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[[File:Richard Serra Sealevel1.jpg|right|thumb|250px|''Sea Level'' (South-west part), [[Zeewolde]], [[Netherlands]]]] |
[[File:Richard Serra Sealevel1.jpg|right|thumb|250px|''Sea Level'' (South-west part), [[Zeewolde]], [[Netherlands]]]] |
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'''Richard Serra''' (November 2, 1938 – March 26, 2024) was an American artist known for his large-scale [[Abstract art|abstract]] [[Modern sculpture|sculptures]] made for [[Site-specific art|site-specific]] landscape, urban, and [[Architecture|architectural]] settings, whose work has been primarily associated with [[Postminimalism]]. Described as "one of his era's greatest sculptors", Serra became notable for emphasizing the material qualities of his works and exploration of the relationship between the viewer, the work, and the site.<ref>{{Cite news |last=Smith |first=Roberta |date=March 26, 2024 |title=Richard Serra, Who Recast Sculpture on a Massive Scale, Dies at 85 |url=https://www.nytimes.com/2024/03/26/arts/richard-serra-dead.html |access-date=March 26, 2024 |newspaper=[[The New York Times]] |issn=0362-4331 |archive-date=March 26, 2024 |archive-url=https://web.archive.org/web/20240326232109/https://www.nytimes.com/2024/03/26/arts/richard-serra-dead.html |url-status=live }}</ref> |
'''Richard Serra''' (November 2, 1938 – March 26, 2024) was an American artist known for his large-scale [[Abstract art|abstract]] [[Modern sculpture|sculptures]] made for [[Site-specific art|site-specific]] landscape, urban, and [[Architecture|architectural]] settings, and whose work has been primarily associated with [[Postminimalism]]. Described as "one of his era's greatest sculptors", Serra became notable for emphasizing the material qualities of his works and exploration of the relationship between the viewer, the work, and the site.<ref>{{Cite news |last=Smith |first=Roberta |date=March 26, 2024 |title=Richard Serra, Who Recast Sculpture on a Massive Scale, Dies at 85 |url=https://www.nytimes.com/2024/03/26/arts/richard-serra-dead.html |access-date=March 26, 2024 |newspaper=[[The New York Times]] |issn=0362-4331 |archive-date=March 26, 2024 |archive-url=https://web.archive.org/web/20240326232109/https://www.nytimes.com/2024/03/26/arts/richard-serra-dead.html |url-status=live }}</ref> |
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Serra pursued English literature at the [[University of California, Berkeley]], before shifting to visual art. He graduated with a B.A. in English Literature from the [[University of California, Santa Barbara]], in 1961, where he met influential muralists [[Rico Lebrun]] and Howard Warshaw. Supporting himself by working in [[ |
Serra pursued English literature at the [[University of California, Berkeley]], before shifting to visual art. He graduated with a B.A. in English Literature from the [[University of California, Santa Barbara]], in 1961, where he met influential muralists [[Rico Lebrun]] and Howard Warshaw. Supporting himself by working in [[steel mill]]s, Serra's early exposure to industrial materials influenced his artistic trajectory. He continued his education at [[Yale University]], earning a B.A. in [[Art history|Art History]] and an M.F.A. in 1964. While in [[Paris]] on a Yale fellowship in 1964, he befriended composer [[Philip Glass]] and explored [[Constantin Brâncuși]]'s studio, both of which had a strong influence on his work. His time in Europe also catalyzed his subsequent shift from painting to sculpture. |
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From the mid-1960s onward, particularly after his move to New York City in 1966, Serra worked to radicalize and extend the definition of sculpture beginning with his early experiments with [[Natural rubber|rubber]], [[neon]], and lead, to his large-scale steel works. His early works in New York, such as ''To Lift'' from 1967 and ''Thirty-Five Feet of Lead Rolled Up'' from 1968, reflected his fascination with industrial materials and the physical properties of his chosen mediums. His large-scale works, both in urban and natural landscapes, have reshaped public interactions with art and, at times, were also a source of controversy, such as that caused by his ''[[Tilted Arc]]'' in Manhattan in 1981. Serra was married to artist [[Nancy Graves]] between 1965 and 1970, and Clara Weyergraf between 1981 and his death in 2024. |
From the mid-1960s onward, particularly after his move to New York City in 1966, Serra worked to radicalize and extend the definition of sculpture beginning with his early experiments with [[Natural rubber|rubber]], [[neon]], and lead, to his large-scale steel works. His early works in New York, such as ''To Lift'' from 1967 and ''Thirty-Five Feet of Lead Rolled Up'' from 1968, reflected his fascination with industrial materials and the physical properties of his chosen mediums. His large-scale works, both in urban and natural landscapes, have reshaped public interactions with art and, at times, were also a source of controversy, such as that caused by his ''[[Tilted Arc]]'' in Manhattan in 1981. Serra was married to artist [[Nancy Graves]] between 1965 and 1970, and Clara Weyergraf between 1981 and his death in 2024. |
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==Early life and education== |
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Serra was born in San Francisco, California, on November 2, 1938,<ref name="Masters2024" /><ref name="NYTimes-obit" /> to Tony and Gladys Serra – the second of three sons.<ref>{{Cite web |title=Serra, Richard |url=https://www.sfmoma.org/artist/Richard_Serra/ |access-date=February 6, 2024 |website=SFMOMA |language=en-US}}</ref> His father was Spanish from [[Mallorca]] and his mother Gladys was the daughter of [[Ukrainian Jew]]ish immigrants from [[Odessa]].<ref name="Masters2024">{{cite news |last1=Masters |first1=Christopher |title=Richard Serra obituary |url=https://www.theguardian.com/artanddesign/2024/mar/27/richard-serra-obituary |newspaper=[[The Guardian]] |date=2024}}</ref><ref>{{cite web |url=http://www.lne.es/sociedad-cultura/2010/05/13/sociedad-richard-serra-logra-principe-audacia-creacion-espacios/914710.html |title=Richard Serra logra el "Príncipe" por su "audacia" en la creación de espacios – La Nueva España – Diario Independiete de Asturias |date=May 13, 2010 |publisher=Lne.es |access-date=April 24, 2015 |archive-date=December 22, 2015 |archive-url=https://web.archive.org/web/20151222094450/http://www.lne.es/sociedad-cultura/2010/05/13/sociedad-richard-serra-logra-principe-audacia-creacion-espacios/914710.html |url-status=live }}</ref> From a young age, he was encouraged to draw by his mother. The young Serra would carry a small notebook for his sketches and his mother would introduce her son as "Richard the artist."<ref name="Magazine">{{Cite news|last=Magazine|first=Kelly Crow {{!}} Photographs by Adrian Gaut for WSJ|date=November 5, 2015|title=The Reinvented Visions of Richard Serra|language=en-US|work=Wall Street Journal|url=https://www.wsj.com/articles/the-reinvented-visions-of-richard-serra-1446687924|access-date=November 16, 2021|issn=0099-9660|archive-date=September 5, 2023|archive-url=https://web.archive.org/web/20230905065010/https://www.wsj.com/articles/the-reinvented-visions-of-richard-serra-1446687924|url-status=live}}</ref> His father worked as a [[Pipefitter|pipe fitter]] for a [[shipyard]] near San Francisco.<ref |
Serra was born in San Francisco, California, on November 2, 1938,<ref name="Masters2024" /><ref name="NYTimes-obit" /> to Tony and Gladys Serra – the second of three sons.<ref name="Serra, Richard">{{Cite web |title=Serra, Richard |url=https://www.sfmoma.org/artist/Richard_Serra/ |access-date=February 6, 2024 |website=SFMOMA |language=en-US}}</ref> His father was Spanish from [[Mallorca]] and his mother Gladys was the daughter of [[Ukrainian Jew]]ish immigrants from [[Odessa]].<ref name="Masters2024">{{cite news |last1=Masters |first1=Christopher |title=Richard Serra obituary |url=https://www.theguardian.com/artanddesign/2024/mar/27/richard-serra-obituary |newspaper=[[The Guardian]] |date=2024}}</ref><ref>{{cite web |url=http://www.lne.es/sociedad-cultura/2010/05/13/sociedad-richard-serra-logra-principe-audacia-creacion-espacios/914710.html |title=Richard Serra logra el "Príncipe" por su "audacia" en la creación de espacios – La Nueva España – Diario Independiete de Asturias |date=May 13, 2010 |publisher=Lne.es |access-date=April 24, 2015 |archive-date=December 22, 2015 |archive-url=https://web.archive.org/web/20151222094450/http://www.lne.es/sociedad-cultura/2010/05/13/sociedad-richard-serra-logra-principe-audacia-creacion-espacios/914710.html |url-status=live }}</ref> From a young age, he was encouraged to draw by his mother. The young Serra would carry a small notebook for his sketches and his mother would introduce her son as "Richard the artist."<ref name="Magazine">{{Cite news|last=Magazine|first=Kelly Crow {{!}} Photographs by Adrian Gaut for WSJ|date=November 5, 2015|title=The Reinvented Visions of Richard Serra|language=en-US|work=Wall Street Journal|url=https://www.wsj.com/articles/the-reinvented-visions-of-richard-serra-1446687924|access-date=November 16, 2021|issn=0099-9660|archive-date=September 5, 2023|archive-url=https://web.archive.org/web/20230905065010/https://www.wsj.com/articles/the-reinvented-visions-of-richard-serra-1446687924|url-status=live}}</ref> His father worked as a [[Pipefitter|pipe fitter]] for a [[shipyard]] near San Francisco.<ref name="Serra, Richard"/><ref name="Manuel1998">{{cite news |last1=Manuel |first1=Diane |title=Two new sculptures installed at renovated museum (7/98) |url=https://news.stanford.edu/pr/98/980728serra.html |access-date=March 27, 2024 |work=news.stanford.edu |date=July 28, 1998 |archive-url=http://web.archive.org/web/20100724155548/http://news.stanford.edu/pr/98/980728serra.html |archive-date=July 24, 2010}}</ref> Serra recounted a memory of a visit to the shipyard to see a boat launch when he was four years old.<ref name="sfmoma.org">{{Cite web |title=Serra, Richard |url=https://www.sfmoma.org/artist/richard-serra/ |access-date=February 6, 2024 |website=SFMOMA |language=en-US}}</ref> He watched as the ship transformed from an enormous weight to a buoyant, floating structure and noted that: "All the raw material that I needed is contained in the reserve of this memory."<ref name="bombmagazine.org">{{Cite web|title=Richard Serra by David Seidner – BOMB Magazine|url=https://bombmagazine.org/articles/richard-serra/|access-date=November 16, 2021|website=bombmagazine.org|date=January 1993|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210818/https://bombmagazine.org/articles/richard-serra/|url-status=live}}</ref> Serra's father, who was related to the [[Catalan people|Catalan]] architect [[Antoni Gaudí]], later worked as a candy plant foreman.<ref name="Castro1999">{{cite web |last1=Castro |first1=Jan Garden |title=Richard Serra, Man of Steel |url=https://sculpturemagazine.art/richard-serra-man-of-steel/ |work=[[Sculpture (magazine)|Sculpture]]|archive-url=http://web.archive.org/web/20210604205439/https://sculpturemagazine.art/richard-serra-man-of-steel/ |archive-date=June 4, 2021 |date=January 1, 1999}}</ref> |
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Serra studied [[English literature]] at the [[University of California, Berkeley]] in 1957<ref |
Serra studied [[English literature]] at the [[University of California, Berkeley]] in 1957<ref name="sfmoma.org"/> before transferring to the [[University of California, Santa Barbara]] and graduating in 1961 with a BA in English Literature. In Santa Barbara, Serra met the muralists, [[Rico Lebrun]] and Howard Warshaw. Both were in the Art Department and took Serra under their wing.<ref>{{Cite web|last=Bui|first=Phong|date=July 11, 2011|title=RICHARD SERRA with Phong Bui|url=https://brooklynrail.org/2011/07/art/richard-serra-with-phong-bui-july11|access-date=November 16, 2021|newspaper=[[The Brooklyn Rail]]|language=en-US|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210818/https://brooklynrail.org/2011/07/art/richard-serra-with-phong-bui-july11|url-status=live}}</ref> During this period, Serra worked in [[steel mill]]s to earn a living, as he did at various times from ages 16–25.<ref name="BearMichelson1980">{{cite book |last1=Bear |first1=Liza |last2=Michelson |first2=Annette |title=Richard Serra, Interviews, Etc. 1970–1980 |year=1980 |publisher=[[Hudson River Museum]] |pages=62, 98, 107, 110 |url=https://books.google.com/books?id=gI_jNL7PN2QC&q=%22steel+mills%22&pg=PA107}}</ref> |
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Serra studied painting at [[Yale University]] and graduated with both a [[Bachelor of Arts|BA]] in [[Art history|Art History]] and an [[Master of Fine Arts|MFA]] in 1964. Fellow Yale alumni contemporaneous to Serra include [[Chuck Close]], [[Rackstraw Downes|Rackstraw Downs]], [[Nancy Graves]], [[Brice Marden]], and [[Robert Mangold]].<ref name=":6">{{Cite book|last=Krauss|first=Rosalind|title=Chronology: Richard Serra: Sculpture|publisher=[[The Museum of Modern Art]]|year=1986|location=New York}}</ref> At Yale Serra met visiting artists from the [[New York School (art)|New York School]] such as [[Philip Guston]], [[Robert Rauschenberg]], [[Ad Reinhardt]], and [[Frank Stella]]. |
Serra studied painting at [[Yale University]] and graduated with both a [[Bachelor of Arts|BA]] in [[Art history|Art History]] and an [[Master of Fine Arts|MFA]] in 1964. Fellow Yale alumni contemporaneous to Serra include [[Chuck Close]], [[Rackstraw Downes|Rackstraw Downs]], [[Nancy Graves]], [[Brice Marden]], and [[Robert Mangold]].<ref name=":6">{{Cite book|last=Krauss|first=Rosalind|title=Chronology: Richard Serra: Sculpture|publisher=[[The Museum of Modern Art]]|year=1986|location=New York}}</ref> At Yale Serra met visiting artists from the [[New York School (art)|New York School]] such as [[Philip Guston]], [[Robert Rauschenberg]], [[Ad Reinhardt]], and [[Frank Stella]]. Serra taught a [[color theory]] course during his last year at Yale and after graduating was asked to help proof [[Josef Albers]]' notable color theory book "Interaction of Color."<ref name=":6" /><ref>{{Cite web|title=The Guggenheim Museums and Foundation|url=https://www.guggenheim.org/artwork/artist/richard-serra|access-date=November 16, 2021|publisher=The Guggenheim Museums and Foundation|language=en-US|archive-date=December 23, 2018|archive-url=https://web.archive.org/web/20181223073610/https://www.guggenheim.org/artwork/artist/Richard-Serra|url-status=live}}</ref> |
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In 1964, Serra was awarded a one-year traveling fellowship from Yale and went to Paris where he met the composer [[Philip Glass]]<ref name=":6" /> who became a collaborator and long-time friend. In Paris, Serra spent time sketching in [[Constantin Brâncuși]]'s studio, partially reconstructed inside the [[Musée National d'Art Moderne|Musée national d'Art moderne]] on the Avenue du Président Wilson,<ref name=":6" /> allowing Serra to study Brâncuși's work, later drawing his own sculptural conclusions.<ref>{{Cite web|title=Brancusi's studio|url=https://www.centrepompidou.fr/en/collections/brancusis-studio|access-date=November 18, 2021|website=Centre Pompidou|language=en-EN|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210818/https://www.centrepompidou.fr/en/collections/brancusis-studio|url-status=live}}</ref> An exact replica of Brâncuși's studio is now located opposite the [[Centre Pompidou]].<ref name=":7">{{Cite book|last=White|first=Michelle|title=A Drawing Chronology. In Richard Serra: Drawing: A Retrospective|publisher=Menil Collection|year=2011|location=Houston|pages=207}}</ref> Serra spent the following year in [[Florence|Florence, Italy]] on a [[Fulbright Program|Fulbright Grant]]. In 1966 while still in Italy, Serra made a trip to the [[Museo del Prado|Prado Museum]] in Spain and saw [[Diego Velázquez]]'s painting, "[[Las Meninas]]."<ref name=":7" /> The artist realized he would not surpass the skill of that painting and |
In 1964, Serra was awarded a one-year traveling fellowship from Yale and went to Paris where he met the composer [[Philip Glass]]<ref name=":6" /> who became a collaborator and long-time friend. In Paris, Serra spent time sketching in [[Constantin Brâncuși]]'s studio, partially reconstructed inside the [[Musée National d'Art Moderne|Musée national d'Art moderne]] on the Avenue du Président Wilson,<ref name=":6" /> allowing Serra to study Brâncuși's work, later drawing his own sculptural conclusions.<ref>{{Cite web|title=Brancusi's studio|url=https://www.centrepompidou.fr/en/collections/brancusis-studio|access-date=November 18, 2021|website=Centre Pompidou|language=en-EN|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210818/https://www.centrepompidou.fr/en/collections/brancusis-studio|url-status=live}}</ref> An exact replica of Brâncuși's studio is now located opposite the [[Centre Pompidou]].<ref name=":7">{{Cite book|last=White|first=Michelle|title=A Drawing Chronology. In Richard Serra: Drawing: A Retrospective|publisher=Menil Collection|year=2011|location=Houston|pages=207}}</ref> Serra spent the following year in [[Florence|Florence, Italy]] on a [[Fulbright Program|Fulbright Grant]]. In 1966 while still in Italy, Serra made a trip to the [[Museo del Prado|Prado Museum]] in Spain and saw [[Diego Velázquez]]'s painting, "[[Las Meninas]]."<ref name=":7" /> The artist realized he would not surpass the skill of that painting and decided to move away from painting.<ref name="Magazine"/> |
