & astrology")
| doing in that group?
|
| [6] a related graphic: https://dubasque.org/wp-
| content/uploads/2024/01/image_0006_0...
|
| suggests that X ne Twitter has poor demographics in the
| hexagon. Are they better among anglophones than
| francophones?
|
| (Louis Vuitton, Zara, pop music, and Marvel all fall
| exactly on the cultural centreline; do we suppose they
| were lucky, or that they poll --and position-- often?)
| kjellsbells wrote:
| I wondered when Jon Berger would show up. His analysis of
| the Gainsborough picture was very eye opening to those
| viewers raised on more traditional analysis such as that
| of Kenneth Clark.
|
| Along the same vein, Francis Frascina's commentary on
| Guernica (see youtube) is also enlightening. Both Berger
| and Frascina are very much of their time (vaguely marxist
| veneer of the 1970s?) but the beauty of these works is
| that they inspire conversation in succeeding generations.
| 082349872349872 wrote:
| I see a conversation from Berger (1972) with preceding
| generations:
|
| (Ep 1 18:40) > _...as soon as the meaning of the painting
| becomes transmittable, this meaning is liable to be
| manipulated and transformed._
|
| Hesse's _The Glass Bead Game_ is from 1943, and I believe
| the "game" played in Castalia was meant to be exactly
| this sort of manipulation and transformation; creating
| new work by combining and transforming old, kind of like
| https://en.wikipedia.org/wiki/Millefiori , but for all
| sorts of work, not just glass.
|
| EDIT: heh, at 19:44 Berger gets around to the
| https://en.wikipedia.org/wiki/Kuleshov_effect (without,
| however, mentioning Kuleshov) ... and at the close of the
| programme he even cites a reference*! (on broadcast TV?
| what kind of marvel is this?)
|
| * https://en.wikipedia.org/wiki/The_Work_of_Art_in_the_Ag
| e_of_...
| aabhay wrote:
| Sad to see the other comments are so contemptuous. When you see
| one of his pieces in person, you will gain an immediate
| appreciation for what he was trying to do. Essentially Richard
| Serra's iron sculptures were playing with the architecture of the
| spaces they were placed in. Turning an open plaza into a twisty
| maze and so forth. As far as art is concerned, one of my favorite
| people, and I'm glad he did what he did.
| llm_trw wrote:
| >Sad to see the other comments are so contemptuous.
|
| There are literally no comments in this thread which are
| negative.
|
| I have no idea why those who control the art world feel the
| need to present themselves as marginalized.
| aabhay wrote:
| Yes. I pull the strings on the art world and have complete
| control over everything but this comment thread.
| paganel wrote:
| Not contemptuous , but this guy's "art" is the type of thing
| that has helped alienate the common man and drove him into
| whichever political hands rejected these neoliberal-inspired
| creations.
|
| Also, props to Serra for doing some "art" stuff for Qatar in
| the 2010s, the money was probably very good (which brings me
| to my above point).
| outop wrote:
| Pretty sure the existence of art made from large pieces of
| steel isn't the thing that "helped alienate the common
| man".
| paganel wrote:
| Alienating art has been a staple of many past social
| revolutions, the "made up of steel" thing (like in this
| case) is just a secondary issue.
|
| But I get this guy's appeal and I also get why his
| audience wouldn't want to see it that way, it is what is,
| nothing that the two of us can do about it other than
| trying to talk over an over-increasing socio-economic
| wall.
| outop wrote:
| Can you name some of these social revolutions? I'm
| genuinely not sure what you are referring to.
| timr wrote:
| Yes, Clara-Clara (formerly installed at Jardin des Tuileries in
| Paris) was the first time I really "got" Serra -- at least,
| beyond the scale and imposition of the things. That sculpture
| was almost natural for the space, and people interacted with it
| by touching it, leaving white handprints from the soil across
| the surface, and creating a sort of ghostly effect of all the
| people who had been there. [1]
|
| Too many Serra sculptures are just sort of treated as plop art,
| but if you see his stuff at Storm King or Dia Beacon or the
| site-specific installations, it makes a lot more sense.
