Richard Serra, ‘7 Objects/69’, 1969, Wallector
Richard Serra, ‘7 Objects/69’, 1969, Wallector
Richard Serra, ‘7 Objects/69’, 1969, Wallector
Richard Serra, ‘7 Objects/69’, 1969, Wallector

A collection of seven minimal and conceptual objects by various artists, published by Tanglewood Press, Inc., New York, 1969.
This set, numbered 43/100, is in the original wooden box, it's in perfect conditions and it comprises:
David Bradshaw, "Tears". Wet and dry materials. Painting on canvas, about 20x50 inches. To be hung on a wall with the enclosed cut nails;
Eva Hesse, "Enclosed". Pliable object made from a gauze-like tape, dipped in liquid rubber, wrapped around a blown balloon and powdered. Average 3x10 inches;
Stephen Kaltenbach, "Fire". Bronze sidewalk plaque. Signed and numbered. 3 3/4 x 7 3/4 inches. The owner may complete this unfinished work by imbedding it in any sidewalk. When the plaque is in place please notify Tanglewood Press of its location with the enclosed post card;
Bruce Nauman, "Record". Sound Track From First Violin Film; Violin Problem No.2, Rhythmic Stamping (Four Rhythms In Preparation For Video Tape Problems). Jacket silk screen with photographs of the artist from video tape od "Stamping". Signed and numbered;
Alan Saret, "Untitled". Reprocessed nylon net, about 24 inches long. To be removed from black box and placed on top, if desired;
Richard Serra, "Rolled, Encased & Sawed". 3 Ibs. per sq. ft. of chemical lead which has been rolled and encased in a lead pipe and sawed into 12 inch lenghts. Each piece is stamped and numbered;
Keith Sonnier, "Plaster Cast in Satin". Numbered. 14x22 inches. To be hung on a wall with two nails.

Signature: Seven signed or unsigned minimal and conceptual objects with seven original numbered identification tags, copy 43 of 100.

About Richard Serra

The monumental sculptures of Richard Serra, one of the preeminent sculptors of the 20th century, emphasize or alter viewers' perceptions of space and proportion. “It's all about centralizing the space in different ways. How people move in relation to space, that's essentially what I'm up to,” he has said. Inspired early in his career by modern dance—notably through his relationship with members of New York City’s influential Judson Church dancers—and Japanese Zen gardens, the artist sought to create works that engage viewers in movement, taking in his large-scale sheet-metal pieces by navigating the space around them. Serra, who was schooled at Yale with classmates Frank Stella, Chuck Close, and Nancy Graves, has been called “cerebral, single-minded, austere, as steely and uncompromising as his work.” “I have a certain obstinacy, a certain willfulness that has got me in trouble but it has also got me through,” he has quipped.

American, b. 1939, San Francisco, California, based in New York and Nova Scotia, Canada