Lee Ufan at the Guggenheim began as a blase exhibit. More objects stuck to other object, seemingly without meaning. After reading the explanation of "Moha", the phenomenon of using artificial and natural objects in juxtaposition, Ufan's work began to resonate with his philosophy. Though Ufan borders on philosophical work that is so philosophical it is meaningless, some pieces were as strong as the material used. The "Steel and Stone" series aesthetically failed and philosophically stated its point too blatantly. Yet further up the landing a lightbulb hangs over a canvas painted with the lightbulb's shadow. Is the shadow there or is it painted? Illusionism to question the human logic - clever. Another room held rocks on pillows. The piece was striking and immediately conveyed a sense of meaning without shouting its message. Its plaque-tag read the "Relatum" series deals with the concepts of artificial comfort (indoors) with substance (outdoors).
The painting series "From Point to Line" is also highly aesthetically successful with a direct meaning of start to finish through simple visual process imagery and repetition.
The exhibit is worth the time, and Ufan's thoughts are worth consideration.
Richard Serra's drawings at the MET
What do you expect? An actual drawing from Serra?
"Institutionalized abstract art" 1976/2011 is a black paintstick circle set high above eyesight like a window in a cell reversed. And "Deadweight V (Memphis)" 1991 is paint stick on two giant sheets of paper like a Rothko painting.
Other inclings of Serra's humor and creativity are hidden gems in the otherwise formalistic survey. "Verb list" 1967-68 is literally a list of verbs written in cursive. No wonder it is in the collection of the artist - I wouldn't let that go, either.
In "Hand catching lead", a 1968 video, a hand attempting and failing to catch lead as it is dropped.
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