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Torquing Torus - Poem by gershon hepner

It very rare for Richard Serra
man of steel, to sculpt in error.
The shapes that he creates evoke
dunes, canyons and ravines. Baroque
the influence of all these curves.
Perhaps Borromini deserves
some credit for the inspiration
for their expressive undulation,
although, ingratiating, lavish,
his expertise inclines to ravish
as, torquing torus with inversion,
with parasexual perversion
it transforms alchemistically steel
into raw spaces where you feel
the presence of a dying numen
within the crevasse of the lumen
where people walk and need not climb
to sense a terror that’s sublime.

Michael Kimmelman reviews a retrospective exhibition of Richard Serra of sculptures at the Museum of Modern Art in New York, “Man of Steel, ” NYT, June 1,2007) :
That second floor at the Modern, by the way, is the show’s tour de force. A high, huge and like so much of this museum, totally unlovable space, it was conceived for housing Mr. Serra’s sculptures. Kirk Varnedoe, the Modern curator, came up with this idea, and the museum saw his plan through after his death. The resulting space is antiseptic, unfortunately, and too much of a barn for showing anything else, but it looks fantastic now. At one end is “Band, ” a 70-foot-long steel undulation, absent an inside or outside, forming four cavities. On the other end is “Sequence, ” which links two immense spirals. In between is “Torqued Torus Inversion, ” a pair of mirrored enclosures whose forms Mr. Serra has said may partly relate to his fondness for curvy Chinese bronzes…
These shapes and experiences are new. That’s about the best, and the rarest, compliment you can give to any artist. Mr. Serra’s “Torqued Ellipses” and “Torqued Toruses” and other recent works like “Band” and “Sequence” have their origins in work he did 40 years ago in rubber and lead, as this retrospective handsomely affirms, but these are nonetheless unprecedented variations on the theme of dumbfounding spirals and loops. The public’s perception of Mr. Serra’s work has also obviously changed from the bad days of “Tilted Arc, ” a quarter-century or so ago. That same vocabulary of curved, giant metal walls, once vilified as art-world arrogance, is now better understood and broadly admired. This is how radical art operates. In Mr. Serra’s case you can also call it democratic art because it sticks to pure form that requires no previous expertise to grasp. There’s no coy narrative, no insider joke or historical allusion or meta-art theme. There’s none of what Mr. Serra disdainfully calls, in the show’s catalog, “post-Pop Surrealism, ” by which he lumps together all contemporary art that leans for a crutch on language and Duchamp. In that catalog interview he was talking with Kynaston McShine, one of the show’s two curators. (The other is Lynne Cooke.) Mr. Serra famously looked at Borromini churches in Rome before he started torquing steel, but his work is not “about” Baroque architecture any more than it’s about Jackson Pollock or Barnett Newman or Donald Judd, whom he also looked at and learned from early on. The art is about the basic stuff of sculpture, isolated and recast: mass, weight, volume, material. What matters in the end are your own reactions while moving through the sculptures, at a given moment, the works being Rorschachs of indeterminate meaning….
A filmmaker I met in Bilbao, Spain, wandering through Mr. Serra’s sculptures there, likened the experience to movies. He thought the paths Mr. Serra devised within the works, between curving walls of steel, which suddenly jog, then arrive, unexpectedly, at cavities or enclosures, were like plot twists with surprise endings. Except there are no beginnings or endings in the sculptures. A novelist who has written about the Holocaust said the high, curving steel walls leaned over him threateningly, leading him until he became disoriented and lost, into what he felt were penned-in spaces, bringing to mind a concentration camp. The art scared him, he said, but he also loved it. Kant called this feeling “the terrifying sublime, ” which is “accompanied by a certain dread or melancholy.” Awe and fear mingle with pleasure. The concept was applied to mountain climbing, and Mr. Serra’s new works on the museum’s second floor, perhaps not coincidentally, evoke canyons, dunes, crevasses and ravines. The industrial steel walls, in uncalculated rusty orange and velvety brown, evoke natural terrains; the spaces through which the sculptures move people are akin to spaces in nature.


6/1/07


Comments about Torquing Torus by gershon hepner

  • Rookie - 133 Points Allemagne Roßmann (9/30/2012 7:51:00 AM)

    Shalom.Nice documentation hereby Sir (Report) Reply

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Poems About Narrative

  1. 1. Torquing Torus , gershon hepner
  2. 2. Eureka Rings A Bell , gershon hepner
  3. 3. Deft , gershon hepner
  4. 4. '-Unseen Academicals- 22/11/09 , Margaret Alice
  5. 5. Gnostic Texts , gershon hepner
  6. 6. Words Of Wisdom For The Rare Homo Sapiens , Dilantha Gunawardana
  7. 7. Scripture Of Zen , gershon hepner
  8. 8. Scripture Of The Zen , gershon hepner
  9. 9. Emulation , gershon hepner
  10. 10. Frankly, My Dear , gershon hepner
  11. 11. Scarlett And Melanie , gershon hepner
  12. 12. Kara Mustafa , gershon hepner
  13. 13. When Life Is Not A Drama , gershon hepner
  14. 14. Day Slice , Bill Grace
  15. 15. The Paparazzi Historian - Viii , Sadiqullah Khan
  16. 16. Tell Me , hasmukh amathalal
  17. 17. If I Really Want It , RIC S. BASTASA
  18. 18. Galleria Of Nostalgic Senses , Robert Rorabeck
  19. 19. On The Way To Uniondale , Gert Strydom
  20. 20. Joseph's Gloss On God , gershon hepner
  21. 21. 2010/06/30 Siren Song (Rev.) , Margaret Alice
  22. 22. Each Morning At The Breakfast Table , gershon hepner
  23. 23. Boredom , gershon hepner
  24. 24. Smooth And Amiable, Opaque , gershon hepner
  25. 25. Alankar(Decor) -205 , Indira Renganathan
  26. 26. The Idea And The Image Of The Dark Daugh.. , Bijay Kant Dubey
  27. 27. Endless End , Udaya R. Tennakoon
  28. 28. Speechless , Sadiqullah Khan
  29. 29. Genius , gershon hepner
  30. 30. 'Now, Heart' - Some Of What I Remember W.. , Warren Falcon
  31. 31. Triptych , gershon hepner
  32. 32. Which Is; Which Is , Luis Estable
  33. 33. Kulwant Singh Gill As A Poet , Bijay Kant Dubey
  34. 34. Camouflaged Flaws In Reality (Revised) , Margaret Alice Second
  35. 35. Open Up Your Wallets... , Lawrence S. Pertillar
  36. 36. Alankar(Decor) -98 , Indira Renganathan
  37. 37. Girl And Gun , gershon hepner
  38. 38. From....Ll , Morgan Michaels
  39. 39. Deeds And Relationships , gershon hepner
  40. 40. The Classics , Rm.Shanmugam Chettiar.
  41. 41. It Isn'T Traditional , Lawrence S. Pertillar
  42. 42. Pure Music , gershon hepner
  43. 43. All-Knowing Author (Rev.) , Margaret Alice Second
  44. 44. Resonances Come From What We Don'T Under.. , gershon hepner
  45. 45. Kebyar Dance , Ahmad Shiddiqi
  46. 46. It Seems The English , Patti Masterman
  47. 47. The Foolish Servant Reads The Palm In Hi.. , nimal dunuhinga
  48. 48. Felons And Talons , Naveed Akram
  49. 49. My Battle , Satish Verma
  50. 50. Stirk , Edward Kofi Louis
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