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While still in Europe, Serra began experimenting with nontraditional sculptural material. He had his first one-person exhibition "Animal Habitats" at Galleria Salita, [[Rome]].<ref>{{Cite web|title=SVA Archives|url=https://archives.sva.edu/blog/post/richard-serra-in-rome-1966|access-date=November 16, 2021|website=archives.sva.edu|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210818/https://archives.sva.edu/blog/post/richard-serra-in-rome-1966|url-status=live}}</ref> Exhibited there were [[Assemblage (art)|assemblages]] made with live and [[Taxidermy|stuffed animals]] which would later be referenced as early work from the [[Arte Povera]] movement.<ref name="bombmagazine.org"/> |
While still in Europe, Serra began experimenting with nontraditional sculptural material. He had his first one-person exhibition "Animal Habitats" at Galleria Salita, [[Rome]].<ref>{{Cite web|title=SVA Archives|url=https://archives.sva.edu/blog/post/richard-serra-in-rome-1966|access-date=November 16, 2021|website=archives.sva.edu|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210818/https://archives.sva.edu/blog/post/richard-serra-in-rome-1966|url-status=live}}</ref> Exhibited there were [[Assemblage (art)|assemblages]] made with live and [[Taxidermy|stuffed animals]] which would later be referenced as early work from the [[Arte Povera]] movement.<ref name="bombmagazine.org"/> |
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==Work== |
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Serra returned from Europe and moved to New York City in 1966. He continued his constructions using experimental materials such as rubber, [[latex]], [[fiberglass]], neon, and [[lead]].<ref name="Solomon">{{Cite news|last=Solomon|first=Deborah|date=August 28, 2019|title=Richard Serra Is Carrying the Weight of the World|language=en-US|newspaper=[[The New York Times]]|url=https://www.nytimes.com/2019/08/28/arts/design/richard-serra-gagosian-sculpture.html|access-date=November 16, 2021|issn=0362-4331|archive-date=September 5, 2023|archive-url=https://web.archive.org/web/20230905065014/https://www.nytimes.com/2019/08/28/arts/design/richard-serra-gagosian-sculpture.html|url-status=live}}</ref> His Belt Pieces were made with strips of rubber and hung on the wall using gravity as a forming device. Serra combined neon with continuous strips of rubber in his sculpture ''Belts'' (1966–67) referencing the serial abstraction in [[Jackson Pollock]]'s ''Mural'' (1963.) Around that time Serra wrote ''Verb List'' (1967) a list of [[transitive verb]]s (i.e. cast, roll, tear, prop, etc.) which he used as directives for his sculptures.<ref name=":0">{{Cite book|last=Krauss|first=Rosalind|title=Richard Serra Sculpture|publisher=[[The Museum of Modern Art]]|year=1986|location=New York|pages=14–39}}</ref> ''To Lift'' (1967), and ''Thirty-Five Feet of Lead Rolled Up'' (1968), ''Splash Piece'' (1968), and ''Casting'' (1969), were some of the action-based works with origins in the verb list. Serra used lead in many of his constructs because of its adaptability. Lead is malleable enough to be rolled, folded, ripped, and melted. With ''To Lift'' (1967) Serra lifted a 10-foot (3 m) sheet of rubber off the ground making a free-standing form; with ''Thirty-five Feet of Lead Rolled Up'' (1968), Serra, with the help of Philip Glass, unrolled and rolled a sheet of lead as tightly as they could.<ref name=":0" /> |
Serra returned from Europe and moved to New York City in 1966. He continued his constructions using experimental materials such as rubber, [[latex]], [[fiberglass]], neon, and [[lead]].<ref name="Solomon">{{Cite news|last=Solomon|first=Deborah|date=August 28, 2019|title=Richard Serra Is Carrying the Weight of the World|language=en-US|newspaper=[[The New York Times]]|url=https://www.nytimes.com/2019/08/28/arts/design/richard-serra-gagosian-sculpture.html|access-date=November 16, 2021|issn=0362-4331|archive-date=September 5, 2023|archive-url=https://web.archive.org/web/20230905065014/https://www.nytimes.com/2019/08/28/arts/design/richard-serra-gagosian-sculpture.html|url-status=live}}</ref> His Belt Pieces were made with strips of rubber and hung on the wall using gravity as a forming device. Serra combined neon with continuous strips of rubber in his sculpture ''Belts'' (1966–67) referencing the serial abstraction in [[Jackson Pollock]]'s ''Mural'' (1963.) Around that time Serra wrote ''Verb List'' (1967) a list of [[transitive verb]]s (i.e. cast, roll, tear, prop, etc.) which he used as directives for his sculptures.<ref name=":0">{{Cite book|last=Krauss|first=Rosalind|title=Richard Serra Sculpture|publisher=[[The Museum of Modern Art]]|year=1986|location=New York|pages=14–39}}</ref> ''To Lift'' (1967), and ''Thirty-Five Feet of Lead Rolled Up'' (1968), ''Splash Piece'' (1968), and ''Casting'' (1969), were some of the action-based works with origins in the verb list. Serra used lead in many of his constructs because of its adaptability. Lead is malleable enough to be rolled, folded, ripped, and melted. With ''To Lift'' (1967) Serra lifted a 10-foot (3 m) sheet of rubber off the ground making a free-standing form; with ''Thirty-five Feet of Lead Rolled Up'' (1968), Serra, with the help of Philip Glass, unrolled and rolled a sheet of lead as tightly as they could.<ref name=":0" /> |
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In 1968 Serra was included in the group exhibition "Nine at Castelli" at Castelli Warehouse in New York<ref name="artforum.com">{{Cite journal|title=DUE PROCESS: RICHARD SERRA'S EARLY SPLASH/CAST WORKS|url=https://www.artforum.com/print/201509/due-process-richard-serra-s-early-splash-cast-works-55532|access-date=November 16, 2021|journal=[[Artforum]]|date=November 2015|volume=54|issue=3|language=en-US|last1=Weiss|first1=Jeffrey|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210816/https://www.artforum.com/print/201509/due-process-richard-serra-s-early-splash-cast-works-55532|url-status=live}}</ref> where he showed ''Prop'' (1968), ''Scatter Piece'' (1968), and made ''Splashing'' (1968) by throwing molten lead against the angle of the floor and wall. In 1969 his piece ''Casting'' was included in the exhibition ''Anti-Illusion: Procedures''/''Materials'' at the [[Whitney Museum|Whitney Museum of American Art]] in New York.<ref name="artforum.com"/> In ''Casting'' the artist again threw [[Melting|molten]] lead against the angle of the floor and wall. He then pulled the casting made from the hardened lead away from the wall and repeated the action of splashing and casting creating a series of free-standing forms.<ref name="Strike: To Roberta and Rudy">{{Cite web|title=Strike: To Roberta and Rudy|url=https://www.guggenheim.org/artwork/3899|access-date=November 16, 2021|website=The Guggenheim Museums and Foundation|language=en-US|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210818/https://www.guggenheim.org/artwork/3899|url-status=live}}</ref> |
In 1968 Serra was included in the group exhibition "Nine at Castelli" at Castelli Warehouse in New York<ref name="artforum.com">{{Cite journal|title=DUE PROCESS: RICHARD SERRA'S EARLY SPLASH/CAST WORKS|url=https://www.artforum.com/print/201509/due-process-richard-serra-s-early-splash-cast-works-55532|access-date=November 16, 2021|journal=[[Artforum]]|date=November 2015|volume=54|issue=3|language=en-US|last1=Weiss|first1=Jeffrey|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210816/https://www.artforum.com/print/201509/due-process-richard-serra-s-early-splash-cast-works-55532|url-status=live}}</ref> where he showed ''Prop'' (1968), ''Scatter Piece'' (1968), and made ''Splashing'' (1968) by throwing molten lead against the angle of the floor and wall. In 1969 his piece ''Casting'' was included in the exhibition ''Anti-Illusion: Procedures''/''Materials'' at the [[Whitney Museum|Whitney Museum of American Art]] in New York.<ref name="artforum.com"/> In ''Casting'' the artist again threw [[Melting|molten]] lead against the angle of the floor and wall. He then pulled the casting made from the hardened lead away from the wall and repeated the action of splashing and casting creating a series of free-standing forms.<ref name="Strike: To Roberta and Rudy">{{Cite web|title=Strike: To Roberta and Rudy|url=https://www.guggenheim.org/artwork/3899|access-date=November 16, 2021|website=The Guggenheim Museums and Foundation|language=en-US|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210818/https://www.guggenheim.org/artwork/3899|url-status=live}}</ref> |
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"To prop" is another transitive verb from Serra's "Verb List" utilized by the artist for a series assemblages of lead plates and poles dependent on leaning and gravity as a force to stay upright.<ref name="Strike: To Roberta and Rudy"/> Serra's early Prop Pieces such as ''Prop'' (1968) relied mainly on the wall as a support.<ref>{{Cite web|title=Richard Serra {{!}} Prop|url=https://whitney.org/collection/works/31751|access-date=November 16, 2021|website=whitney.org|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210818/https://whitney.org/collection/works/31751|url-status=live}}</ref> Serra wanted to move away from the wall to remove what he thought was a pictorial convention. In 1969 he propped four lead plates up on the floor like a [[Playing card|house of cards]]. The sculpture ''One Ton'' ''Prop: House of Cards'' (1969) weighed 1 ton and the four plates were self-supporting.<ref>{{Cite web|title=Richard Serra. One Ton Prop (House of Cards). 1969 (refabricated 1986) {{!}} MoMA|url=https://www.moma.org/audio/playlist/236/3047|access-date=November 16, 2021|publisher=The Museum of Modern Art|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210816/https://www.moma.org/audio/playlist/236/3047|url-status=live}}</ref> |
"To prop" is another transitive verb from Serra's "Verb List" utilized by the artist for a series of assemblages of lead plates and poles dependent on leaning and gravity as a force to stay upright.<ref name="Strike: To Roberta and Rudy"/> Serra's early Prop Pieces such as ''Prop'' (1968) relied mainly on the wall as a support.<ref>{{Cite web|title=Richard Serra {{!}} Prop|url=https://whitney.org/collection/works/31751|access-date=November 16, 2021|website=whitney.org|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210818/https://whitney.org/collection/works/31751|url-status=live}}</ref> Serra wanted to move away from the wall to remove what he thought was a pictorial convention. In 1969 he propped four lead plates up on the floor like a [[Playing card|house of cards]]. The sculpture ''One Ton'' ''Prop: House of Cards'' (1969) weighed 1 ton and the four plates were self-supporting.<ref>{{Cite web|title=Richard Serra. One Ton Prop (House of Cards). 1969 (refabricated 1986) {{!}} MoMA|url=https://www.moma.org/audio/playlist/236/3047|access-date=November 16, 2021|publisher=The Museum of Modern Art|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210816/https://www.moma.org/audio/playlist/236/3047|url-status=live}}</ref> |
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Another pivotal moment for Serra occurred in 1969 when he was commissioned by the artist [[Jasper Johns]] to make a Splash Piece in Johns's studio. While Serra heated the lead plates to splash against the wall, he took one of the larger plates and set it in the corner where it stood on its own. Serra's break into space followed shortly after with the sculpture ''Strike: To Roberta and Rudy'' (1969–71).<ref>{{Cite book|last=Crimp|first=Douglas|title=Richard Serra's Urban Sculpture: An Interview|publisher=[[The University of Chicago]]year=1994|location=Chicago and London|pages=136}}</ref> Serra wedged an 8 by 24-foot (2.4 × 7.3 m) plate of steel into a corner and divided the room into two equal spaces. The work invited the viewer to walk around the sculpture, shifting the viewer's perception of the room as they walked.<ref name="Strike: To Roberta and Rudy"/> |
Another pivotal moment for Serra occurred in 1969 when he was commissioned by the artist [[Jasper Johns]] to make a Splash Piece in Johns's studio. While Serra heated the lead plates to splash against the wall, he took one of the larger plates and set it in the corner where it stood on its own. Serra's break into space followed shortly after with the sculpture ''Strike: To Roberta and Rudy'' (1969–71).<ref>{{Cite book|last=Crimp|first=Douglas|title=Richard Serra's Urban Sculpture: An Interview|publisher=[[The University of Chicago]]year=1994|location=Chicago and London|pages=136}}</ref> Serra wedged an 8 by 24-foot (2.4 × 7.3 m) plate of steel into a corner and divided the room into two equal spaces. The work invited the viewer to walk around the sculpture, shifting the viewer's perception of the room as they walked.<ref name="Strike: To Roberta and Rudy"/> |
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Serra first recognized the potential of working in large scale with his ''Skullcracker Series'' made during the exhibition, "Art and Technology," at [[LACMA]] (the Los Angeles County Museum of Art) in 1969. He spent ten weeks building a number of [[Ephemerality|ephemeral]] stacked steel pieces at the Kaiser Steelyard. Using a [[Crane (machine)|crane]] to explore the principles of [[Counterweight|counterbalance]] and [[gravity]], the stacks were as tall as 30 to 40 feet (9 to 12 m) high and weighed between 60 and 70 tons (54.4 and 63.5 t). They were knocked down by the |
Serra first recognized the potential of working in large scale with his ''Skullcracker Series'' made during the exhibition, "Art and Technology," at [[LACMA]] (the Los Angeles County Museum of Art) in 1969. He spent ten weeks building a number of [[Ephemerality|ephemeral]] stacked steel pieces at the Kaiser Steelyard. Using a [[Crane (machine)|crane]] to explore the principles of [[Counterweight|counterbalance]] and [[gravity]], the stacks were as tall as 30 to 40 feet (9 to 12 m) high and weighed between 60 and 70 tons (54.4 and 63.5 t). They were knocked down by the steelworkers at the end of each day. The scale of the stacks allowed Serra to begin to think of his work outside the confines of [[Art gallery|gallery]] and [[Art museum|museum]] spaces.<ref name="Serra">{{Cite book|last=Serra|first=Richard|url=https://books.google.com/books?id=KFHQh_8FuFQC|title=Writings/Interviews|date=August 15, 1994|publisher=[[University of Chicago Press]]|isbn=978-0-226-74880-1|language=en|access-date=November 16, 2021|archive-date=May 13, 2023|archive-url=https://web.archive.org/web/20230513090748/https://books.google.com/books?id=KFHQh_8FuFQC|url-status=live}}</ref> |
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===Landscape works=== |
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[[File:Maastricht, Bonnefantenmuseum, Richard Serra, Hours of the Day (1990).jpg|thumb|200px|''Hours of the Day'' (1990), [[Bonnefanten Museum]], [[Maastricht]]]] |
[[File:Maastricht, Bonnefantenmuseum, Richard Serra, Hours of the Day (1990).jpg|thumb|200px|''Hours of the Day'' (1990), [[Bonnefanten Museum]], [[Maastricht]]]] |
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In 1970 Serra received a [[Guggenheim Fellowship]] and traveled to Japan. His first outdoor sculptures, ''To Encircle Base Plate (Hexagram'') (1970) and ''Sugi Tree'' (1970), were both installed in [[Ueno Park]] as part of the "[[Tokyo Biennale '70: Between Man and Matter|Tokyo Biennale]]."<ref>{{Cite web|title=慶應義塾大学アート・センター(KUAC) {{!}} Reconstructed plan of location of the works in the exhibition 'Tokyo Biennale 1970' released|url=http://www.art-c.keio.ac.jp/en/research/research-projects/tokyo-biennale-70/activities/2018-09-20/|access-date=November 16, 2021|website=www.art-c.keio.ac.jp|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210827/http://www.art-c.keio.ac.jp/en/research/research-projects/tokyo-biennale-70/activities/2018-09-20/|url-status=live}}</ref> |
In 1970 Serra received a [[Guggenheim Fellowship]] and traveled to Japan. His first outdoor sculptures, ''To Encircle Base Plate (Hexagram'') (1970) and ''Sugi Tree'' (1970), were both installed in [[Ueno Park]] as part of the "[[Tokyo Biennale '70: Between Man and Matter|Tokyo Biennale]]."<ref>{{Cite web|title=慶應義塾大学アート・センター(KUAC) {{!}} Reconstructed plan of location of the works in the exhibition 'Tokyo Biennale 1970' released|url=http://www.art-c.keio.ac.jp/en/research/research-projects/tokyo-biennale-70/activities/2018-09-20/|access-date=November 16, 2021|website=www.art-c.keio.ac.jp|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210827/http://www.art-c.keio.ac.jp/en/research/research-projects/tokyo-biennale-70/activities/2018-09-20/|url-status=live}}</ref> |
