metal sculpture
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“I wanted to make something visual, physical, visceral to reflect the butchery they are inflicting on our planet: a visual scream that gives voice to the calamitous cost of the climate crisis, often on the most marginalised communities across the globe. BUTCHERED is also a tribute to the heroic work done in opposition to this destruction, and to the tireless activists who choose to disrupt, disagree and disobey.” — Anish Kapoor
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“Every good work should have at least ten meanings.” — Walter De Maria
The Broken Kilometer (1979), located at 393 West Broadway in New York City, is composed of 500 highly polished, round, solid brass rods, each measuring two meters in length and five centimeters (two inches) in diameter. The 500 rods are placed in five parallel rows of 100 rods each. The sculpture weighs 18 ¾ tons and would measure 3,280 feet if all the elements were laid end-to-end. Each rod is placed such that the spaces between the rods increase by 5mm with each consecutive space, from front to back; the first two rods of each row are placed 80mm apart, the last two rods are placed 580 mm apart. Stadium lights illuminate the work’s full area of 45 by 125 feet.
This work is the companion piece to De Maria’s 1977 Vertical Earth Kilometer at Kassel, Germany. In that permanently installed earth sculpture, a brass rod of the same diameter, total weight and total length has been inserted 1,000 meters into the ground.
The Broken Kilometer has been on long-term view to the public since 1979. This work was commissioned and is maintained by Dia Art Foundation.
Walter De Maria
The Broken Kilometer
1979
Brass
At 393 West Broadway, New York
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Richard Serra. Television Delivers People. 1973
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Installation photo of Richard Serra Sculpture: Forty Years, The Museum of Modern Art, New York, June 3–September 24, 2007. Photo: Lorenz Kienzle
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Ian Burn began investigating the act of looking in the mid 1960s. In this work, text across a standard framed mirror quotes from the 18th-century Scottish philosopher David Hume. The original quote continues, ‘if we consider these objects in themselves, and never look beyond the ideas which we form of them’.
The viewer is asked to consider this specific work of art without considering his or her accumulated knowledge and assumptions about either ‘mirrors’ or ‘works of art’ (or the person ‘in’ the mirror). The impossibility of isolating any one thing from all others is emphasised in this conceptual artwork by our reflection in the mirror and that of the space in which it hangs and other art nearby.
Ian Burn
Two glass/Mirror piece
1968
mirror, glass, wood
93.7 × 63.2 cm
National Gallery of Victoria, Melbourne
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“Art for the most part, is about concentration, solitude and determination. It’s really not about other people’s needs and assumptions. I’m not interested in the notion that art serves something. Art is useless, not useful.” — Richard Serra
Richard Serra
TTI London
2007
two torqued tori of weatherproof steel
each 14 x 35″
installation view
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“The angel, a transcendent being, has become powerless, unable to carry out God’s will, or to help those who believe in its existence.” — Sun Yuan and Peng Yu
Sun Yuan and Peng Yu
Angel
2008
Silica Gel, Fiberglass, Stainless Steel, Woven Mesh
180 × 220 cm