|
| [1]
| https://alltheartiveeverseen.wordpress.com/2013/10/12/serra-...
| dang wrote:
| https://hn.algolia.com/?dateRange=all&page=0&prefix=true&que...
| bowsamic wrote:
| There isn't a single contemptuous comment. Did you write this
| in anticipation of them?
| aabhay wrote:
| Don't be so cynical. I was like the third person to comment
| on this post and both existing comments were negative. One
| asking about a game telling the difference between art or
| trash, etc.
| bowsamic wrote:
| I don't think that comment was negative, it starts by
| saying they are interesting. I've seen a lot of art that
| purposefully juxtaposes itself with trash.
| aaronbrethorst wrote:
| An early work of Serra's involved him literally tossing
| molten lead at a wall where it would harden into a pile of
| waste on the floor. Art or trash indeed.
| https://www.artforum.com/features/due-process-richard-
| serras...
| acjohnson55 wrote:
| Well maybe give it a few minutes before judging the
| temperature of the conversation? At this point, it seems
| like there's a lot of appreciation.
| smokel wrote:
| _> When you see one of his pieces in person, you will gain an
| immediate appreciation for what he was trying to do._
|
| No, sorry. It just doesn't work for me. Tastes differ, I guess.
|
| I found most of his works to be typical of "put something big
| in a gallery and it looks amazing". Also, I feel annoyed by
| people who claim so much space. Not to say that his work is bad
| or useless -- I just don't like it.
|
| Perhaps if I read more about his intentions I might change my
| mind. But the appreciation sure isn't immediate for me.
| kjellsbells wrote:
| I hope you dont feel forced to like it in order to this of
| yourself as an art lover. That would be wrong. No one likes
| everything in a gallery after all.
|
| Re Serra, one of the problems I have with it is that
| displaying a gigantic work in the confines of a gallery just
| feels, well, confining. You already know the boundaries of
| the space because you can see the walls, the ceiling, the
| giftshop, etc.
|
| If the aim is to induce a sense of awe, or perhaps unease, at
| the mass of the work, or its size, rather like you might feel
| at an old site like Stonehenge, that effect is lost in the
| gallery.
|
| In fact there is a general problem with how we display art
| that is not easily soluble. Much of what is in museums and
| galleries today was created and sold for a single
| buyer/viewer. Such works reward close inspection over many
| years by the owner. Maybe one year you see something you
| never saw before. That effect is totally lost in a gallery.
| Daub wrote:
| I agree that too much art commentary is made without actually
| seeing the goddam artwork. As an art student I was guilty of
| this. I remember being very contemptuous of Edward Kienholz's
| work. These installation pieces looked very cheesy in photos,
| but when I saw one in real life
| (https://en.wikipedia.org/wiki/The_Beanery) I was blown away.
| ryandamm wrote:
| I had the same reaction to Rothko. Doesn't make sense until
| you experience it in person; the color and scale creates a
| totally different experience than what I was able to imagine
| looking at photos.
| frostburg wrote:
| My favourite of his pieces is Open Field Vertical Elevations,
| which incidentally was erected in the fields outside the
| residence of a collector who also recently passed, near where I
| live in the middle of nowhere, Tuscany.
|
| In person, viewed while immersed in its necessary context of
| landscape, it is visually powerful and moving. It is also a link
| to the greater world outside our narrow vales and to a cultural
| history of patronage of the arts.
|
| I understand that the attitudes here are mostly skeptical of
| contemporary art, but it really goes too far in most cases. Serra
| wasn't Hirst.
| failrate wrote:
| These sculptures are awesome. Literally. Walking next to one is a
| literally awe inspiring experience. They just seem so big and
| imposing standing next to one.
| ok_dad wrote:
| It makes sense he grew up in a shipyard town, big ships are
| imposing like his art. I'm not sure it was nearly formative,
| but I feel like he must have been going for something similar
| to walking through a shipyard, with all of the large ships but
| also the buildings and equipment and cargo are huge!