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While in Japan, Serra spent most of his time studying the [[Japanese dry garden|Zen gardens]] and [[Sangaku|temples]] of the [[Myōshin-ji|Myoshin-ji]] in [[Kyoto]]. The layout of the gardens revealed the landscape as a total field that can only be experienced by walking. The gardens changed Serra's way of seeing space in relation to time.<ref>{{Citation|title=Fergus McCaffrey {{!}} Richard Serra discusses Myoshinji, Kyoto, June 2020 (Japanese)| date=July 20, 2021 |url=https://www.youtube.com/watch?v=L3oVLYF_bBo|language=en|access-date=November 16, 2021|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210816/https://www.youtube.com/watch?v=L3oVLYF_bBo|url-status=live|via=[[YouTube]]}}</ref> Upon returning to the United States he built his first [[Site-specific art|site-specific]] outdoor work: ''To Encircle Base Plate Hexagram, Right Angles'' ''Inverted'' (1970). Here Serra embedded two semi-circular steel flanges, forming a ring 26 feet (7.9 m) in diameter, into the surface of 183rd Street in the [[The Bronx|Bronx]]. One semi-circle measured 1 inch (25.4 mm) wide and the second, 8 inches wide (203.2 mm). The work was visible from two perspectives: either when the viewer came directly upon it or from above on a stairway overlooking the street.<ref name=":1">{{Cite book|last=Crimp|first=Douglas|title=Serra's Public Sculpture: Redefining Site Specificity|publisher=The Museum of Modern Art|year=1986|location=New York|pages=47}}</ref> |
While in Japan, Serra spent most of his time studying the [[Japanese dry garden|Zen gardens]] and [[Sangaku|temples]] of the [[Myōshin-ji|Myoshin-ji]] in [[Kyoto]]. The layout of the gardens revealed the landscape as a total field that can only be experienced by walking. The gardens changed Serra's way of seeing space in relation to time.<ref>{{Citation|title=Fergus McCaffrey {{!}} Richard Serra discusses Myoshinji, Kyoto, June 2020 (Japanese)| date=July 20, 2021 |url=https://www.youtube.com/watch?v=L3oVLYF_bBo|language=en|access-date=November 16, 2021|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210816/https://www.youtube.com/watch?v=L3oVLYF_bBo|url-status=live|via=[[YouTube]]}}</ref> Upon returning to the United States he built his first [[Site-specific art|site-specific]] outdoor work: ''To Encircle Base Plate Hexagram, Right Angles'' ''Inverted'' (1970). Here Serra embedded two semi-circular steel flanges, forming a ring 26 feet (7.9 m) in diameter, into the surface of 183rd Street in the [[The Bronx|Bronx]]. One semi-circle measured 1 inch (25.4 mm) wide and the second, 8 inches wide (203.2 mm). The work was visible from two perspectives: either when the viewer came directly upon it or from above on a stairway overlooking the street.<ref name=":1">{{Cite book|last=Crimp|first=Douglas|title=Serra's Public Sculpture: Redefining Site Specificity|publisher=The Museum of Modern Art|year=1986|location=New York|pages=47}}</ref> |
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Throughout the 1970s Serra continued to make outdoor site-specific |
Throughout the 1970s Serra continued to make outdoor site-specific sculptures for urban areas and landscapes. Serra was interested in the topology of landscape and how one relates to it through movement, space, and time. His first landscape work was made in late 1970 when Serra was commissioned by the art patrons [[Joseph Pulitzer Jr.|Joseph and Emily Rauh Pulitzer]] to build a sculpture on their property outside [[St. Louis|St. Louis, Missouri]]. ''Pulitzer Piece: Stepped Elevation'' (1970–71) was Serra's first large-scale landscape work. Three plates measuring 5 feet (1.5 m) high by 40 to 50 feet (12 to 15 m) long were placed across approximately 3 acres (12 140 m<sup>2</sup>). The placement of the plates was determined by the fall of the landscape. Each plate was impaled into the ground far enough until its rise was 5 feet (1.5 m). Serra's intention was for the plates to act as cuts in the landscape that function as surrogate [[horizon]]s as viewers walked amongst them.<ref name=":2">{{Cite web|last=Peyser|first=Jonathan|date=October 1, 2002|title=Declaring, Defining, Dividing Space: A Conversation with Richard Serra|url=https://sculpturemagazine.art/declaring-defining-dividing-space-a-conversation-with-richard-serra/|access-date=November 16, 2021|website=Sculpture|language=en-US|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210818/https://sculpturemagazine.art/declaring-defining-dividing-space-a-conversation-with-richard-serra/|url-status=live}}</ref> |
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''[[Shift (sculpture)|Shift]]'' (1970–72), Serra's second endeavor in the landscape, was built in a field owned by the collector Roger Davidson in [[King City, Ontario]]. The sculpture is composed of six rectilinear concrete sections placed along the sloping landscape''.''<ref name="Serra"/> |
''[[Shift (sculpture)|Shift]]'' (1970–72), Serra's second endeavor in the landscape, was built in a field owned by the collector Roger Davidson in [[King City, Ontario]]. The sculpture is composed of six rectilinear concrete sections placed along the sloping landscape''.''<ref name="Serra"/> In 2013 ''Shift'' was designated a Heritage Site under the Ontario Heritage Act. ''Shift,'' like ''Pulitzer Prizes pieces,'' was based on the elevational fall of the land over a given distance. The top edges of the plates function as a horizon being placed into specific elevational intervals as you walk the entire field.<ref>{{Cite book|last=Béar|first=Liza|title=Interview" [March 30, 1976]|publisher=The University of Chicago Press|date=March 30, 1976|location=Chicago and London|pages=45–49}}</ref>[[File:Tilted Spheres.jpg|left|thumb|200px|Richard Serra's ''Tilted Spheres'' in [[Toronto Pearson International Airport]] (Terminal 1, Pier F)]]Serra's subsequent site-specific works in landscape continued to explore the topography of the land and how the sculpture relates to this topography by way of movement, meditation, and perception of the viewer. Among the most notable of the landscape works are ''Porten i Slugten'' (1983–86) at the [[Louisiana Museum of Modern Art]], Denmark;<ref>{{Citation|title=Richard Serra: On 'Porten i slugten'|date=October 29, 2014|url=http://channel.louisiana.dk/video/richard-serra-porten-i-slugten|language=en-US|access-date=November 16, 2021|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210826/https://channel.louisiana.dk/video/richard-serra-porten-i-slugten|url-status=live}}</ref> ''Afangar (Stations, Stops on the Road, To Stop and Look: Forward and Back, To Take It All In)'' (1990) on Videy Island, Iceland;<ref>{{Cite web|last=created|first=not yet|date=December 17, 2015|title=Art Works on Viðey Island|url=https://reykjavikcitymuseum.is/videy-island/art-works|access-date=November 17, 2021|website=reykjavikcitymuseum.is|language=is-IS|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210828/https://reykjavikcitymuseum.is/videy-island/art-works|url-status=live}}</ref> ''Schunnemunk Fork'' (1991) in [[Storm King Art Center]], New York;<ref>{{Cite web|title=» Richard Serra|url=https://stormking.org/artist/richard-serra/|access-date=November 17, 2021|website=stormking.org|archive-date=November 17, 2021|archive-url=https://web.archive.org/web/20211117184339/https://stormking.org/artist/richard-serra/|url-status=live}}</ref> ''Snake Eyes and Box Cars'' (1993) in Sonoma County, California;<ref>{{Cite web|last=Chatfield-Taylor|first=Joan|title=Canvasing the Field|url=https://www.napasonomamagazine.com/play/canvasing-the-field/article_30fe6e52-7106-5303-b3b3-24a31dd05454.html|access-date=November 16, 2021|website=Napa Sonoma Magazine|date=November 14, 2008|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210818/https://www.napasonomamagazine.com/play/canvasing-the-field/article_30fe6e52-7106-5303-b3b3-24a31dd05454.html|url-status=live}}</ref> ''Te Tuhirangi Contour'' (2000–2) in Kaipara, New Zealand;<ref>{{Cite web|title=Richard Serra, Te Tuhirangi Contour – Gibbs Farm|url=https://www.gibbsfarm.org.nz/serra.php|access-date=November 19, 2021|website=www.gibbsfarm.org.nz|archive-date=November 19, 2021|archive-url=https://web.archive.org/web/20211119164809/https://www.gibbsfarm.org.nz/serra.php|url-status=live}}</ref> and ''East-West/West-East'' (2014) in Qatar.<ref>{{Cite web|last=Fabrique|title=East-West/West-East by Richard Serra|url=https://qm.org.qa/en/visit/public-art/richard-serra-east-west-west-east/|access-date=November 16, 2021|website=Qatar Museums|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210819/https://qm.org.qa/en/visit/public-art/richard-serra-east-west-west-east/|url-status=live}}</ref> |
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The sculpture ''Porten i Slugten'' (1983–86) was commissioned for the Louisiana Museum of Modern Art in [[Humlebaek]], Denmark. After walking the museum grounds, Serra chose a ravine that runs towards the [[Kattegat|Kattegat Sea]] as the site for his sculpture. The ravine was the only area on the grounds that had not been landscaped. Two plates were set at an angle to each other at the end of a sloping stretch of path which fronts the [[ravine]]. The plates function in their location like a gate |
The sculpture ''Porten i Slugten'' (1983–86) was commissioned for the Louisiana Museum of Modern Art in [[Humlebaek]], Denmark. After walking the museum grounds, Serra chose a ravine that runs towards the [[Kattegat|Kattegat Sea]] as the site for his sculpture. The ravine was the only area on the grounds that had not been landscaped. Two plates were set at an angle to each other at the end of a sloping stretch of path which fronts the [[ravine]]. The plates function in their location like a gate that opens as the viewer walks down the path toward the sea. Seen from the center of a bridge, which crosses the ravine and leads to the museum, the two plates form a single plane as if the gate had closed. As you walk down from the museum to the ocean below, the plates appear to have a continuous swinging motion.<ref>{{Citation|title=Richard Serra: On 'Porten i slugten'|date=October 29, 2014|url=http://channel.louisiana.dk/video/richard-serra-porten-i-slugten|language=en-US|access-date=November 17, 2021|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210826/https://channel.louisiana.dk/video/richard-serra-porten-i-slugten|url-status=live}}</ref> In 1988 Serra was invited by the National Gallery of Iceland to build a work. Serra chose Videy Island as the site for ''Afangar (Stations, Stops on the Road, To Stop and Look: Forward and Back, To Take It All In)'' (1990). The sculpture consists of nine pairs of [[basalt]] columns (a material indigenous to [[Iceland]]) and is placed along the periphery of Vesturey in the western part of the country. All nine locations share the same elevations in that the stones of each pair are situated at an elevation of 9 and 10 meters, respectively. Each set of stones is level at the top. All stones at the higher elevation measure 3 meters; all stones at the lower elevation measure 4 meters. Because of the variance of [[topography]], the stones in a set are sometimes closer together, sometimes further apart. The rise and fall of Videy Island and the surrounding landscape are seen against the fixed measure of the standing stones.<ref>{{Cite book|last=Foster|first=Hal, and Richard Serra|title=Richard Serra: Sculpture 1985–1998|publisher=[[Museum of Contemporary Art, Los Angeles]]|year=1998|location=Göttingen|pages=102–05}}</ref> The stones are visible along the horizon of the island and orient the viewer against the rise and fall of the surrounding landscape.<ref name="Serra"/> |
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''Te Tuhirangi Contour'' (2000–2) is located on vast open pasture on Gibbs Farm in [[Kaipara (New Zealand electorate)|Kaipara, New Zealand]]. The sculpture stands 20 feet (6 m) high and spans 844 feet (257 m) as one continuous contour that follows the rolling hills, expansion, and contraction of the landscape. The sculpture's elevation is [[perpendicular]] to the fall of the land.<ref>{{Cite journal|last=McPhie|first=P.|date=December 2, 1975|title=The origin of the alkaline inactivation of pepsinogen|journal=[[Biochemistry (journal)|Biochemistry]]|volume=14|issue=24|pages=5253–5256|doi=10.1021/bi00695a003|issn=0006-2960|pmid=44}}</ref> |
''Te Tuhirangi Contour'' (2000–2) is located on a vast open pasture on Gibbs Farm in [[Kaipara (New Zealand electorate)|Kaipara, New Zealand]]. The sculpture stands 20 feet (6 m) high and spans 844 feet (257 m) as one continuous contour that follows the rolling hills, expansion, and contraction of the landscape. The sculpture's elevation is [[perpendicular]] to the fall of the land.<ref>{{Cite journal|last=McPhie|first=P.|date=December 2, 1975|title=The origin of the alkaline inactivation of pepsinogen|journal=[[Biochemistry (journal)|Biochemistry]]|volume=14|issue=24|pages=5253–5256|doi=10.1021/bi00695a003|issn=0006-2960|pmid=44}}</ref> |
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''East-West/West-East'' (2014), located on an |
''East-West/West-East'' (2014), located on an east-west axis in the Brouq Nature Reserve in [[Qatar]], was commissioned by Sheika [[Al-Mayassa bint Hamad bin Khalifa Al Thani|al-Mayassa al-Thani]] of Qatar. It consists of four steel plates either 54{{fraction|3|4}} or 48{{fraction|1|2}} feet (16.7 or 14.8 m) high. The plates are placed at irregular intervals in a valley that runs between two [[gypsum]] [[plateau]]s. The plates are level with each other and the elevation of the adjacent plateaus. The work spans less than a kilometer and all plates are visible from either end.<ref>{{Cite web|title=SERRA IN THE DESERT|url=https://www.artforum.com/print/201407/serra-in-the-desert-47841|access-date=November 17, 2021|website=www.artforum.com|date=September 2014|language=en-US|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116210827/https://www.artforum.com/print/201407/serra-in-the-desert-47841|url-status=live}}</ref> |
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===Urban works=== |
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In the landscape, the sculptural elements draw the viewer's attention to the topology of the land as its walked. Serra's site-specific Urban sculptures focus the viewer's attention on the sculpture itself. Their locations often more accessible to the public than the landscape works, invite the viewer to walk inside, pass through and move around them.<ref>{{Cite book|last=Cooke|first=Lynne|title=Thinking on Your Feet: Richard Serra's Sculptures in Landscape|publisher=The Museum of Modern Art|year=2007|location=New York|pages=100}}</ref> Because of the confines of Urban architecture, sculptures such as ''Sight Point'' (1972–75) at the [[Stedelijk Museum Amsterdam|Stedelijk Museum]], The Netherlands; ''Termina''l (1977) in Bochum, Germany; ''T.W.U''. (1980) at the [[Deichtorhallen]], [[Hamburg|Hamburg, Germany]]; ''Fulcrum'' (1986–87), installed in [[Broadgate Park|Broadgate]], London; ''Exchange'' (1996) outside the [[Luxembourg City|City of Luxembourg]]; or ''7'' (2011) on a pier in [[Doha|Doha, Qatar]], reflect the verticality of their surrounding architecture.<ref name=":4">{{Cite book|last=Crimp|first=Douglas|title=Richard Serra's Urban Sculpture: An Interview|publisher=The University of Chicago Press|year=1994|location=Chicago and London|pages=136–37}}</ref> Outdoor sculptures like ''St. John's Rotary Arc'' (1980) temporarily installed outside the [[Holland Tunnel]] entrance in New York City; ''[[Tilted Arc]]'' (1981) installed and later removed from New York City's Federal Plaza; ''Clara-Clara'' (1983), temporarily installed at [[Tuileries Palace|Tuileries]], [[Place de la Concorde]], Paris; ''Berlin Junction'' (1987) installed outside the [[Berlin Philharmonic]]; are all curved forms or arcs that open and close depending on the direction the viewer takes walking around them.<ref name=":4" /> |
In the landscape, the sculptural elements draw the viewer's attention to the topology of the land as its walked. Serra's site-specific Urban sculptures focus the viewer's attention on the sculpture itself. Their locations often more accessible to the public than the landscape works, invite the viewer to walk inside, pass through and move around them.<ref>{{Cite book|last=Cooke|first=Lynne|title=Thinking on Your Feet: Richard Serra's Sculptures in Landscape|publisher=The Museum of Modern Art|year=2007|location=New York|pages=100}}</ref> Because of the confines of Urban architecture, sculptures such as ''Sight Point'' (1972–75) at the [[Stedelijk Museum Amsterdam|Stedelijk Museum]], The Netherlands; ''Termina''l (1977) in Bochum, Germany; ''T.W.U''. (1980) at the [[Deichtorhallen]], [[Hamburg|Hamburg, Germany]]; ''Fulcrum'' (1986–87), installed in [[Broadgate Park|Broadgate]], London; ''Exchange'' (1996) outside the [[Luxembourg City|City of Luxembourg]]; or ''7'' (2011) on a pier in [[Doha|Doha, Qatar]], reflect the verticality of their surrounding architecture.<ref name=":4">{{Cite book|last=Crimp|first=Douglas|title=Richard Serra's Urban Sculpture: An Interview|publisher=The University of Chicago Press|year=1994|location=Chicago and London|pages=136–37}}</ref> Outdoor sculptures like ''St. John's Rotary Arc'' (1980) temporarily installed outside the [[Holland Tunnel]] entrance in New York City; ''[[Tilted Arc]]'' (1981) installed and later removed from New York City's Federal Plaza; ''Clara-Clara'' (1983), temporarily installed at [[Tuileries Palace|Tuileries]], [[Place de la Concorde]], Paris; ''Berlin Junction'' (1987) installed outside the [[Berlin Philharmonic]]; are all curved forms or arcs that open and close depending on the direction the viewer takes walking around them.<ref name=":4" /> |
