White • Very Fine • Fewest ImpuriAes • Smooth texture • High Firing Temperature • Translucent Sheen • Colors range from light to dark browns • Texture ranges from slightly course to moderately coarse • High Firing Temperature • Can be very coarse in texture • Colors are shades of red and brown • Very High Firing Temperature
scenes on the Robinson skyphos might be interpreted as showing a simple mass of raw clay, the different types of stippling incision strongly suggest two stages of purification comparable to the effects of the settling basins. Thus the herringbone-hatched mass on side B FIG. 5. Providence 25109. Red-figure lekythos illustrations of kilns on the plaques. All of these show the The Kiln If you will pay me for my song, O poFers, Then come, Athena, and hold thy hand above the kiln! May the kotyloi and all the kanastra turn a good black, May they be well ﬁred and fetch the price asked, Many being sold in the marketplace and many on the roads, And bring in much money, and may my song be pleasing. But if you (poFers) turn shameless and deceiaul, Then do I summon the ravagers of kilns, Both Syntrips (Smasher) and Smaragos (Crasher) and Asbetos (Unquenchable) too, and Sabaktes (Shake-‐to-‐Pieces) And Omodamos (Conquereor of the Unbaked), who makes much trouble for this crac. Stamp on stoking tunnel and chambers, and may the whole kiln Be thrown into confusing, while the poFers loudly wail. As grinds a horse’s jaw so may the kiln grind To powder all the pots within it. [Come, too, daughter of the Sun, Circe of many spells, Cast cruel spells, do evil to them and their handiwork. Here too let Cheiron lead many Centaurs, Both those that escaped the hands of Herakles and those that perished. May they his these pots hard, and may the kiln collapse. And may the poFers wail as they see the mischief. But I shall rejoiced at the sight of their luckless crac.] And if anyone bends over to look into the spy-‐hole, may his whole face Be scorched, so that all may learn to deal justly.
simple joys of human acAvity in the plaza. This is not a great plaza by internaAonal standards, but a small refuge and place of revival for people who ride to work in steel containers, work in sealed rooms (with no windows) and breathe recirculated air all day. Is the purpose of art to stress the absence of joy and hope? I can't believe this was the arAsAc intenAon, yet sadly this has been the dominant eﬀect of the work (It is arguable that "stressing the absence of joy and hope" was part of Serra's purpose, as interpreted by Horowitz )...I can accept anything in art, but I can't accept physical assault and complete destrucAon of ordinary human acAvity...no work of art created with a contempt of ordinary humanity and w/o respect for the common element of human experience can be great...I suggest Mr. Serra take advantage of this opportunity to walk away from this ﬁasco and move the work to a place where it will beFer reveal its beauty.” Richard Serra, Tilted Arc, Federal Plaza, New York City, 1981.
• To move it is to destroy it as it was designed for that site • I don't make portable objects that can be relocated • Make works that deal with env. components of given places • Scale, size locaAon of site speciﬁc works are determine by the characterisAcs of the site • Works become part of and built into structure of site and ocen restructure it both conceptually and perceptually Richard Serra, Tilted Arc, Federal Plaza, New York City, 1981.