Barry Le Va

American, b. 1941

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Barry Le Va

American, b. 1941

725
Followers
Biography

With unconventional materials and reductive forms, Barry Le Va redefined sculpture by introducing new subjects, formats, and modes of production in the 1960s in tandem with Richard Serra and Eva Hesse, among others. He aimed to mentally engage his audience through process-oriented works (entailing layering, crushing, blowing, and spilling) that take sculpture beyond the traditional notion of fully formed, enclosed matter. Foundational to Process art, the seemingly random arrangements of ball bearings, wooden planks, and pieces of felt that comprised his earliest large-scale installations in the late 1960s entered into a dialogue with their surroundings. Similarly, Tachycardia II (2006), large blocks of aluminum and cast resin placed around a gallery floor, drew attention to the relationship between the objects and the space containing them. Critic Saul Ostrow has noted Le Va’s pursuit of “a rational subjectivity” In his practice.

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Career Highlights
Learn more about artist insights.
Established
Established representation
Represented by industry leading galleries.
User
Solo show at a major institution
New Museum
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 5 more
Institution
Collected by a major institution
Museum of Modern Art (MoMA)
Publication
Reviewed by a major art publication
Artforum, and 1 more
Fair
Included in a major biennial
Venice Biennale National Pavilion, and 4 more
Biography

With unconventional materials and reductive forms, Barry Le Va redefined sculpture by introducing new subjects, formats, and modes of production in the 1960s in tandem with Richard Serra and Eva Hesse, among others. He aimed to mentally engage his audience through process-oriented works (entailing layering, crushing, blowing, and spilling) that take sculpture beyond the traditional notion of fully formed, enclosed matter. Foundational to Process art, the seemingly random arrangements of ball bearings, wooden planks, and pieces of felt that comprised his earliest large-scale installations in the late 1960s entered into a dialogue with their surroundings. Similarly, Tachycardia II (2006), large blocks of aluminum and cast resin placed around a gallery floor, drew attention to the relationship between the objects and the space containing them. Critic Saul Ostrow has noted Le Va’s pursuit of “a rational subjectivity” In his practice.

Career Highlights
Learn more about artist insights.
Established
Established representation
Represented by industry leading galleries.
User
Solo show at a major institution
New Museum
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 5 more
Institution
Collected by a major institution
Museum of Modern Art (MoMA)
Publication
Reviewed by a major art publication
Artforum, and 1 more
Fair
Included in a major biennial
Venice Biennale National Pavilion, and 4 more
Articles Featuring Barry Le Va
The 15 Best Booths at Frieze London and Frieze Masters
Oct 3rd, 2019
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