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''Sight Point'' (1972–75) was Serra's first vertical Urban work and a continuation of the balance and counterbalance principles of his earlier work ''Prop''.<ref>{{Cite web|last=RuhrKunstMuseen|first=Ruhr Tourismus GmbH /|title=Terminal|url=https://www.ruhrkunstmuseen.com/de/projekte/public-art-ruhr/terminal/|access-date=November 16, 2021|website=RuhrKunstMuseen|language=de|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225139/https://www.ruhrkunstmuseen.com/de/projekte/public-art-ruhr/terminal/|url-status=live}}</ref> ''Sight Point'' stands outside the Stedelijk Museum, Amsterdam, the Netherlands, consisting of three vertical steel plates 10 feet (3 m) wide and 40 feet (12 m) high that lean in at an angle and forming a [[Triangle|triangular]] space on the ground with three openings that can be walked through. Once inside the viewer can look up and see the sky framed by the triangular shape made by the leaning plates.<ref>{{Cite book|last=Béar|first=Liza|title=Richard Serra: Sight Point '71-75/Delineator '74–76.|publisher=The University of Chicago|year=1994|location=Chicago and London|pages=35–42}}</ref> |
''Sight Point'' (1972–75) was Serra's first vertical Urban work and a continuation of the balance and counterbalance principles of his earlier work ''Prop''.<ref>{{Cite web|last=RuhrKunstMuseen|first=Ruhr Tourismus GmbH /|title=Terminal|url=https://www.ruhrkunstmuseen.com/de/projekte/public-art-ruhr/terminal/|access-date=November 16, 2021|website=RuhrKunstMuseen|language=de|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225139/https://www.ruhrkunstmuseen.com/de/projekte/public-art-ruhr/terminal/|url-status=live}}</ref> ''Sight Point'' stands outside the Stedelijk Museum, Amsterdam, the Netherlands, consisting of three vertical steel plates 10 feet (3 m) wide and 40 feet (12 m) high that lean in at an angle and forming a [[Triangle|triangular]] space on the ground with three openings that can be walked through. Once inside the viewer can look up and see the sky framed by the triangular shape made by the leaning plates.<ref>{{Cite book|last=Béar|first=Liza|title=Richard Serra: Sight Point '71-75/Delineator '74–76.|publisher=The University of Chicago|year=1994|location=Chicago and London|pages=35–42}}</ref> |
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Another vertical sculpture, ''Terminal'' (1977), was conceived for "[[Documenta VI]]" in 1977. It was permanently installed on a traffic island between the street car tracks in front of a train station in [[Bochum|Bochum, Germany]]. Serra chose the site because of its proximity to a high |
Another vertical sculpture, ''Terminal'' (1977), was conceived for "[[Documenta VI]]" in 1977. It was permanently installed on a traffic island between the street car tracks in front of a train station in [[Bochum|Bochum, Germany]]. Serra chose the site because of its proximity to a high-traffic area.<ref>{{Cite journal |last1=Irminger |first1=Bente |first2=Linda |last2=Lien |date=2020 |title=Design plass i "Design Thinking" |journal=Faculty of Fine Art, Music and Design, University of Bergen |issue=1 |doi=10.22501/kmd-ar.1090244 |url=https://www.researchcatalogue.net/view/1090244/1090245 |language=no |access-date=November 16, 2021 |archive-date=November 16, 2021 |archive-url=https://web.archive.org/web/20211116225139/https://www.researchcatalogue.net/view/1090244/1090245 |url-status=live }}</ref> ''Exchange'' (1996), sited in a vehicular round-about on top of a highway tunnel, made of seven [[trapezoid]]al plates. The sculpture stands 60 feet (18 m) high and can be seen by drivers as they enter and leave the City of Luxembourg.<ref>{{Cite web|title=Exchange (sculpture by Richard Serra) – Luxembourg tourism – ViaMichelin|url=https://www.viamichelin.ie/web/Tourist-Attraction/Luxembourg-_-Exchange_sculpture_by_Richard_Serra-11n7c8edl|access-date=November 16, 2021|website=www.viamichelin.ie|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225129/https://www.viamichelin.ie/web/Tourist-Attraction/Luxembourg-_-Exchange_sculpture_by_Richard_Serra-11n7c8edl|url-status=live}}</ref> |
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In 1980 Serra installed two sculptures, with support of the [[Public Art Fund]], in New York City. ''T.W.U.'' (1980) and ''St. John's Rotary Arc'' (1980) were each placed in areas where traffic and people converged. ''T.W.U,'' a vertical sculpture consisting of three vertical plates, each 36 feet (11 m) high, was installed at a subway entrance near [[West Broadway]] between [[Leonard Street|Leonard]] and [[Franklin Street station (IRT Broadway–Seventh Avenue Line)|Franklin Streets]].<ref>{{Cite book|last=Lamarche-Vadel|first=Barnard, and Clara Weyergraf|title=Interview: Richard Serra and Bernard Lamarche-Vadel, New York City, May 1980.|publisher=The University of Chicago Press|year=1994|location=Chicago and London|pages=111–17}}</ref> The sculpture is now permanently installed outside the [[Deichtorhallen|Deichterhallen]], [[Hamburg|Hamburg, Germany]].<ref>{{Cite web|title=Architektur ⎪ Deichtorhallen Hamburg|url=https://www.deichtorhallen.de/architektur|access-date=November 16, 2021|website=www.deichtorhallen.de|language=de-DE|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225132/https://www.deichtorhallen.de/architektur|url-status=live}}</ref> ''St. John's Rotary Arc'', one of Serra's earliest curved sculptures, was 12 feet (3.6 m) high and spanned 180 feet (55 m). From 1980 to 1988 the site-specific sculpture was installed on the rotary at the entrance and exit to the [[Holland Tunnel]].<ref name="Serra"/> |
In 1980 Serra installed two sculptures, with the support of the [[Public Art Fund]], in New York City. ''T.W.U.'' (1980) and ''St. John's Rotary Arc'' (1980) were each placed in areas where traffic and people converged. ''T.W.U,'' a vertical sculpture consisting of three vertical plates, each 36 feet (11 m) high, was installed at a subway entrance near [[West Broadway]] between [[Leonard Street|Leonard]] and [[Franklin Street station (IRT Broadway–Seventh Avenue Line)|Franklin Streets]].<ref>{{Cite book|last=Lamarche-Vadel|first=Barnard, and Clara Weyergraf|title=Interview: Richard Serra and Bernard Lamarche-Vadel, New York City, May 1980.|publisher=The University of Chicago Press|year=1994|location=Chicago and London|pages=111–17}}</ref> The sculpture is now permanently installed outside the [[Deichtorhallen|Deichterhallen]], [[Hamburg|Hamburg, Germany]].<ref>{{Cite web|title=Architektur ⎪ Deichtorhallen Hamburg|url=https://www.deichtorhallen.de/architektur|access-date=November 16, 2021|website=www.deichtorhallen.de|language=de-DE|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225132/https://www.deichtorhallen.de/architektur|url-status=live}}</ref> ''St. John's Rotary Arc'', one of Serra's earliest curved sculptures, was 12 feet (3.6 m) high and spanned 180 feet (55 m). From 1980 to 1988 the site-specific sculpture was installed on the rotary at the entrance and exit to the [[Holland Tunnel]].<ref name="Serra"/> |
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The following year in 1981, a second site-specific curved sculpture ''[[Tilted Arc]]'' (1981) was installed in New York City's [[Federal Plaza]]. Commissioned by the U.S. [[General Services Administration|General Services Administration's]] Art-in-Architecture Program following a rigorous selection process, the sculpture's arc spanned 120 feet (36 m) and 12 feet (3.6 m) high. The sculpture was a curve that tilted and leaned away from its base. It was anchored into the plaza at both ends so that the center of the sculpture was raised. Serra's intention for the sculpture was to draw pedestrians' attention to the sculpture as they crossed the plaza.<ref>{{Cite news|title=The Case in Favor of a Controversial Sculpture| work=The New York Times |url=http://timesmachine.nytimes.com/timesmachine/1985/05/19/240031.html?pageNumber=337|access-date=November 16, 2021|language=en}}</ref> ''Tilted Arc'' was met with resistance by workers in the [[Jacob K. Javits Federal Building|Federal building]]. An eight-year campaign to remove the sculpture ensued and ''Tilted Arc'' was ultimately removed on March 15, 1989.<ref>{{Cite web|last=Mundy|first=Jennifer|title=Lost Art: Richard Serra – Essay|url=https://www.tate.org.uk/art/artists/richard-serra-1923/lost-art-richard-serra|access-date=November 16, 2021|website=Tate|language=en-GB|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225131/https://www.tate.org.uk/art/artists/richard-serra-1923/lost-art-richard-serra|url-status=live}}</ref> In Serra's defense to preserve the sculpture he stated "To remove ''Tilted Arc'', therefore, is to destroy it",<ref>{{Cite web|title=Richard Serra: On trial for Tilted Arc|url=https://www.sfmoma.org/watch/richard-serra-on-trial-for-tilted-arc/|access-date=November 18, 2021|website=SFMOMA|language=en-US|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225128/https://www.sfmoma.org/watch/richard-serra-on-trial-for-tilted-arc/|url-status=live}}</ref> advocating an art-for art's sake mantra of site-specific artworks. Following the hearing and GSA's decision, Serra responded that he would deny his authorship of ''Tilted Arc'' if it were relocated. and would consider it a "derivative work".<ref name="Gamboni2013">{{cite book |last1=Gamboni |first1=Dario |title=The Destruction of Art: Iconoclasm and Vandalism since the French Revolution |year=2013 |publisher=Reaktion Books |isbn=978-1-78023-154-9 |page=161 |url=https://books.google.com/books?id=SWLqAQAAQBAJ&pg=PA161}}</ref> The case of ''Tilted Arc'' continues to highlight the tension surrounding the nature of public art and its intended audience.<ref>{{Cite book|last=White|first=Michelle|title=Drawing as Drawing|publisher=[[Menil Collection]]|year=2011|location=Houston|pages=24}}</ref> |
The following year in 1981, a second site-specific curved sculpture ''[[Tilted Arc]]'' (1981) was installed in New York City's [[Federal Plaza]]. Commissioned by the U.S. [[General Services Administration|General Services Administration's]] Art-in-Architecture Program following a rigorous selection process, the sculpture's arc spanned 120 feet (36 m) and 12 feet (3.6 m) high. The sculpture was a curve that tilted and leaned away from its base. It was anchored into the plaza at both ends so that the center of the sculpture was raised. Serra's intention for the sculpture was to draw pedestrians' attention to the sculpture as they crossed the plaza.<ref>{{Cite news|title=The Case in Favor of a Controversial Sculpture| work=The New York Times |url=http://timesmachine.nytimes.com/timesmachine/1985/05/19/240031.html?pageNumber=337|access-date=November 16, 2021|language=en}}</ref> ''Tilted Arc'' was met with resistance by workers in the [[Jacob K. Javits Federal Building|Federal building]]. An eight-year campaign to remove the sculpture ensued and ''Tilted Arc'' was ultimately removed on March 15, 1989.<ref>{{Cite web|last=Mundy|first=Jennifer|title=Lost Art: Richard Serra – Essay|url=https://www.tate.org.uk/art/artists/richard-serra-1923/lost-art-richard-serra|access-date=November 16, 2021|website=Tate|language=en-GB|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225131/https://www.tate.org.uk/art/artists/richard-serra-1923/lost-art-richard-serra|url-status=live}}</ref> In Serra's defense to preserve the sculpture he stated "To remove ''Tilted Arc'', therefore, is to destroy it",<ref>{{Cite web|title=Richard Serra: On trial for Tilted Arc|url=https://www.sfmoma.org/watch/richard-serra-on-trial-for-tilted-arc/|access-date=November 18, 2021|website=SFMOMA|language=en-US|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225128/https://www.sfmoma.org/watch/richard-serra-on-trial-for-tilted-arc/|url-status=live}}</ref> advocating an art-for art's sake mantra of site-specific artworks. Following the hearing and GSA's decision, Serra responded that he would deny his authorship of ''Tilted Arc'' if it were relocated. and would consider it a "derivative work".<ref name="Gamboni2013">{{cite book |last1=Gamboni |first1=Dario |title=The Destruction of Art: Iconoclasm and Vandalism since the French Revolution |year=2013 |publisher=Reaktion Books |isbn=978-1-78023-154-9 |page=161 |url=https://books.google.com/books?id=SWLqAQAAQBAJ&pg=PA161}}</ref> The case of ''Tilted Arc'' continues to highlight the tension surrounding the nature of public art and its intended audience.<ref>{{Cite book|last=White|first=Michelle|title=Drawing as Drawing|publisher=[[Menil Collection]]|year=2011|location=Houston|pages=24}}</ref> |
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===Gallery works=== |
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[[File:Richard Serra & Crescent.jpg|thumb|''East-West/West-East'' (2014) by Richard Serra in Zekreet [[Qatar]]]] |
[[File:Richard Serra & Crescent.jpg|thumb|''East-West/West-East'' (2014) by Richard Serra in Zekreet [[Qatar]]]] |
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Serra's work has enjoyed numerous exhibitions in gallery and museum settings. His site-specific gallery installations are sometimes used to test ideas.<ref>{{Cite web|date=November 28, 2011|title="Notes from Sight Point Road" by Richard Serra|url=https://avt101researchproject.wordpress.com/2011/11/28/notes-from-sight-point-road-by-richard-serra/|access-date=November 16, 2021|website=avt101researchproject|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225129/https://avt101researchproject.wordpress.com/2011/11/28/notes-from-sight-point-road-by-richard-serra/|url-status=live}}</ref> Serra's {{ |
Serra's work has enjoyed numerous exhibitions in gallery and museum settings. His site-specific gallery installations are sometimes used to test ideas.<ref>{{Cite web|date=November 28, 2011|title="Notes from Sight Point Road" by Richard Serra|url=https://avt101researchproject.wordpress.com/2011/11/28/notes-from-sight-point-road-by-richard-serra/|access-date=November 16, 2021|website=avt101researchproject|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225129/https://avt101researchproject.wordpress.com/2011/11/28/notes-from-sight-point-road-by-richard-serra/|url-status=live}}</ref> Serra's {{citation needed span|first U.S. solo exhibition|date=March 2024}} was at the [[Leo Castelli]] Warehouse, New York City in 1969. There he exhibited ten lead Prop Pieces, a Scatter Piece: ''Cutting Device: Base Plate Measure'' (1969), and a Splash Piece: ''Splashing with Four Molds (To Eva Hesse)'' (1969).{{citation needed|date=March 2024}} |
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Following his process-based works of the late 1960s and early 1970s, Serra began to solely use rolled or forged steel in his sculpture.<ref>{{Cite book|last=Serra|first=Richard, and Hal Foster|title=Conversations About Sculpture|publisher=Yale University Press|year=2018|location=London and New Haven|pages=108}}</ref> ''Berlin Block (for Charlie Chaplin)'' (1977) was Serra's first forged sculpture. Made for the plaza outside the [[Neue Nationalgalerie]] in Berlin, designed by [[Ludwig Mies van der Rohe]], the sculpture weighs 70 tons.<ref name="Solomon" /> His other forged sculptures include ''Elevation for Mies (1985–88)'' at Museum Haus Esters, [[Krefeld|Krefeld, Germany]]; ''Philibert et Marguerite'' (1985), in the [[Musée du Pays de Hanau|Musee de Brou]], Bourg-en-Bresse, France; ''Weight and Measure'' (1992), a temporary site-specific installation at the [[Tate|Tate Gallery]], London; ''Santa Fe Depot'' (2004), in the [[Museum of Contemporary Art San Diego]]; and ''Equal'' (2015) in [[Museum of Modern Art|the Museum of Modern Art]], New York.{{ |
Following his process-based works of the late 1960s and early 1970s, Serra began to solely use rolled or forged steel in his sculpture.<ref>{{Cite book|last=Serra|first=Richard, and Hal Foster|title=Conversations About Sculpture|publisher=Yale University Press|year=2018|location=London and New Haven|pages=108}}</ref> ''Berlin Block (for Charlie Chaplin)'' (1977) was Serra's first forged sculpture. Made for the plaza outside the [[Neue Nationalgalerie]] in Berlin, designed by [[Ludwig Mies van der Rohe]], the sculpture weighs 70 tons.<ref name="Solomon" /> His other forged sculptures include ''Elevation for Mies (1985–88)'' at Museum Haus Esters, [[Krefeld|Krefeld, Germany]]; ''Philibert et Marguerite'' (1985), in the [[Musée du Pays de Hanau|Musee de Brou]], Bourg-en-Bresse, France; ''Weight and Measure'' (1992), a temporary site-specific installation at the [[Tate|Tate Gallery]], London; ''Santa Fe Depot'' (2004), in the [[Museum of Contemporary Art San Diego]]; and ''Equal'' (2015) in [[Museum of Modern Art|the Museum of Modern Art]], New York.{{citation needed|date=March 2024}} |
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Serra's most known series of |