| ajmurmann wrote:
| The Guggenheim museum in Bilbao has an entire wing dedicated to a
| giant Richard Serra installation that's one with the
| architectural space it's in. For anyone visiting the Basque
| country, I cannot recommend visiting the exhibit strongly enough.
| bamboozled wrote:
| Saw it once, it was incredible. I didn't really know what it
| was when I first walked into the room and kind of got sucked
| into it.
| Daub wrote:
| This is a simple yet effective description of the unmediated
| art experience. At the end of the day, art is about standing-
| in-front-of, and experiencing, THINGS.
| relativeadv wrote:
| And if Spain is too far for some American southerners, there
| are a couple of Serra pieces in the Chattanooga, TN sculpture
| park. I was surprised to run into them while I lived there.
| gyomu wrote:
| The installation he had at SFMoMa, in the side entrance, was
| really great. The space now just feels naked without it.
| augustocallejas wrote:
| In 2002, Caltech students rejected one of his pieces, which would
| have been installed on the Beckman Lawn:
|
| https://www.latimes.com/archives/la-xpm-2002-may-22-me-calte...
|
| https://campuspubs.library.caltech.edu/1826/1/2002_05_20_103...
| stock_toaster wrote:
| > For a week, I considered chartreuse seriously.
| huytersd wrote:
| These are so large. How do you even go about bending such large
| sheets of steel in unconventional ways.
| tedd4u wrote:
| Big machines: "... we use very large machines
| first used to build battleships in the Second World
| War. People really hadn't explored the potential for
| what steel could be in terms of its variabilities and
| elasticity. It's only recently been explored by a few people."
|
| From: https://www.moma.org/audio/playlist/236/3052
| vonnik wrote:
| SF native. Brother of defense attorney Tony Serra who defended
| Shrimp Boy and the Ghost Ship guy.
|
| Agree with comment below that his works are best appreciated by
| walking in their shadow.
| asveikau wrote:
| The old James Woods film _True believer_ is based on Tony
| Serra.
| gdubs wrote:
| Serra's work is just one of those things that completely changed
| my world. I don't know how old I was, but walking through his
| pieces made me realize that art could be larger than life. Truly
| a giant of the 20th century.
| coisasdavida wrote:
| My visit to his stuff in Bilbao was amazing.
| ignormies wrote:
| Stumbled upon 'Fulcrum' yesterday near Liverpool Station in
| London without knowing anything about it.
|
| Incredibly impressive piece of art that made me stop and admire
| it for a few minutes. Watching the relatively minuscule people
| shuffle by at the base of the _enormous_ sheets of twisted steel
| was fascinating.
|
| Yesterday I knew nothing about the artist but the moment I saw
| this article title I thought, "wait that piece had to have been
| this guy." I'm going to have to seek out more of his work.
| Oarch wrote:
| It's reasonably hidden, lots of redevelopment work going on
| around that sculpture at the moment. Hopefully the setting
| improved a bit.
| Daub wrote:
| No one here has talked about the number of lives that Serra's
| work has claimed/ruined. So far: one death and two serious
| injuries. Details here:
| https://www.theguardian.com/artanddesign/shortcuts/2018/aug/...
|
| From this link:
|
| > Richard Serra's steel sculptures feel the most dangerous of
| all. They tower over you, surround you, menace you. The danger is
| not illusory. Serra's rolled steel is dangerous, especially for
| workers who have to install it. In 1971, a contractor called
| Raymond Johnson was killed during the installation of a Serra
| sculpture. In 1988, two workers were seriously injured while
| deinstalling one of his pieces.
|
| We were taught to hate his work at school. Big, heavy,
| industrial... 'big willy' art I remember one lecturer calling it.
| However, I always liked his work, largely as a result of seeing
| it in person at the Tate Modern. I could feel the literal eight
| of his work as I walked through it: heavy sheets of metal
| balanced against each other. Peril was part of the price of
| admission.
