
Richard Serra
Richard Serra
Born in 1939, Richard Serra studied English literature at the University of California in Berkeley while working at a steel mill to earn a living. He went on to receive an MFA from Yale University where he studied with painter/theorist Joseph Albers. Living in New York, Paris, and Rome on the late 60s, Serra became acquainted with artists of the New York School: Philip Guston, Robert Rauschenberg, Ad Reinhart, and Frank Stella, as well as avant-garde composer Philip Glass. Associated with the emergence of post-minimalism and process art, Serra's lead splashing sculptures were included in The Warehouse Show at the Leo Castelli Gallery in 1968, and Anti-Illusion: Procedures Materials at the Whitney Museum in 1968—both pivotal exhibitions that established a new discourse in the field of sculpture. Serra produced several films before making videotapes in the early 70s. His early works, including Television Delivers People (1973), Prisoner's Dilemma (1974), and Boomerang (1974), are structural examinations of the medium as a vehicle for communication.
Television Delivers People
05:47 1973
Television Delivers People is a seminal work in the now well-established critique of popular media as an instrument of social control that asserts itself subtly on the populace through “entertainments,” for the benefit of those in power—the corporations that mantain and profit from the status quo. While canned Muzak plays, a scrolling text denounces the corporate masquerade of commercial television to reveal the structure of profit that greases the wheels of the media industry. Television emerges as little more than a insidious sponsor for the corporate engines of the world. By appropriating the medium he is criticizing—using television, in effect, against itself—Serra employs a characteristic strategy of early, counter-corporate video collectives—a strategy that remains integral to video artists committed to a critical dismantling of the media’s political and ideological stranglehold.
from VDB