Serra's most known series of sculptures using rolled steel plates are the ''Torqued Ellipses''. In 1991 Serra visited Borromini's Church of [[San Carlo alle Quattro Fontane]] in Rome and mistook the ovals of the dome and the floor to be offset from one another.<ref>{{Cite web|title=The Weight of History|url=https://bordercrossingsmag.com/article/the-weight-of-history|access-date=November 18, 2021|website=bordercrossingsmag.com|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225134/https://bordercrossingsmag.com/article/the-weight-of-history|url-status=live}}</ref> He thought to make a sculpture in this [[torqued]] form. Serra constructed models of this perceived form in his studio by cutting two [[ellipse]]-shaped pieces of wood and nailing a dowel between them. He then turned the ellipses so they were at a right angle to one another and wrapped a sheet of lead around the form. After making a template from the models Serra worked with an engineer to fabricate the sculptures.<ref>{{Cite book|last=Foster|first=Hal|title=Richard Serra in Bilbao.|publisher=Parkett, no. 74|year=2005|pages=28–43|language=en, de}}</ref> In total there are seven Torqued Ellipses and four Double Torqued Ellipses (an ellipse inside of an ellipse) dated between 1996 and 2004.<ref>{{Cite news|last=Kimmelman|first=Michael|date=September 26, 1997|title=ART REVIEW; Inventing Shapes To Tease The Mind And Eye|language=en-US|work=The New York Times|url=https://www.nytimes.com/1997/09/26/arts/art-review-inventing-shapes-to-tease-the-mind-and-eye.html|access-date=November 16, 2021|issn=0362-4331|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225127/https://www.nytimes.com/1997/09/26/arts/art-review-inventing-shapes-to-tease-the-mind-and-eye.html|url-status=live}}</ref> Each sculpture has a different degree or torque and measures up to 13 feet (3.9 m) high. The sculptures all have an opening so that they can be walked through and around.<ref>{{Cite web|title=Torqued Ellipse|url=https://www.guggenheim.org/artwork/17143|access-date=November 18, 2021|website=The Guggenheim Museums and Foundation|language=en-US|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225128/https://www.guggenheim.org/artwork/17143|url-status=live}}</ref> Three Torqued Ellipses are on permanent view at [[Dia Beacon]], New York.<ref>{{Cite web|title=Richard Serra {{!}} Exhibitions & Projects|url=https://www.diaart.org/exhibition/exhibitions-projects/richard-serra-exhibition|access-date=November 18, 2021|website=www.diaart.org|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225130/https://www.diaart.org/exhibition/exhibitions-projects/richard-serra-exhibition|url-status=live}}</ref> |
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In 2005 "The Matter of Time", a commissioned installation, opened at the [[Guggenheim Museum Bilbao|Guggenheim Museum]], [[Bilbao|Bilbao, Spain]]. Consisting of eight sculptures spanning a decade from 1994 to 2005, "The Matter of Time" highlights the evolution of Serra's sculptural forms. Serra chose to include five sculptures derived from the initial torqued ellipse: one single, one double ellipse, and three torqued spirals.<ref name="guggenheim-bilbao.eus">{{Cite web|title=La materia del tiempo {{!}} Guggenheim Bilbao Museoa|url=https://www.guggenheim-bilbao.eus/la-coleccion/obras/la-materia-del-tiempo|access-date=November 16, 2021|website=Guggenheim Bilbao|language=es|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225132/https://www.guggenheim-bilbao.eus/la-coleccion/obras/la-materia-del-tiempo|url-status=live}}</ref> The Torqued Spirals followed after the Double Torqued Ellipses when Serra decided to connect a double ellipses into one wound form that can be entered and walked through.<ref name=":2" /> The remaining sculptures in "The Matter of Time" are one closed (''Blind Spot Reversed)'' and one open (''Between the Torus and the Sphere'') torus and spherical sculpture; and ''Snake'': made of three parts, each comprising two identical conical sections inverted relative to each other and spanning 104 feet (31.7 m) overall. The sculptures are organized by Serra with intention. The direction which the viewer moves through the space creates a sensation of varying scale and proportion, and an awareness to the passing of time.<ref>{{Cite web|title=La materia del tiempo {{!}} Guggenheim Bilbao Museoa|url=https://www.guggenheim-bilbao.eus/la-coleccion/obras/la-materia-del-tiempo|access-date=November 18, 2021|website=Guggenheim Bilbao|language=es|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225132/https://www.guggenheim-bilbao.eus/la-coleccion/obras/la-materia-del-tiempo|url-status=live}}</ref><ref>{{Cite book|last=Foster|first=Hal|title=Richard Serra in Bilbao|publisher=Parkett |number=74|year=2005|pages=28–42|language=en, de}}</ref> |
In 2005 "The Matter of Time", a commissioned installation, opened at the [[Guggenheim Museum Bilbao|Guggenheim Museum]], [[Bilbao|Bilbao, Spain]]. Consisting of eight sculptures spanning a decade from 1994 to 2005, "The Matter of Time" highlights the evolution of Serra's sculptural forms. Serra chose to include five sculptures derived from the initial torqued ellipse: one single, one double ellipse, and three torqued spirals.<ref name="guggenheim-bilbao.eus">{{Cite web|title=La materia del tiempo {{!}} Guggenheim Bilbao Museoa|url=https://www.guggenheim-bilbao.eus/la-coleccion/obras/la-materia-del-tiempo|access-date=November 16, 2021|website=Guggenheim Bilbao|language=es|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225132/https://www.guggenheim-bilbao.eus/la-coleccion/obras/la-materia-del-tiempo|url-status=live}}</ref> The Torqued Spirals followed after the Double Torqued Ellipses when Serra decided to connect a double ellipses into one wound form that can be entered and walked through.<ref name=":2" /> The remaining sculptures in "The Matter of Time" are one closed (''Blind Spot Reversed)'' and one open (''Between the Torus and the Sphere'') torus and spherical sculpture; and ''Snake'': made of three parts, each comprising two identical conical sections inverted relative to each other and spanning 104 feet (31.7 m) overall. The sculptures are organized by Serra with intention. The direction which the viewer moves through the space creates a sensation of varying scale and proportion, and an awareness to the passing of time.<ref>{{Cite web|title=La materia del tiempo {{!}} Guggenheim Bilbao Museoa|url=https://www.guggenheim-bilbao.eus/la-coleccion/obras/la-materia-del-tiempo|access-date=November 18, 2021|website=Guggenheim Bilbao|language=es|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225132/https://www.guggenheim-bilbao.eus/la-coleccion/obras/la-materia-del-tiempo|url-status=live}}</ref><ref>{{Cite book|last=Foster|first=Hal|title=Richard Serra in Bilbao|publisher=Parkett |number=74|year=2005|pages=28–42|language=en, de}}</ref> |
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''Four Rounds: Equal Weight, Unequal Measure'' (2017), consisting of four 82-ton (74 t) forged cylinders of varying dimensions is permanently installed at [[Glenstone]] in [[Potomac, Maryland]]. The sculpture is installed within a building designed by [[Thomas Phifer]] of Thomas Phifer and Partners, in collaboration with Serra to highlight the sculpture's mass within the confines of the building's interior.<ref>{{cite news |last1=Jenkins |first1=Mark |title=Glenstone unveils a monumental Richard Serra, in a custom-built space |url=https://www.washingtonpost.com/arts-entertainment/2022/07/01/glenstone-richard-serra/ |newspaper=[[The Washington Post]] |access-date=December 7, 2022 |archive-url=https://web.archive.org/web/20220713212702/https://www.washingtonpost.com/arts-entertainment/2022/07/01/glenstone-richard-serra/ |archive-date=July 13, 2022 |date=July 1, 2022 |url-status=live}}</ref><ref>{{Cite web |title=Monumental Richard Serra Sculpture in Custom-Designed Building by Thomas Phifer to Go on View at Glenstone Museum Beginning June 23 |url=https://www.glenstone.org/monumental-richard-serra-sculpture-in-custom-designed-building-by-thomas-phifer-to-go-on-view-at-glenstone-museum-beginning-june-23/ |access-date=January 3, 2023 |website=www.glenstone.org |language=en-US |archive-date=January 3, 2023 |archive-url=https://web.archive.org/web/20230103190411/https://www.glenstone.org/monumental-richard-serra-sculpture-in-custom-designed-building-by-thomas-phifer-to-go-on-view-at-glenstone-museum-beginning-june-23/ |url-status=live }}</ref> |
''Four Rounds: Equal Weight, Unequal Measure'' (2017), consisting of four 82-ton (74 t) forged cylinders of varying dimensions is permanently installed at [[Glenstone]] in [[Potomac, Maryland]]. The sculpture is installed within a building designed by [[Thomas Phifer]] of Thomas Phifer and Partners, in collaboration with Serra to highlight the sculpture's mass within the confines of the building's interior.<ref>{{cite news |last1=Jenkins |first1=Mark |title=Glenstone unveils a monumental Richard Serra, in a custom-built space |url=https://www.washingtonpost.com/arts-entertainment/2022/07/01/glenstone-richard-serra/ |newspaper=[[The Washington Post]] |access-date=December 7, 2022 |archive-url=https://web.archive.org/web/20220713212702/https://www.washingtonpost.com/arts-entertainment/2022/07/01/glenstone-richard-serra/ |archive-date=July 13, 2022 |date=July 1, 2022 |url-status=live}}</ref><ref>{{Cite web |title=Monumental Richard Serra Sculpture in Custom-Designed Building by Thomas Phifer to Go on View at Glenstone Museum Beginning June 23 |url=https://www.glenstone.org/monumental-richard-serra-sculpture-in-custom-designed-building-by-thomas-phifer-to-go-on-view-at-glenstone-museum-beginning-june-23/ |access-date=January 3, 2023 |website=www.glenstone.org |language=en-US |archive-date=January 3, 2023 |archive-url=https://web.archive.org/web/20230103190411/https://www.glenstone.org/monumental-richard-serra-sculpture-in-custom-designed-building-by-thomas-phifer-to-go-on-view-at-glenstone-museum-beginning-june-23/ |url-status=live }}</ref> |
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===Drawings=== |
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Drawing was integral to Serra's practice. Serra made drawings on large sheets of canvas or handmade paper. They include horizontal or vertical compositions; constructions of overlapping sheets; or line drawings.<ref>{{Cite web|title=How do you take notes? Richard Serra draws his thoughts|url=https://www.sfmoma.org/watch/how-do-you-take-notes-richard-serra-draws-his-thoughts/|access-date=November 16, 2021|website=SFMOMA|language=en-US|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225130/https://www.sfmoma.org/watch/how-do-you-take-notes-richard-serra-draws-his-thoughts/|url-status=live}}</ref> His drawings were primarily done in paintstick, lithographic crayon, or [[charcoal]] and are always black. Serra experiments with different techniques and tools to manipulate and apply the medium. He often pushes the conventions of drawing towards a tactile, phenomenological experience of movement, time and space.<ref name=":3">{{Cite book|last=White|first=Michelle|title=Drawing as Drawing: Richard Serra: Drawing: A Retrospective|publisher=The Menil Collection|year=2011|location=Houston|pages=13–29}}</ref> The artist said that his drawing practice is involved with "repetition, knowing there's no possibility of repeating, knowing that it's going to yield something different each time."<ref name=":3" /> |
Drawing was integral to Serra's practice. Serra made drawings on large sheets of canvas or handmade paper. They include horizontal or vertical compositions; constructions of overlapping sheets; or line drawings.<ref>{{Cite web|title=How do you take notes? Richard Serra draws his thoughts|url=https://www.sfmoma.org/watch/how-do-you-take-notes-richard-serra-draws-his-thoughts/|access-date=November 16, 2021|website=SFMOMA|language=en-US|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225130/https://www.sfmoma.org/watch/how-do-you-take-notes-richard-serra-draws-his-thoughts/|url-status=live}}</ref> His drawings were primarily done in paintstick, lithographic crayon, or [[charcoal]] and are always black. Serra experiments with different techniques and tools to manipulate and apply the medium. He often pushes the conventions of drawing towards a tactile, phenomenological experience of movement, time, and space.<ref name=":3">{{Cite book|last=White|first=Michelle|title=Drawing as Drawing: Richard Serra: Drawing: A Retrospective|publisher=The Menil Collection|year=2011|location=Houston|pages=13–29}}</ref> The artist said that his drawing practice is involved with "repetition, knowing there's no possibility of repeating, knowing that it's going to yield something different each time."<ref name=":3" /> |
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Following his break into space with sculptures like ''Strike: To Roberta and Rudy'' (1969–71), Serra became interested in redefining architectural space with drawing as well.<ref>{{Cite book|last=Serra|first=Richard, and Hal Foster|title=Conversations About Sculpture|publisher=Yale University Press|year=2018|location=New Haven and London|pages=34}}</ref> In 1974 Serra started to make his Installation Drawings—large-scale site-specific sheets of canvas completely covered in paintstick and stapled to the wall. The Installation Drawings cover the wall, or walls, of a given space.<ref>{{Cite book|last=Serra|first=Richard|title=Notes on Drawing|publisher=Benteli Publishers|year=1990|location=Bern, Switzerland|pages=9}}</ref> ''Shafrazi'' and ''Zadikians'' were two of Serra's first Installation Drawings. Both were exhibited at [[Leo Castelli Gallery]], New York City in 1974 and measured approximately 10 {{frac|1|2}} feet (3.2 m) high and 18 feet (5.5 m) wide overall.<ref name="White 2011 13–29">{{Cite book|last=White|first=Michelle|title=Drawing as Drawing|publisher=The Menil Collection|year=2011|location=Houston|pages=}}</ref> Serra continued to make Installation Drawing throughout his career. Other notable drawing series include: Diptychs (1989)<sup>;</sup> Dead Weight (1991–92); ''Weight and Measure'' (1993–94)''; Videy Afangar'' (1989–91); ''Rounds'' (1996–97); ''out-of-rounds'' (1999–2000); ''Line Drawings'' (2000–02''); Solids'' (2008)<sup>;</sup> ''Greenpoint Rounds'' (2009); ''Elevational Weights'' (2010); ''Rifts'' (2011–18); ''Transparencies'' (2011–13); ''Horizontal Reversals'' (2014) ''Rambles'' (2015–16); ''Composites'' (2016)''; Horizontals and Verticals'' (2016–17); and ''Orchard Street'' (2018).<ref>{{Cite book|last=White|first=Michelle|title=A Drawing Chronology|publisher=[[Menil Collection]]|year=2011|location=Houston|pages=24–27}}</ref> |
Following his break into space with sculptures like ''Strike: To Roberta and Rudy'' (1969–71), Serra became interested in redefining architectural space with drawing as well.<ref>{{Cite book|last=Serra|first=Richard, and Hal Foster|title=Conversations About Sculpture|publisher=Yale University Press|year=2018|location=New Haven and London|pages=34}}</ref> In 1974 Serra started to make his Installation Drawings—large-scale site-specific sheets of canvas completely covered in paintstick and stapled to the wall. The Installation Drawings cover the wall, or walls, of a given space.<ref>{{Cite book|last=Serra|first=Richard|title=Notes on Drawing|publisher=Benteli Publishers|year=1990|location=Bern, Switzerland|pages=9}}</ref> ''Shafrazi'' and ''Zadikians'' were two of Serra's first Installation Drawings. Both were exhibited at [[Leo Castelli Gallery]], New York City in 1974 and measured approximately 10 {{frac|1|2}} feet (3.2 m) high and 18 feet (5.5 m) wide overall.<ref name="White 2011 13–29">{{Cite book|last=White|first=Michelle|title=Drawing as Drawing|publisher=The Menil Collection|year=2011|location=Houston|pages=}}</ref> Serra continued to make Installation Drawing throughout his career. Other notable drawing series include: Diptychs (1989)<sup>;</sup> Dead Weight (1991–92); ''Weight and Measure'' (1993–94)''; Videy Afangar'' (1989–91); ''Rounds'' (1996–97); ''out-of-rounds'' (1999–2000); ''Line Drawings'' (2000–02''); Solids'' (2008)<sup>;</sup> ''Greenpoint Rounds'' (2009); ''Elevational Weights'' (2010); ''Rifts'' (2011–18); ''Transparencies'' (2011–13); ''Horizontal Reversals'' (2014) ''Rambles'' (2015–16); ''Composites'' (2016)''; Horizontals and Verticals'' (2016–17); and ''Orchard Street'' (2018).<ref>{{Cite book|last=White|first=Michelle|title=A Drawing Chronology|publisher=[[Menil Collection]]|year=2011|location=Houston|pages=24–27}}</ref> |
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National and international survey exhibitions of Serra's drawings have included ''Richard Serra: Tekeningen/Drawings 1971–1977'' at the Stedelijk Museum, Amsterdam in 1978; ''Richard Serra: Tekeningen/Drawings'' at the Bonnefantenmuseum, Maastrict in 1990; ''Richard Serra Drawings: A Retrospective'' at The Metropolitan Museum of Art, New York, the San Francisco Museum of Modern Art, and Menil Collection, Houston from 2011 to 2012; and ''Richard Serra: Drawings 2015–2017: Rambles, Composites, Rotterdam Verticals, Rotterdam Horizontals, Rifts'' at the Museum Boijmans van Beuningen. Rotterdam, The Netherlands in 2017.<ref>{{Cite web|title=Richard Serra Drawings press release {{!}} David Zwirner|url=https://www.davidzwirner.com/exhibitions/2018/richard-serra-drawings/press-release|access-date=November 19, 2021|website=www.davidzwirner.com|archive-date=November 19, 2021|archive-url=https://web.archive.org/web/20211119163218/https://www.davidzwirner.com/exhibitions/2018/richard-serra-drawings/press-release|url-status=live}}</ref> |
