2003.9.4.A-B, Richard Serra, W.M. (Weights and Measures I-V), 1995, etching with aquatint

GENERAL DESCRIPTION

These etchings by Richard Serra [2003.9.1.A-B, 2003.9.2.A-B, 2003.9.3.A-B, 2003.5.A-B] are part of his series called Weights and Measures, which exists in various forms: sculpture, drawings, and prints. Serra installed the series's sculpture, which consisted of two similar-looking but in fact very differently scaled steel rectangles, in a long central hall at the Tate Gallery in London, using the axis of the hallway to play off a viewer’s variable perception of distance, size, and matter. In a similar way, Serra’s prints and drawings of the series are deceptively complex renderings of how one form reacts with another in space, and all that this implies.

Adapted from

Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 48.
Jeffrey Grove, DMA Label copy, Variations on Theme: Contemporary Art 1950s - Present, 2012.

NOTES

DMA title is "Weights and Measures"; TATE calls it "Weight and Measures"
updated provenance and geo x refs

Catalogue essays

Artist/designers

Cultures

Geography

Process/materials

Etching (printmaking)

Historical periods

Individuals

Subject terms

RELATED OBJECTS

PROVENANCE

Until 2003: Danese Gallery, New York, New York [1]

From 2003: Dallas Museum of Art, purchased from above

[1] See copy of check #10315 in Collections Records Object File 2003.9.1-5.A-B

AUDIO ASSETS

VIDEO ASSETS

IMAGE ASSETS

WEB RESOURCES

YouTube~Watch a short video clip of Serra's Weights and Measures installed in a gallery.
Tate~Read more about Serra's Weights and Measures installed at the Tate in 1992.

ARCHIVAL RESOURCES

FUN FACTS

TEACHING IDEAS

RULES

Apply to objects where number equals 2003.9.4.A-B

General Description

These etchings by Richard Serra [2003.9.1.A-B, 2003.9.2.A-B, 2003.9.3.A-B, 2003.5.A-B] are part of his series called Weights and Measures, which exists in various forms: sculpture, drawings, and prints. Serra installed the series's sculpture, which consisted of two similar-looking but in fact very differently scaled steel rectangles, in a long central hall at the Tate Gallery in London, using the axis of the hallway to play off a viewer’s variable perception of distance, size, and matter. In a similar way, Serra’s prints and drawings of the series are deceptively complex renderings of how one form reacts with another in space, and all that this implies.