This is a cross-post of a piece of mine recently published in Arts+Culture Texas that tackles an excellent example of the tension between curator and audience.
Richard Serra’s work in print-making may be unknown to the casual art-goer, the artist’s name associated instead with his massive, imposing sculptural work in steel. But as Richard Serra: Prints, on view through April 30 at Dallas’ Nasher Sculpture Center details, for the last 30 years or so Serra has worked extensively with an array of printmaking processes.
Continue reading “on richard serra, context and museum-going in 2017”