National and international survey exhibitions of Serra's drawings have included ''Richard Serra: Tekeningen/Drawings 1971–1977'' at the Stedelijk Museum, Amsterdam in 1978; ''Richard Serra: Tekeningen/Drawings'' at the Bonnefantenmuseum, Maastrict in 1990; ''Richard Serra Drawings: A Retrospective'' at The Metropolitan Museum of Art, New York, the San Francisco Museum of Modern Art, and Menil Collection, Houston from 2011 to 2012; and ''Richard Serra: Drawings 2015–2017: Rambles, Composites, Rotterdam Verticals, Rotterdam Horizontals, Rifts'' at the Museum Boijmans van Beuningen. Rotterdam, The Netherlands in 2017.<ref>{{Cite web|title=Richard Serra Drawings press release {{!}} David Zwirner|url=https://www.davidzwirner.com/exhibitions/2018/richard-serra-drawings/press-release|access-date=November 19, 2021|website=www.davidzwirner.com|archive-date=November 19, 2021|archive-url=https://web.archive.org/web/20211119163218/https://www.davidzwirner.com/exhibitions/2018/richard-serra-drawings/press-release|url-status=live}}</ref> |
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===Prints=== |
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[[File:Richard Serra Level IV 2010 one color etching 29 x 65 inches.png|thumb|Richard Serra, ''Level IV'', 2010, One color etching, 29 x 65 inches]]Serra began making prints in 1972. Working closely with Gemini G.E.L. in Los Angeles, Serra developed unconventional printing techniques. He made over 200 printed works and like his sculpture and drawing, his prints reflect an interest in process, scale, and experimentation with material.<ref>{{Cite web|title=Richard Serra: Prints January 28, 2017 – April 30, 2017 {{!}} Exhibition – Nasher Sculpture Center|url=https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/419/richard-serra-prints|access-date=November 19, 2021|website=www.nashersculpturecenter.org|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225128/https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/419/richard-serra-prints|url-status=live}}</ref> |
[[File:Richard Serra Level IV 2010 one color etching 29 x 65 inches.png|thumb|Richard Serra, ''Level IV'', 2010, One color etching, 29 x 65 inches]]Serra began making prints in 1972. Working closely with Gemini G.E.L. in Los Angeles, Serra developed unconventional printing techniques. He made over 200 printed works and like his sculpture and drawing, his prints reflect an interest in process, scale, and experimentation with material.<ref>{{Cite web|title=Richard Serra: Prints January 28, 2017 – April 30, 2017 {{!}} Exhibition – Nasher Sculpture Center|url=https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/419/richard-serra-prints|access-date=November 19, 2021|website=www.nashersculpturecenter.org|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225128/https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/419/richard-serra-prints|url-status=live}}</ref> |
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After pushing lithography to its limit, Serra began to work with [[silkscreen]] to produce a unique surface in his prints. He did so by first applying a layer of ink onto the paper. He then would apply a layer of paint stick through the second screen creating a saturated and textured surface.<ref>{{Cite book|last=Berswordt-Wallrabe |first=Silke von |chapter=Work Generates Different Kinds of Work: Development and Process in Richard Serra's Graphic Work. |editor=Richard Serra |title=Druckgraphik/Prints/Estampes: Catalogue Raisonné 1972–1999 |page=28 |publisher=Druckgraphik/Prints/Estampes|year=1972–1999}}</ref> |
After pushing lithography to its limit, Serra began to work with [[silkscreen]] to produce a unique surface in his prints. He did so by first applying a layer of ink onto the paper. He then would apply a layer of paint stick through the second screen creating a saturated and textured surface.<ref>{{Cite book|last=Berswordt-Wallrabe |first=Silke von |chapter=Work Generates Different Kinds of Work: Development and Process in Richard Serra's Graphic Work. |editor=Richard Serra |title=Druckgraphik/Prints/Estampes: Catalogue Raisonné 1972–1999 |page=28 |publisher=Druckgraphik/Prints/Estampes|year=1972–1999}}</ref> |
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Serra continued to work this his silkscreen technique, sometimes combining it with etching and aquatint. His print series include: ''Videy Afanger'' (1991); ''Hreppholer'' (1991); ''WM'' (1996); ''Rounds'' |
Serra continued to work this his silkscreen technique, sometimes combining it with etching and aquatint. His print series include: ''Videy Afanger'' (1991); ''Hreppholer'' (1991); ''WM'' (1996); ''Rounds'' (1999); ''Venice Notebook'' (2001); ''Between the Torus and the Sphere'' (2006); ''Paths and Edges'' (2007); ''Level'' (2008); ''Junction'' (2010); ''Reversal'' (2015); ''Elevational Weight'' (2016); ''Equa''l (2018); and (?) (2019).{{citation needed|date=March 2024}} |
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===Films and video works=== |
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From 1968 to 1979 Serra made a collection of films and videos. Although he began working with sculpture and film at the same time, Serra recognized the different material capacities of each and did not extend sculptural problems into his films and videos.<ref>{{Cite web|title=The Films and Videos of Richard Serra|url=https://harvardfilmarchive.org/programs/the-films-and-videos-of-richard-serra|access-date=November 19, 2021|website=Harvard Film Archive|date=January 27, 2020 |language=en}}</ref><ref>{{Cite book|last=Serra|first=Richard|title=Interview: Bernard Lamarche-Vadel|year=1980|pages=116}}</ref> Serra collaborated with several artists including [[Joan Jonas]], [[Nancy Holt]], and Robert Fiore, on his films and videos. His first films, ''Hand Catching Lead'' (1968), ''Hands Scraping'' (1968) ''and Hand Tied'' (1968) involve a series of actions: a hand tries to catch falling lead; pairs of hands move lead shavings; and bound hands untie themselves.<ref name=":5">{{Cite web|date=September 10, 2019|title=The Art of Perception: Richard Serra's Films {{!}} Essay|url=https://gagosian.com/quarterly/2019/09/10/essay-art-perception-richard-serras-films/|access-date=November 18, 2021|website=Gagosian Quarterly|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116233635/https://gagosian.com/quarterly/2019/09/10/essay-art-perception-richard-serras-films/|url-status=live}}</ref> |
From 1968 to 1979 Serra made a collection of films and videos. Although he began working with sculpture and film at the same time, Serra recognized the different material capacities of each and did not extend sculptural problems into his films and videos.<ref>{{Cite web|title=The Films and Videos of Richard Serra|url=https://harvardfilmarchive.org/programs/the-films-and-videos-of-richard-serra|access-date=November 19, 2021|website=Harvard Film Archive|date=January 27, 2020 |language=en}}</ref><ref>{{Cite book|last=Serra|first=Richard|title=Interview: Bernard Lamarche-Vadel|year=1980|pages=116}}</ref> Serra collaborated with several artists including [[Joan Jonas]], [[Nancy Holt]], and Robert Fiore, on his films and videos. His first films, ''Hand Catching Lead'' (1968), ''Hands Scraping'' (1968) ''and Hand Tied'' (1968) involve a series of actions: a hand tries to catch falling lead; pairs of hands move lead shavings; and bound hands untie themselves.<ref name=":5">{{Cite web|date=September 10, 2019|title=The Art of Perception: Richard Serra's Films {{!}} Essay|url=https://gagosian.com/quarterly/2019/09/10/essay-art-perception-richard-serras-films/|access-date=November 18, 2021|website=Gagosian Quarterly|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116233635/https://gagosian.com/quarterly/2019/09/10/essay-art-perception-richard-serras-films/|url-status=live}}</ref> |
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A later film ''Railroad Turnbridge'' (1976) frames the surrounding landscape of the [[Willamette River]] in [[Portland, Oregon]], as the bridge turns. ''Steelmill/Stahwerk'' (1979), made in collaboration with the art historian Clara Weyergraf is divided in two parts. The first part is made up of interviews of German steel |
A later film ''Railroad Turnbridge'' (1976) frames the surrounding landscape of the [[Willamette River]] in [[Portland, Oregon]], as the bridge turns. ''Steelmill/Stahwerk'' (1979), made in collaboration with the art historian Clara Weyergraf is divided in two parts. The first part is made up of interviews of German steel factory workers about their work. The second part captures the forging of Serra's sculpture ''Berlin Block (for Charlie Chaplin).''<ref name=":5" /> |
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Survey exhibitions and screenings of his films have been held at the [[Kunstmuseum Basel]], Switzerland in 2017;<ref>{{Cite web|last=zephir.ch|title=Richard Serra|url=https://kunstmuseumbasel.ch/en/exhibitions/2017/richard-serra|access-date=November 18, 2021|website=kunstmuseumbasel.ch|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225129/https://kunstmuseumbasel.ch/en/exhibitions/2017/richard-serra|url-status=live}}</ref> Anthology Film Archives, New York, October 17–23, 2019;<ref>{{Cite web|title=Anthology Film Archives: Film Screenings|url=http://anthologyfilmarchives.org/film_screenings/series/51513|access-date=November 18, 2021|website=anthologyfilmarchives.org|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225129/http://anthologyfilmarchives.org/film_screenings/series/51513|url-status=live}}</ref> and Harvard Film Archive, January 27 – February 9, 2020.<ref>{{Cite web|title=The Films and Videos of Richard Serra|url=https://harvardfilmarchive.org/programs/the-films-and-videos-of-richard-serra|access-date=November 18, 2021|website=Harvard Film Archive|date=January 27, 2020 |language=en}}</ref> In 2019, Serra donated his entire film and video works to the [[Museum of Modern Art]] in New York.{{ |
Survey exhibitions and screenings of his films have been held at the [[Kunstmuseum Basel]], Switzerland in 2017;<ref>{{Cite web|last=zephir.ch|title=Richard Serra|url=https://kunstmuseumbasel.ch/en/exhibitions/2017/richard-serra|access-date=November 18, 2021|website=kunstmuseumbasel.ch|language=en|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225129/https://kunstmuseumbasel.ch/en/exhibitions/2017/richard-serra|url-status=live}}</ref> Anthology Film Archives, New York, October 17–23, 2019;<ref>{{Cite web|title=Anthology Film Archives: Film Screenings|url=http://anthologyfilmarchives.org/film_screenings/series/51513|access-date=November 18, 2021|website=anthologyfilmarchives.org|archive-date=November 16, 2021|archive-url=https://web.archive.org/web/20211116225129/http://anthologyfilmarchives.org/film_screenings/series/51513|url-status=live}}</ref> and Harvard Film Archive, January 27 – February 9, 2020.<ref>{{Cite web|title=The Films and Videos of Richard Serra|url=https://harvardfilmarchive.org/programs/the-films-and-videos-of-richard-serra|access-date=November 18, 2021|website=Harvard Film Archive|date=January 27, 2020 |language=en}}</ref> In 2019, Serra donated his entire film and video works to the [[Museum of Modern Art]] in New York.{{citation needed|date=March 2024}} |
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==Exhibitions== |
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Serra's first solo exhibition was in 1966 at Galleria Salita in Rome, Italy.<ref>{{Cite web |title=SVA Archives |url=https://archives.sva.edu/blog/post/richard-serra-in-rome-1966 |access-date=October 27, 2022 |website=archives.sva.edu |archive-date=November 16, 2021 |archive-url=https://web.archive.org/web/20211116210818/https://archives.sva.edu/blog/post/richard-serra-in-rome-1966 |url-status=live }}</ref> His first solo exhibition in the U.S. was at the Leo Castelli Warehouse, New York in 1969.<ref>{{Cite web |title=Richard Serra – – Exhibitions – Castelli Gallery |url=https://www.castelligallery.com/exhibitions/richard-serra9 |access-date=October 27, 2022 |website=www.castelligallery.com |language=en |archive-date=October 27, 2022 |archive-url=https://web.archive.org/web/20221027152954/https://www.castelligallery.com/exhibitions/richard-serra9 |url-status=live }}</ref> His first solo museum exhibition was held at the [[Norton Simon Museum|Pasadena Art Museum]] in California in 1970.<ref>{{Cite web |last=Grrr.nl |title=Richard Serra: Pasadena Art Museum, 26 February to 1 March 1970 – Richard Serra |url=https://www.stedelijk.nl/en/collection/93335-richard-serra-richard-serra:-pasadena-art-museum-26-february-to-1-march-1970 |access-date=October 27, 2022 |website=www.stedelijk.nl |language=en |archive-date=October 27, 2022 |archive-url=https://web.archive.org/web/20221027152952/https://www.stedelijk.nl/en/collection/93335-richard-serra-richard-serra:-pasadena-art-museum-26-february-to-1-march-1970 |url-status=live }}</ref> |
Serra's first solo exhibition was in 1966 at Galleria Salita in Rome, Italy.<ref>{{Cite web |title=SVA Archives |url=https://archives.sva.edu/blog/post/richard-serra-in-rome-1966 |access-date=October 27, 2022 |website=archives.sva.edu |archive-date=November 16, 2021 |archive-url=https://web.archive.org/web/20211116210818/https://archives.sva.edu/blog/post/richard-serra-in-rome-1966 |url-status=live }}</ref> His first solo exhibition in the U.S. was at the Leo Castelli Warehouse, New York in 1969.<ref>{{Cite web |title=Richard Serra – – Exhibitions – Castelli Gallery |url=https://www.castelligallery.com/exhibitions/richard-serra9 |access-date=October 27, 2022 |website=www.castelligallery.com |language=en |archive-date=October 27, 2022 |archive-url=https://web.archive.org/web/20221027152954/https://www.castelligallery.com/exhibitions/richard-serra9 |url-status=live }}</ref> His first solo museum exhibition was held at the [[Norton Simon Museum|Pasadena Art Museum]] in California in 1970.<ref>{{Cite web |last=Grrr.nl |title=Richard Serra: Pasadena Art Museum, 26 February to 1 March 1970 – Richard Serra |url=https://www.stedelijk.nl/en/collection/93335-richard-serra-richard-serra:-pasadena-art-museum-26-february-to-1-march-1970 |access-date=October 27, 2022 |website=www.stedelijk.nl |language=en |archive-date=October 27, 2022 |archive-url=https://web.archive.org/web/20221027152952/https://www.stedelijk.nl/en/collection/93335-richard-serra-richard-serra:-pasadena-art-museum-26-february-to-1-march-1970 |url-status=live }}</ref> |
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Serra enjoyed solo exhibitions at the Staatliche Kunsthalle Baden-Baden, 1978; [[Museum Boijmans Van Beuningen]], Rotterdam, 1980; [[Musée National d'Art Moderne]], [[Centre Pompidou]], Paris, 1983–1984; Museum Haus Lange, Krefeld, 1985; The Museum of Modern Art, New York, 1986 and 2007; [[Louisiana Museum of Modern Art]], Humlebæk, 1986; [[Westphalian State Museum of Art and Cultural History]], Münster, 1987; [[Lenbachhaus|Städtische Galerie im Lenbachhaus]], Munich, 1987; [[Van Abbemuseum|Stedelijk Van Abbemuseum]], Eindhoven, 1988; [[Bonnefantenmuseum]], Maastricht, 1990; [[Kunsthaus Zürich]], 1990; [[CAPC musée d'art contemporain de Bordeaux|CAPC Musée d'Art Contemporain]], Bordeaux, 1990; [[Museo Nacional Centro de Arte Reina Sofía]], Madrid, 1992; [[Kunstsammlung Nordrhein-Westfalen]], Düsseldorf, 1992; Dia Center for the Arts, New York, 1997; [[Museum of Contemporary Art, Los Angeles]], 1998–1999; Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997–1998; [[Trajan's Market]], Rome, 1999–2000; [[Pulitzer Arts Foundation|Pulitzer Foundation for the Arts]], St. Louis, 2003; [[National Archaeological Museum, Naples]], 2004; and Museum Boijmans Van Beuningen, Rotterdam, in 2017.<ref>{{Cite web |title=Richard Serra – Biography |url=https://www.davidzwirner.com/artists/richard-serra/biography |access-date=October 27, 2022 |website=David Zwirner |language=en |archive-date=October 27, 2022 |archive-url=https://web.archive.org/web/20221027152956/https://www.davidzwirner.com/artists/richard-serra/biography |url-status=live }}</ref><ref>{{Cite web |date=April 12, 2018 |title=Richard Serra |url=https://gagosian.com/artists/richard-serra/ |access-date=October 27, 2022 |website=Gagosian |language=en |archive-date=October 27, 2022 |archive-url=https://web.archive.org/web/20221027152953/https://gagosian.com/artists/richard-serra/ |url-status=live }}</ref> |
Serra enjoyed solo exhibitions at the Staatliche Kunsthalle Baden-Baden, 1978; [[Museum Boijmans Van Beuningen]], Rotterdam, 1980; [[Musée National d'Art Moderne]], [[Centre Pompidou]], Paris, 1983–1984; Museum Haus Lange, Krefeld, 1985; The Museum of Modern Art, New York, 1986 and 2007; [[Louisiana Museum of Modern Art]], Humlebæk, 1986; [[Westphalian State Museum of Art and Cultural History]], Münster, 1987; [[Lenbachhaus|Städtische Galerie im Lenbachhaus]], Munich, 1987; [[Van Abbemuseum|Stedelijk Van Abbemuseum]], Eindhoven, 1988; [[Bonnefantenmuseum]], Maastricht, 1990; [[Kunsthaus Zürich]], 1990; [[CAPC musée d'art contemporain de Bordeaux|CAPC Musée d'Art Contemporain]], Bordeaux, 1990; [[Museo Nacional Centro de Arte Reina Sofía]], Madrid, 1992; [[Kunstsammlung Nordrhein-Westfalen]], Düsseldorf, 1992; Dia Center for the Arts, New York, 1997; [[Museum of Contemporary Art, Los Angeles]], 1998–1999; Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997–1998; [[Trajan's Market]], Rome, 1999–2000; [[Pulitzer Arts Foundation|Pulitzer Foundation for the Arts]], St. Louis, 2003; [[National Archaeological Museum, Naples]], 2004; and Museum Boijmans Van Beuningen, Rotterdam, in 2017.<ref>{{Cite web |title=Richard Serra – Biography |url=https://www.davidzwirner.com/artists/richard-serra/biography |access-date=October 27, 2022 |website=David Zwirner |language=en |archive-date=October 27, 2022 |archive-url=https://web.archive.org/web/20221027152956/https://www.davidzwirner.com/artists/richard-serra/biography |url-status=live }}</ref><ref>{{Cite web |date=April 12, 2018 |title=Richard Serra |url=https://gagosian.com/artists/richard-serra/ |access-date=October 27, 2022 |website=Gagosian |language=en |archive-date=October 27, 2022 |archive-url=https://web.archive.org/web/20221027152953/https://gagosian.com/artists/richard-serra/ |url-status=live }}</ref> |
