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Shelter SerraFake Gun (Beretta), 2017, by Shelter Serra2017
2017
About the Item
Fake Gun (Beretta)
2017
8” x 5.25” x 1.5” inches
Cast resin and nickel plating. Unique work.
This sculpture is cast from a replica of the well-known handgun Beretta. It has been transformed into a new object of contemplation that confronts the viewer by association with the original aura, similar to a trompe l’oeil painting. Also, the sculpture potentially brings awareness to the current debate regarding firearms in our country. Yet, the object merely stands in place of the “real” object, giving neither questions or answers.
Shelter Serra’s paintings, sculptures, and drawings explore mass consumption and cultural identity. He juxtaposes subject matters that are both common and recognizable: a Campbell's Soup Can, a copper plated baseball hat, and a Hermes Birkin bag cast in resin, as examples. By portraying these sculptures of aesthetic contemplation. “Refining an aesthetic and making beautiful objects, whether that be a dress, bag, or sculpture," says Serra, "is a celebration of pure creativity and personal vision.”
Shelter Serra, who is related to minimalist master Richard Serra, has collaborated with the Art Production Fund, Helmut Lang, Converse, and Chanel. Solo exhibitions of his work have been presented at BTW Gallery in Geneva, Anonymous Gallery in Mexico City, Beams B Gallery in Tokyo, and Marlborough Gallery in New York, among other galleries. His work has been included in group exhibitions at institutions such as Philadelphia’s ICA, Maryland Institute of Art in Baltimore, and Urbis Art Centre in Manchester.
- Creator:Shelter Serra (1972, American)
- Creation Year:2017
- Dimensions:Height: 8 in (20.32 cm)Width: 5.25 in (13.34 cm)Depth: 1.5 in (3.81 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Brooklyn, NY
- Reference Number:1stDibs: LU122724424911
Shelter Serra
Shelter Serra is a multidisciplinary artist whose artworks probe the resonance of imagery and objects he has pulled from the wake of American visual and material culture to reexamine. Serra’s compelling sculptures of ubiquitous or iconic commercial products remade in bronze, resin, copper, or gold, are conspicuous replicas of recognizable forms. Serra’s paintings similarly announce their existence as reproductions of reproductions: halftone dots, hand copied typeface, mimicked printing glitches, the tones of a black and white photograph, or the vibrant colors of a thermograph, signal that the subject has been rendered, filtered through an image-making process employed for a particular end. By reproducing and recontextualizing these images and objects, Serra examines the cultural paradigms which led to their creation and commodification. The utility, absurdity, or desirability of the source image or object is contended with and re-assessed via Serra’s handmade proxies. His recreations provoke a conceptual consideration of the assigned, symbolic status of the original – fashionable, wasteful, threatening, luxurious, lowbrow – they test the limits or longevity of the original’s aura. If Serra’s choice of subject matter is perceived as a commentary on the ‘stuff’ this country generates, it is the viewer who has imposed this subtext. In the form of re-presentations of already manufactured products or reproductions, Serra’s artworks have a symbolic function. They point back to an original, and to the culture that gave that original meaning.
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