|
| The death/injuries victims were all art technicians: people
| tasked with installing the work. I used to work with such people,
| and their job is a fascinating one. I remember helping to scan a
| building with ground scanning radar in order to determine if it
| was strong enough to hold Anselm Kiefer's library of huge lead
| books: https://www.wikiart.org/en/anselm-kiefer/the-high-
| priestess-...
|
| It took a team of four men and a forklift truck just to turn the
| pages of these books.
| CPLX wrote:
| I'm not sure it's fair to describe something as "dangerous" and
| as having "killed" people when you're talking about technicians
| hired to safely move or install something.
|
| By that definition pretty much any object is "dangerous."
| kibwen wrote:
| Right, in order to fairly describe this man's artworks as any
| more dangerous than average based on their entire functional
| lifecycle we'd need to evaluate, for example, how many people
| were killed while producing the marble blocks used by
| sculptors such as Michaelangelo, or how many people died as a
| side effect of exposure to toxic compounds (e.g. cinnabar
| (red), cobalt (blue), lead (white)) while producing pigments
| for painters such as Rembrandt.
| Daub wrote:
| There is a clear difference between the dangers incurred by
| an artist (e.g. an artist using toxic pigments) and an
| artist endangering their employees (models, assistants,
| etc).
|
| Similarly, there is a difference between the dangers
| incurred by an artist and the dangers incurred by anyone
| deeper into the supply-line (e.g. in the mining of toxic
| compounds to be used in paint/pigment).
|
| The artist who taught me sculpture died as a direct result
| of employing asbestos in his work. He was an art student
| when he did so, and the information that could have saved
| his life was not then public knowledge.
|
| One of the hallmarks of Serra's work is precisely danger.
| Stand in person inside of his work and tell me otherwise.
| This was a knowing gamble on his behalf.
| Daub wrote:
| > By that definition pretty much any object is "dangerous."
|
| Fair point.
|
| However, like any employer an artist has a responsibly
| towards their employees. I hate to say this, but there is an
| inevitable credibility attached to art artist's work that
| results in an employee's death.
|
| https://www.tate.org.uk/art/artworks/millais-ophelia-n01506
|
| The painting Ophelia by Millais required a model sit in a
| bath of water for extended periods of time. From the article:
|
| > The model, Elizabeth Siddal, a favourite of the Pre-
| Raphaelites who later married Rossetti, was required to pose
| over a four month period in a bath full of water kept warm by
| lamps underneath. The lamps went out on one occasion, causing
| her to catch a severe cold. Her father threatened the artist
| with legal action until he agreed to pay the doctor's bills.
|
| At art school, this was presented to us as a romantic feature
| of the work, rather that the outrageous abandonment of an
| artist's responsibly towards their workforce.
| robertlagrant wrote:
| > However, like any employer an artist has a responsibly
| towards their employees.
|
| Were they his employees?
| Daub wrote:
| Hard to say, but the likelihood is that they were. Most
| 'blue chip' artists employ technicians that travel around
| the world to install and repair their work. This may be
| mediated through their dealer.
|
| I mention repair as a lot of contemporary art requires
| ongoing maintain, Julian Schnabel's employs full-time a
| team who trot around the globe repairing his famous plate
| portraits.
|
| Regardless, I would feel ethically responsible for anyone
| who installs my work. FYI: most exhibitions require that
| an artist define 'installation instructions'.
| robertlagrant wrote:
| I'm more speaking concretely than theoretically: do we
| know he employed them? Even if an artist defines
| instructions, that doesn't mean that they'll be followed.
| MattRix wrote:
| I'm guessing nobody else brought it up because the original
| article already mentioned this fact.
| Daub wrote:
| Woops. My bad. However, I believe the details I raise remain
| generally valid.
| hash872 wrote:
| I'm not a huge fan of this kind of safetyism argument. Human
| beings have been injured or killed by most fields of human
| endeavor, it's certainly unfortunate but unless Richard Serra
| specifically was engaged in some kind of negligence I don't see
| how that's really a critique. In the last couple hundred years
| some person somewhere has variously been killed by swimming
| pools, kitchens, sidewalks, windows, bicycles, etc. How many
| people have fallen off say a roof in the last century? Imagine
| if you said 'no one is talking about the number of lives cut
| short by roofs'. A 0% injury/death rate is not really possible
| fumeux_fume wrote:
| The man just died and we're remembering what his art meant to
| us. Why would you expect a lengthy discussion on a handful of
| accidents his artworks caused? Read the room please.