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==Collections== |
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Serra's work is included in many museums and public collections around the world. |
Serra's work is included in many museums and public collections around the world. Selected museum collections which own his work include The [[Museum of Modern Art]], New York; The [[Whitney Museum]] of American Art, New York; Art Gallery of Ontario, Toronto; [[Art Institute of Chicago]]; [[Bonnefantenmuseum]], Maastricht, The Netherlands; [[Centre Cultural Fundació La Caixa]], Barcelona; [[Centre Georges Pompidou]], Musée National d'Art Moderne, Paris; [[Modern Art Museum of Fort Worth]], Texas; [[Dia Art Foundation]], New York; [[Guggenheim Museum Bilbao]] and New York; [[Pérez Art Museum Miami]], Florida; [[Hamburger Kunsthalle]], Hamburg, Germany; [[Hirshhorn Museum and Sculpture Garden]], Smithsonian Institution, Washington, DC; [[Moderna Museet]], Stockholm; and [[Glenstone Museum]], Potomac, Maryland.<ref name=rscv>[https://www.davidzwirner.com/-/media/davidzwirner/artists/richard-serra/richardserra_11oct2022.pdf?la=en&rev=8c5513ccbcfc415c9486c6cdb4b1a1be&hash=062491D132D6FA02DF53D99EBD6D1855 Richard Serra CV]{{dead link|date=March 2024|url=https://www.davidzwirner.com/-/media/davidzwirner/artists/richard-serra/richardserra_11oct2022.pdf?la=en&rev=8c5513ccbcfc415c9486c6cdb4b1a1be&hash=062491D132D6FA02DF53D99EBD6D1855}}{{better source needed|date=March 2024}}</ref><ref>{{Cite web |title=Richard Serra {{!}} Exhibitions & Projects {{!}} Exhibitions {{!}} Dia |url=https://www.diaart.org/exhibition/exhibitions-projects/richard-serra-exhibition |access-date=2024-09-04 |website=www.diaart.org}}</ref><ref>{{Cite web |title=Every Sound Is a Shape of Time: Selections from PAMM's Collection • Pérez Art Museum Miami |url=https://www.pamm.org/en/exhibition/every-sound-is-a-shape-of-time-selections-from-pamms-collection/ |access-date=2024-09-04 |website=Pérez Art Museum Miami |language=en-US}}</ref> |
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Selected public collections which hold his work include City of Bochum, Germany; City of Chicago, Public Art Collection; City of Goslar, Germany; City of Hamburg, Germany; City of St. Louis, Missouri; City of Tokyo, Japan; City of Berlin, Germany; City of Paris, France; Collection City of Reykjavík, Iceland.<ref name=rscv/> |
Selected public collections which hold his work include City of Bochum, Germany; City of Chicago, Public Art Collection; City of Goslar, Germany; City of Hamburg, Germany; City of St. Louis, Missouri; City of Tokyo, Japan; City of Berlin, Germany; City of Paris, France; Collection City of Reykjavík, Iceland.<ref name=rscv/> |
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==Personal life== |
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Richard Serra moved to New York City in 1966. He bought a house in [[Cape Breton Island|Cape Breton]], Nova Scotia, in 1970 and spent summers working there. Serra married [[Art history|art historian]] Clara Weyergraf in 1981.<ref>{{Cite news|last=Solomon|first=Deborah|date=October 8, 1989|title=OUR MOST NOTORIOUS SCULPTOR|language=en-US|work=The New York Times|url=https://www.nytimes.com/1989/10/08/magazine/our-most-notorious-sculptor.html|access-date=November 18, 2021|issn=0362-4331|archive-date=September 5, 2023|archive-url=https://web.archive.org/web/20230905065014/https://www.nytimes.com/1989/10/08/magazine/our-most-notorious-sculptor.html|url-status=live}}</ref> As of 2019, Serra maintained a home in Manhattan and studios in Nova Scotia and the [[North Fork (Long Island)|North Fork]] of [[Long Island]].<ref>{{Cite news|last=Solomon|first=Deborah|date=August 28, 2019|title=Richard Serra Is Carrying the Weight of the World|language=en-US|work=The New York Times|url=https://www.nytimes.com/2019/08/28/arts/design/richard-serra-gagosian-sculpture.html|access-date=November 18, 2021|issn=0362-4331|archive-date=September 5, 2023|archive-url=https://web.archive.org/web/20230905065014/https://www.nytimes.com/2019/08/28/arts/design/richard-serra-gagosian-sculpture.html|url-status=live}}</ref> |
Richard Serra moved to New York City in 1966. He bought a house in [[Cape Breton Island|Cape Breton]], Nova Scotia, in 1970 and spent summers working there. Serra married [[Art history|art historian]] Clara Weyergraf in 1981.<ref>{{Cite news|last=Solomon|first=Deborah|date=October 8, 1989|title=OUR MOST NOTORIOUS SCULPTOR|language=en-US|work=The New York Times|url=https://www.nytimes.com/1989/10/08/magazine/our-most-notorious-sculptor.html|access-date=November 18, 2021|issn=0362-4331|archive-date=September 5, 2023|archive-url=https://web.archive.org/web/20230905065014/https://www.nytimes.com/1989/10/08/magazine/our-most-notorious-sculptor.html|url-status=live}}</ref> As of 2019, Serra maintained a home in Manhattan and studios in Nova Scotia and the [[North Fork (Long Island)|North Fork]] of [[Long Island]].<ref>{{Cite news|last=Solomon|first=Deborah|date=August 28, 2019|title=Richard Serra Is Carrying the Weight of the World|language=en-US|work=The New York Times|url=https://www.nytimes.com/2019/08/28/arts/design/richard-serra-gagosian-sculpture.html|access-date=November 18, 2021|issn=0362-4331|archive-date=September 5, 2023|archive-url=https://web.archive.org/web/20230905065014/https://www.nytimes.com/2019/08/28/arts/design/richard-serra-gagosian-sculpture.html|url-status=live}}</ref> |
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Serra died from [[pneumonia]] at his home in [[Orient, New York]], on March 26, 2024, at the age of 85.<ref name="NYTimes-obit">{{cite news |title=Richard Serra, Who Recast Sculpture on a Massive Scale, Dies at 85 |url=https://www.nytimes.com/2024/03/26/arts/richard-serra-dead.html |access-date=March 26, 2024 |work=The New York Times |date=March 26, 2024 |archive-date=March 26, 2024 |archive-url=https://web.archive.org/web/20240326232109/https://www.nytimes.com/2024/03/26/arts/richard-serra-dead.html |url-status=live }}</ref><ref name="AP-Obit">{{cite news |last1=Haigh |first1=Susan |last2=Nguyễn |first2=Trân |title=Famed American sculptor Richard Serra, the 'poet of iron,' has died at 85 |url=https://apnews.com/article/richard-serra-death-c72a88ff972133b3d8c7329b48886d73 |access-date=March 30, 2024 |work=AP News |date=March 27, 2024 |language=en}}</ref><ref name="Guardian-Obit">{{cite news |last1=Jonze |first1=Tim |title=Richard Serra, uncompromising American abstract sculptor, dies aged 85 |url=https://www.theguardian.com/artanddesign/2024/mar/27/richard-serra-dies-85-american-abstract-sculpture-artist-cause-of-death-pneumonia |access-date=March 30, 2024 |work=The Guardian |date=March 27, 2024}}</ref><ref>{{cite news|url=https://www.artnews.com/art-news/news/richard-serra-minimalist-sculptor-dead-1234701117/|author=Alex Greenberger|date=March 26, 2024|title=Richard Serra, Minimalist Sculptor Whose Steel Creations Awed Viewers, Dies at 85|work=ART News}}</ref> |
Serra died from [[pneumonia]] at his home in [[Orient, New York]], on March 26, 2024, at the age of 85.<ref name="NYTimes-obit">{{cite news |title=Richard Serra, Who Recast Sculpture on a Massive Scale, Dies at 85 |url=https://www.nytimes.com/2024/03/26/arts/richard-serra-dead.html |access-date=March 26, 2024 |work=The New York Times |date=March 26, 2024 |archive-date=March 26, 2024 |archive-url=https://web.archive.org/web/20240326232109/https://www.nytimes.com/2024/03/26/arts/richard-serra-dead.html |url-status=live }}</ref><ref name="AP-Obit">{{cite news |last1=Haigh |first1=Susan |last2=Nguyễn |first2=Trân |title=Famed American sculptor Richard Serra, the 'poet of iron,' has died at 85 |url=https://apnews.com/article/richard-serra-death-c72a88ff972133b3d8c7329b48886d73 |access-date=March 30, 2024 |work=AP News |date=March 27, 2024 |language=en}}</ref><ref name="Guardian-Obit">{{cite news |last1=Jonze |first1=Tim |title=Richard Serra, uncompromising American abstract sculptor, dies aged 85 |url=https://www.theguardian.com/artanddesign/2024/mar/27/richard-serra-dies-85-american-abstract-sculpture-artist-cause-of-death-pneumonia |access-date=March 30, 2024 |work=The Guardian |date=March 27, 2024}}</ref><ref>{{cite news|url=https://www.artnews.com/art-news/news/richard-serra-minimalist-sculptor-dead-1234701117/|author=Alex Greenberger|date=March 26, 2024|title=Richard Serra, Minimalist Sculptor Whose Steel Creations Awed Viewers, Dies at 85|work=ART News}}</ref> |
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==Awards and honors== |
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Serra was the recipient of many notable prizes and awards, including Fulbright Grant (1965–66); [[Guggenheim Fellowship]] (1970); République Française, Ministère de la Culture et de la Communication Chevalier de l'Ordre des Arts et des Lettres (1985 and 1991); Japan Arts Association, Tokyo Praemium Imperiale |
Serra was the recipient of many notable prizes and awards, including Fulbright Grant (1965–66); [[Guggenheim Fellowship]] (1970); République Française, Ministère de la Culture et de la Communication Chevalier de l'Ordre des Arts et des Lettres (1985 and 1991); Japan Arts Association, Tokyo Praemium Imperiale (1994); a Leone d'Oro for lifetime achievement, Venice Biennale, Italy (2001); American Academy of Arts and Letters (2001); Orden pour le Mérite für Wissenschaften und Künste, Federal Republic of Germany (2002); Orden de las Artes y las Letras de España, Spain (2008); The National Arts Award: Lifetime Achievement Award (bestowed by Americans for the Arts 2014); Hermitage Museum Foundation's Award for Lifetime Contributions to the World of Art (2014); Chevalier de l'Ordre national de la Légion d'honneur, Republic of France (2015); Landesmuseum Wiesbaden Alexej-von-Jawlensky-Preis (2017); and a J. Paul Getty Medal (2018).<ref name=rscv/> |
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==Writings and interviews== |
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Gathered in the following three anthologies is a comprehensive collection of writings by, and interviews with, the artist: |
Gathered in the following three anthologies is a comprehensive collection of writings by, and interviews with, the artist: |
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* {{cite book |last1=Serra |first1=Richard |display-authors=0 |title=Richard Serra: Writings/Interviews |location=Chicago and London |publisher=University of Chicago Press |date=August 15, 1994 |isbn=978-0-226-74880-1 |ol=9651745M |url=https://books.google.com/books?id=KFHQh_8FuFQC |language=en}} Includes writings by the artist and interviews by Friedrich Teja Bach, Liza Béar, Patricia E. Bickers, Lizzie Borden, Lynne Cooke, Douglas Crimp, Peter Eisenman, Mark Francis, Bernard Lamarche-Vadel, Annette Michelson, Robert C. Morgan, Alfred Pacquement, Brenda Richardson, Mark Rosenthal, Nicholas Serota, David Sylvester, and Clara Weyergraf. |
* {{cite book |last1=Serra |first1=Richard |display-authors=0 |title=Richard Serra: Writings/Interviews |location=Chicago and London |publisher=University of Chicago Press |date=August 15, 1994 |isbn=978-0-226-74880-1 |ol=9651745M |url=https://books.google.com/books?id=KFHQh_8FuFQC |language=en}} Includes writings by the artist and interviews by Friedrich Teja Bach, Liza Béar, Patricia E. Bickers, Lizzie Borden, Lynne Cooke, Douglas Crimp, Peter Eisenman, Mark Francis, Bernard Lamarche-Vadel, Annette Michelson, Robert C. Morgan, Alfred Pacquement, Brenda Richardson, Mark Rosenthal, Nicholas Serota, David Sylvester, and Clara Weyergraf. |
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==Selected writing== |
==Selected writing== |
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All solely by Richard Serra unless indicated otherwise. |
All are solely by Richard Serra unless indicated otherwise. |
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* "Play it Again, Sam." ''Arts Magazine'' 44, no. 4 (February 1970), pp. 24–27. |
* "Play it Again, Sam." ''Arts Magazine'' 44, no. 4 (February 1970), pp. 24–27. |
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* Foster, Hal. "Richard Serra in Conversation with Hal Foster." In Richard Serra: The Matter of Time, pp. 23–41. Bilbao: Museo Guggenheim Bilbao, and Göttingen: Steidl Verlag, 2005. |
* Foster, Hal. "Richard Serra in Conversation with Hal Foster." In Richard Serra: The Matter of Time, pp. 23–41. Bilbao: Museo Guggenheim Bilbao, and Göttingen: Steidl Verlag, 2005. |
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* [[Phong Bui|Bui, Phong]]. [https://brooklynrail.org/2006/06/art/richard-serra-with-phong-bui "In Conversation: Richard Serra with Phong Bui"], ''[[The Brooklyn Rail]]'', June 2006, pp. 22–24. Reprinted in Richard Serra: Rolled and Forged, pp. 5–15. Exh. cat. Gagosian Gallery, New York, 2006. |
* [[Phong Bui|Bui, Phong]]. [https://brooklynrail.org/2006/06/art/richard-serra-with-phong-bui "In Conversation: Richard Serra with Phong Bui"], ''[[The Brooklyn Rail]]'', June 2006, pp. 22–24. Reprinted in Richard Serra: Rolled and Forged, pp. 5–15. Exh. cat. Gagosian Gallery, New York, 2006. |
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* [[Kynaston McShine|McShine, Kynaston]]. [https://books.google. |
* [[Kynaston McShine|McShine, Kynaston]]. [https://books.google.com/books?id=EDAbPknr8nMC&pg=PA15 "A Conversation About Work with Richard Serra"]. In Richard Serra: Forty Years, pp. 15–40. Exh. cat. The Museum of Modern Art, New York, 2007. |
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* Pacquement, Alfred. "Richard Serra: Grand Seigneur du Grand Palais." In Richard Serra: Monumenta 2008/Grand Palais, pp. 4–11. Boulogne: Beaux Arts Éditions, 2008. |
* Pacquement, Alfred. "Richard Serra: Grand Seigneur du Grand Palais." In Richard Serra: Monumenta 2008/Grand Palais, pp. 4–11. Boulogne: Beaux Arts Éditions, 2008. |
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* Storr, Robert. "Richard Serra Goes Public in Paris." Art Press [Paris], no. 345 (May 2008), pp. 28–35. |
* Storr, Robert. "Richard Serra Goes Public in Paris." Art Press [Paris], no. 345 (May 2008), pp. 28–35. |
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[[Category:Members of the Academy of Arts, Berlin]] |
[[Category:Members of the Academy of Arts, Berlin]] |
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[[Category:20th-century American printmakers]] |
[[Category:20th-century American printmakers]] |
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[[Category:Honorary |
[[Category:Honorary members of the Royal Academy]] |
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[[Category:Sculptors from California]] |
[[Category:Sculptors from California]] |
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[[Category:People from Tribeca]] |
[[Category:People from Tribeca]] |
Latest revision as of 20:13, 14 October 2024
Richard Serra | |
---|---|
Born | |
Died | March 26, 2024 Orient, New York, U.S. | (aged 85)
Nationality | American |
Education | University of California, Berkeley (attended) University of California, Santa Barbara (B.A. 1961) Yale University (B.F.A. 1962, M.F.A. 1964) |
Movement | Postminimalism, Process Art |
Spouses |
Richard Serra (November 2, 1938 – March 26, 2024) was an American artist known for his large-scale abstract sculptures made for site-specific landscape, urban, and architectural settings, and whose work has been primarily associated with Postminimalism. Described as "one of his era's greatest sculptors", Serra became notable for emphasizing the material qualities of his works and exploration of the relationship between the viewer, the work, and the site.[1]
Serra pursued English literature at the University of California, Berkeley, before shifting to visual art. He graduated with a B.A. in English Literature from the University of California, Santa Barbara, in 1961, where he met influential muralists Rico Lebrun and Howard Warshaw. Supporting himself by working in steel mills, Serra's early exposure to industrial materials influenced his artistic trajectory. He continued his education at Yale University, earning a B.A. in Art History and an M.F.A. in 1964. While in Paris on a Yale fellowship in 1964, he befriended composer Philip Glass and explored Constantin Brâncuși's studio, both of which had a strong influence on his work. His time in Europe also catalyzed his subsequent shift from painting to sculpture.
