It takes radical alchemy to imbue paper with the physicality of steel. Richard Serra (b. 1939) does just that in his etching Paths and Edges #13. In the early 1970’s, around the same time that he took up printmaking, Serra created his first monumental steel sculptures. The decades-spanning series would come to define post-war, Post-Minimalist art. Sculptors often use printmaking to conceptualize work, but Serra makes prints in reaction to his completed sculptures. The artist sees the practice as “…a method for me to bring sculpture to definition, i.e., to understand the work in totality after its completion.” That’s how his prints so viscerally capture the simultaneous motion and inertia of his monolithic sculptures. Scroll down to view Paths and Edges #13 from the Zane Bennett Contemporary Art collection.
“Very quickly, a painting is turned into a facsimile of itself,” said Robert Rauschenberg (1925-2008). “One becomes so familiar with it that one recognizes it without looking at it.” He could’ve been talking about Leonardo da Vinci’s Mona Lisa, which makes a cameo in his 1996 intaglio printBanco, from Ground Rules. The portrait is so rooted in the modern cultural consciousness that we can instantly conjure it in our mind’s eye.
Thus, it’s a perfect tool for exploring the concept of authorship: the painting appears next to a window emblazoned with the words “YOUR NAME HERE.” By presenting the world’s most iconic painting beside advertising lingo, the postmodern master asks whether true ownership of an image is possible in the age of mass media. Learn more about the print below, and browse more works by Rauschenberg.
Starting Black Friday (Nov. 24) and extending through Cyber Monday (Nov. 26), enjoy a 10% discount on any acquisition from Zane Bennett Contemporary Art. Scroll down to see our latest offerings, and browse the complete collection on our website.