| 4death4 wrote:
| How many people die installing roofs above art galleries or
| felling trees for the paper upon which art is made?
|
| It's also weird that you were taught to hate something. Seems
| like a waste of time.
| kouru225 wrote:
| Exactly. It's always so crazy to me how there's such a double
| standard when it comes to art. Millions of people spend their
| entire lives in factories doing the same stitch over and over
| again, but if Kubrick makes Shelley Duvall do the same scene
| 100 times it's abuse. How many people die in the shipping
| industry for example and no one calls them out
| ripe wrote:
| Love the article. I knew nothing about this artist, but after
| reading this, I am curious to see his works. Gives lots of
| details including pictures.
|
| The article does talk about the hazards of installing these giant
| steel sculptures and that workers have died and been injured.
| da-bacon wrote:
| My favorite Serra story is when he was hired to build a sculpture
| by Caltech. In typical fashion he decided he wanted to build a
| giant wall across one of the few remaining wide open green spaces
| on campus, the lawn adjacent to Beckman. In a nod to Caltech he
| called it "Vectors".
|
| The students were not happy. This was great lawn to just lay out,
| play frisbee, etc. A few days after this blew up in the student
| news, a large wall showed up right in front of the main coffee
| shop, the Red Door. That was a nice space with beautiful trees
| and tables (ah, the Southern California weather). The wall was
| right in the middle of this and blocked off the thoroughfare. The
| wall was called "Eigenvectors" and that word was painted on it,
| along with a ton of other linear algebra formulas. I remember
| walking by and going "holy shit is that the Moore-Penrose
| inverse?!" In the end the students won, the sculpture was never
| built.
| Daub wrote:
| Thanks for the story,.
|
| I love Serra's work, but I'm glad this piece was never built.
| For artists of his generation, the thoughts/feelings of the Hoi
| polloi were of little regard. A space was their stage, dam the
| little people.
| cutemonster wrote:
| Seems he got to build one eigenvector at least - the last
| photo in the article, the Tilted Arc. Across a public square,
| everyone needs to walk around the eigenvector. I had a
| reaction similar to that of the students
|
| But beautiful small figures :-)
| salomon812 wrote:
| I was a undergrad senior at Caltech during that time, and as
| luck would have it, I was taking an art history course. Caltech
| humanities courses tended to have visiting professors that
| would come for a single night a week. I mentioned to my
| professor that I did not think Serra's piece should be
| considered art and it turned into a debate that spanned several
| weeks. At first, I was worried I was taking a harsh stance but
| the professor was so excited that Caltech students took an
| interest in art and we happily debated for a while. I told her
| I hated Serra's Tilted Arc but conceded I did like his Sea
| Level and The Matter of Time.
|
| While I was not one of the students that put up Eigenvectors, I
| would have gladly helped if I realized they were doing it. I
| argued to my professor that Eigenvectors was art because it
| stood for something and my professor could not have been
| happier about the situation.
|
| Another protest piece that occurred was dumping a bunch of
| indoor and outdoor furniture on the very lawn that was going to
| host Vectors and then placing a sign on it that read something
| along the lines of "Invoice: Qty 1 art installation. Price:
| $1,000,000" in protest of the amount Caltech was going to pay
| Serra.
|
| If I recall, while the students won, Caltech never admitted it
| was due to the outcry. The official statement argued that a
| geological report of the area deemed it unsuitable for such a
| heavy art piece.
|
| I just looked online and it looks like they ripped up the
| entire lawn in a last few years to create another building and
| parking lot.
| erickhill wrote:
| I've always admired his large outdoor work "Wake" at the Olympic
| Sculpture Park in Seattle. I have very fond memories of my kids
| peeking around the massive, wave-like walls of steel.
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