From the mid-1960s onward, particularly after his move to New York City in 1966, Serra worked to radicalize and extend the definition of sculpture beginning with his early experiments with rubber, neon, and lead, to his large-scale steel works. His early works in New York, such as To Lift from 1967 and Thirty-Five Feet of Lead Rolled Up from 1968, reflected his fascination with industrial materials and the physical properties of his chosen mediums. His large-scale works, both in urban and natural landscapes, have reshaped public interactions with art and, at times, were also a source of controversy, such as that caused by his Tilted Arc in Manhattan in 1981. Serra was married to artist Nancy Graves between 1965 and 1970, and Clara Weyergraf between 1981 and his death in 2024.
Early life and education
[edit]Serra was born in San Francisco, California, on November 2, 1938,[2][3] to Tony and Gladys Serra – the second of three sons.[4] His father was Spanish from Mallorca and his mother Gladys was the daughter of Ukrainian Jewish immigrants from Odessa.[2][5] From a young age, he was encouraged to draw by his mother. The young Serra would carry a small notebook for his sketches and his mother would introduce her son as "Richard the artist."[6] His father worked as a pipe fitter for a shipyard near San Francisco.[4][7] Serra recounted a memory of a visit to the shipyard to see a boat launch when he was four years old.[8] He watched as the ship transformed from an enormous weight to a buoyant, floating structure and noted that: "All the raw material that I needed is contained in the reserve of this memory."[9] Serra's father, who was related to the Catalan architect Antoni Gaudí, later worked as a candy plant foreman.[10]
Serra studied English literature at the University of California, Berkeley in 1957[8] before transferring to the University of California, Santa Barbara and graduating in 1961 with a BA in English Literature. In Santa Barbara, Serra met the muralists, Rico Lebrun and Howard Warshaw. Both were in the Art Department and took Serra under their wing.[11] During this period, Serra worked in steel mills to earn a living, as he did at various times from ages 16–25.[12]
Serra studied painting at Yale University and graduated with both a BA in Art History and an MFA in 1964. Fellow Yale alumni contemporaneous to Serra include Chuck Close, Rackstraw Downs, Nancy Graves, Brice Marden, and Robert Mangold.[13] At Yale Serra met visiting artists from the New York School such as Philip Guston, Robert Rauschenberg, Ad Reinhardt, and Frank Stella. Serra taught a color theory course during his last year at Yale and after graduating was asked to help proof Josef Albers' notable color theory book "Interaction of Color."[13][14]
In 1964, Serra was awarded a one-year traveling fellowship from Yale and went to Paris where he met the composer Philip Glass[13] who became a collaborator and long-time friend. In Paris, Serra spent time sketching in Constantin Brâncuși's studio, partially reconstructed inside the Musée national d'Art moderne on the Avenue du Président Wilson,[13] allowing Serra to study Brâncuși's work, later drawing his own sculptural conclusions.[15] An exact replica of Brâncuși's studio is now located opposite the Centre Pompidou.[16] Serra spent the following year in Florence, Italy on a Fulbright Grant. In 1966 while still in Italy, Serra made a trip to the Prado Museum in Spain and saw Diego Velázquez's painting, "Las Meninas."[16] The artist realized he would not surpass the skill of that painting and decided to move away from painting.[6]
While still in Europe, Serra began experimenting with nontraditional sculptural material. He had his first one-person exhibition "Animal Habitats" at Galleria Salita, Rome.[17] Exhibited there were assemblages made with live and stuffed animals which would later be referenced as early work from the Arte Povera movement.[9]
Work
[edit]Early work
[edit]Serra returned from Europe and moved to New York City in 1966. He continued his constructions using experimental materials such as rubber, latex, fiberglass, neon, and lead.[18] His Belt Pieces were made with strips of rubber and hung on the wall using gravity as a forming device. Serra combined neon with continuous strips of rubber in his sculpture Belts (1966–67) referencing the serial abstraction in Jackson Pollock's Mural (1963.) Around that time Serra wrote Verb List (1967) a list of transitive verbs (i.e. cast, roll, tear, prop, etc.) which he used as directives for his sculptures.[19] To Lift (1967), and Thirty-Five Feet of Lead Rolled Up (1968), Splash Piece (1968), and Casting (1969), were some of the action-based works with origins in the verb list. Serra used lead in many of his constructs because of its adaptability. Lead is malleable enough to be rolled, folded, ripped, and melted. With To Lift (1967) Serra lifted a 10-foot (3 m) sheet of rubber off the ground making a free-standing form; with Thirty-five Feet of Lead Rolled Up (1968), Serra, with the help of Philip Glass, unrolled and rolled a sheet of lead as tightly as they could.[19]
In 1968 Serra was included in the group exhibition "Nine at Castelli" at Castelli Warehouse in New York[20] where he showed Prop (1968), Scatter Piece (1968), and made Splashing (1968) by throwing molten lead against the angle of the floor and wall. In 1969 his piece Casting was included in the exhibition Anti-Illusion: Procedures/Materials at the Whitney Museum of American Art in New York.[20] In Casting the artist again threw molten lead against the angle of the floor and wall. He then pulled the casting made from the hardened lead away from the wall and repeated the action of splashing and casting creating a series of free-standing forms.[21]
"To prop" is another transitive verb from Serra's "Verb List" utilized by the artist for a series of assemblages of lead plates and poles dependent on leaning and gravity as a force to stay upright.[21] Serra's early Prop Pieces such as Prop (1968) relied mainly on the wall as a support.[22] Serra wanted to move away from the wall to remove what he thought was a pictorial convention. In 1969 he propped four lead plates up on the floor like a house of cards. The sculpture One Ton Prop: House of Cards (1969) weighed 1 ton and the four plates were self-supporting.[23]
Another pivotal moment for Serra occurred in 1969 when he was commissioned by the artist Jasper Johns to make a Splash Piece in Johns's studio. While Serra heated the lead plates to splash against the wall, he took one of the larger plates and set it in the corner where it stood on its own. Serra's break into space followed shortly after with the sculpture Strike: To Roberta and Rudy (1969–71).[24] Serra wedged an 8 by 24-foot (2.4 × 7.3 m) plate of steel into a corner and divided the room into two equal spaces. The work invited the viewer to walk around the sculpture, shifting the viewer's perception of the room as they walked.[21]
Serra first recognized the potential of working in large scale with his Skullcracker Series made during the exhibition, "Art and Technology," at LACMA (the Los Angeles County Museum of Art) in 1969. He spent ten weeks building a number of ephemeral stacked steel pieces at the Kaiser Steelyard. Using a crane to explore the principles of counterbalance and gravity, the stacks were as tall as 30 to 40 feet (9 to 12 m) high and weighed between 60 and 70 tons (54.4 and 63.5 t). They were knocked down by the steelworkers at the end of each day. The scale of the stacks allowed Serra to begin to think of his work outside the confines of gallery and museum spaces.[25]
Landscape works
[edit]In 1970 Serra received a Guggenheim Fellowship and traveled to Japan. His first outdoor sculptures, To Encircle Base Plate (Hexagram) (1970) and Sugi Tree (1970), were both installed in Ueno Park as part of the "Tokyo Biennale."[26]
While in Japan, Serra spent most of his time studying the Zen gardens and temples of the Myoshin-ji in Kyoto. The layout of the gardens revealed the landscape as a total field that can only be experienced by walking. The gardens changed Serra's way of seeing space in relation to time.[27] Upon returning to the United States he built his first site-specific outdoor work: To Encircle Base Plate Hexagram, Right Angles Inverted (1970). Here Serra embedded two semi-circular steel flanges, forming a ring 26 feet (7.9 m) in diameter, into the surface of 183rd Street in the Bronx. One semi-circle measured 1 inch (25.4 mm) wide and the second, 8 inches wide (203.2 mm). The work was visible from two perspectives: either when the viewer came directly upon it or from above on a stairway overlooking the street.[28]
Throughout the 1970s Serra continued to make outdoor site-specific sculptures for urban areas and landscapes. Serra was interested in the topology of landscape and how one relates to it through movement, space, and time. His first landscape work was made in late 1970 when Serra was commissioned by the art patrons Joseph and Emily Rauh Pulitzer to build a sculpture on their property outside St. Louis, Missouri. Pulitzer Piece: Stepped Elevation (1970–71) was Serra's first large-scale landscape work. Three plates measuring 5 feet (1.5 m) high by 40 to 50 feet (12 to 15 m) long were placed across approximately 3 acres (12 140 m2). The placement of the plates was determined by the fall of the landscape. Each plate was impaled into the ground far enough until its rise was 5 feet (1.5 m). Serra's intention was for the plates to act as cuts in the landscape that function as surrogate horizons as viewers walked amongst them.[29]
Shift (1970–72), Serra's second endeavor in the landscape, was built in a field owned by the collector Roger Davidson in King City, Ontario. The sculpture is composed of six rectilinear concrete sections placed along the sloping landscape.[25] In 2013 Shift was designated a Heritage Site under the Ontario Heritage Act. Shift, like Pulitzer Prizes pieces, was based on the elevational fall of the land over a given distance. The top edges of the plates function as a horizon being placed into specific elevational intervals as you walk the entire field.[30]
Serra's subsequent site-specific works in landscape continued to explore the topography of the land and how the sculpture relates to this topography by way of movement, meditation, and perception of the viewer. Among the most notable of the landscape works are Porten i Slugten (1983–86) at the Louisiana Museum of Modern Art, Denmark;[31] Afangar (Stations, Stops on the Road, To Stop and Look: Forward and Back, To Take It All In) (1990) on Videy Island, Iceland;[32] Schunnemunk Fork (1991) in Storm King Art Center, New York;[33] Snake Eyes and Box Cars (1993) in Sonoma County, California;[34] Te Tuhirangi Contour (2000–2) in Kaipara, New Zealand;[35] and East-West/West-East (2014) in Qatar.[36]
The sculpture Porten i Slugten (1983–86) was commissioned for the Louisiana Museum of Modern Art in Humlebaek, Denmark. After walking the museum grounds, Serra chose a ravine that runs towards the Kattegat Sea as the site for his sculpture. The ravine was the only area on the grounds that had not been landscaped. Two plates were set at an angle to each other at the end of a sloping stretch of path which fronts the ravine. The plates function in their location like a gate that opens as the viewer walks down the path toward the sea. Seen from the center of a bridge, which crosses the ravine and leads to the museum, the two plates form a single plane as if the gate had closed. As you walk down from the museum to the ocean below, the plates appear to have a continuous swinging motion.[37] In 1988 Serra was invited by the National Gallery of Iceland to build a work. Serra chose Videy Island as the site for Afangar (Stations, Stops on the Road, To Stop and Look: Forward and Back, To Take It All In) (1990). The sculpture consists of nine pairs of basalt columns (a material indigenous to Iceland) and is placed along the periphery of Vesturey in the western part of the country. All nine locations share the same elevations in that the stones of each pair are situated at an elevation of 9 and 10 meters, respectively. Each set of stones is level at the top. All stones at the higher elevation measure 3 meters; all stones at the lower elevation measure 4 meters. Because of the variance of topography, the stones in a set are sometimes closer together, sometimes further apart. The rise and fall of Videy Island and the surrounding landscape are seen against the fixed measure of the standing stones.[38] The stones are visible along the horizon of the island and orient the viewer against the rise and fall of the surrounding landscape.[25]
Te Tuhirangi Contour (2000–2) is located on a vast open pasture on Gibbs Farm in Kaipara, New Zealand. The sculpture stands 20 feet (6 m) high and spans 844 feet (257 m) as one continuous contour that follows the rolling hills, expansion, and contraction of the landscape. The sculpture's elevation is perpendicular to the fall of the land.[39]
East-West/West-East (2014), located on an east-west axis in the Brouq Nature Reserve in Qatar, was commissioned by Sheika al-Mayassa al-Thani of Qatar. It consists of four steel plates either 543⁄4 or 481⁄2 feet (16.7 or 14.8 m) high. The plates are placed at irregular intervals in a valley that runs between two gypsum plateaus. The plates are level with each other and the elevation of the adjacent plateaus. The work spans less than a kilometer and all plates are visible from either end.[40]
Urban works
[edit]In the landscape, the sculptural elements draw the viewer's attention to the topology of the land as its walked. Serra's site-specific Urban sculptures focus the viewer's attention on the sculpture itself. Their locations often more accessible to the public than the landscape works, invite the viewer to walk inside, pass through and move around them.[41] Because of the confines of Urban architecture, sculptures such as Sight Point (1972–75) at the Stedelijk Museum, The Netherlands; Terminal (1977) in Bochum, Germany; T.W.U. (1980) at the Deichtorhallen, Hamburg, Germany; Fulcrum (1986–87), installed in Broadgate, London; Exchange (1996) outside the City of Luxembourg; or 7 (2011) on a pier in Doha, Qatar, reflect the verticality of their surrounding architecture.[42] Outdoor sculptures like St. John's Rotary Arc (1980) temporarily installed outside the Holland Tunnel entrance in New York City; Tilted Arc (1981) installed and later removed from New York City's Federal Plaza; Clara-Clara (1983), temporarily installed at Tuileries, Place de la Concorde, Paris; Berlin Junction (1987) installed outside the Berlin Philharmonic; are all curved forms or arcs that open and close depending on the direction the viewer takes walking around them.[42]
Sight Point (1972–75) was Serra's first vertical Urban work and a continuation of the balance and counterbalance principles of his earlier work Prop.[43] Sight Point stands outside the Stedelijk Museum, Amsterdam, the Netherlands, consisting of three vertical steel plates 10 feet (3 m) wide and 40 feet (12 m) high that lean in at an angle and forming a triangular space on the ground with three openings that can be walked through. Once inside the viewer can look up and see the sky framed by the triangular shape made by the leaning plates.[44]
Another vertical sculpture, Terminal (1977), was conceived for "Documenta VI" in 1977. It was permanently installed on a traffic island between the street car tracks in front of a train station in Bochum, Germany. Serra chose the site because of its proximity to a high-traffic area.[45] Exchange (1996), sited in a vehicular round-about on top of a highway tunnel, made of seven trapezoidal plates. The sculpture stands 60 feet (18 m) high and can be seen by drivers as they enter and leave the City of Luxembourg.[46]
In 1980 Serra installed two sculptures, with the support of the Public Art Fund, in New York City. T.W.U. (1980) and St. John's Rotary Arc (1980) were each placed in areas where traffic and people converged. T.W.U, a vertical sculpture consisting of three vertical plates, each 36 feet (11 m) high, was installed at a subway entrance near West Broadway between Leonard and Franklin Streets.[47] The sculpture is now permanently installed outside the Deichterhallen, Hamburg, Germany.[48] St. John's Rotary Arc, one of Serra's earliest curved sculptures, was 12 feet (3.6 m) high and spanned 180 feet (55 m). From 1980 to 1988 the site-specific sculpture was installed on the rotary at the entrance and exit to the Holland Tunnel.[25]
The following year in 1981, a second site-specific curved sculpture Tilted Arc (1981) was installed in New York City's Federal Plaza. Commissioned by the U.S. General Services Administration's Art-in-Architecture Program following a rigorous selection process, the sculpture's arc spanned 120 feet (36 m) and 12 feet (3.6 m) high. The sculpture was a curve that tilted and leaned away from its base. It was anchored into the plaza at both ends so that the center of the sculpture was raised. Serra's intention for the sculpture was to draw pedestrians' attention to the sculpture as they crossed the plaza.[49] Tilted Arc was met with resistance by workers in the Federal building. An eight-year campaign to remove the sculpture ensued and Tilted Arc was ultimately removed on March 15, 1989.[50] In Serra's defense to preserve the sculpture he stated "To remove Tilted Arc, therefore, is to destroy it",[51] advocating an art-for art's sake mantra of site-specific artworks. Following the hearing and GSA's decision, Serra responded that he would deny his authorship of Tilted Arc if it were relocated. and would consider it a "derivative work".[52] The case of Tilted Arc continues to highlight the tension surrounding the nature of public art and its intended audience.[53]
Gallery works
[edit]Serra's work has enjoyed numerous exhibitions in gallery and museum settings. His site-specific gallery installations are sometimes used to test ideas.[54] Serra's first U.S. solo exhibition[citation needed] was at the Leo Castelli Warehouse, New York City in 1969. There he exhibited ten lead Prop Pieces, a Scatter Piece: Cutting Device: Base Plate Measure (1969), and a Splash Piece: Splashing with Four Molds (To Eva Hesse) (1969).[citation needed]
Following his process-based works of the late 1960s and early 1970s, Serra began to solely use rolled or forged steel in his sculpture.[55] Berlin Block (for Charlie Chaplin) (1977) was Serra's first forged sculpture. Made for the plaza outside the Neue Nationalgalerie in Berlin, designed by Ludwig Mies van der Rohe, the sculpture weighs 70 tons.[18] His other forged sculptures include Elevation for Mies (1985–88) at Museum Haus Esters, Krefeld, Germany; Philibert et Marguerite (1985), in the Musee de Brou, Bourg-en-Bresse, France; Weight and Measure (1992), a temporary site-specific installation at the Tate Gallery, London; Santa Fe Depot (2004), in the Museum of Contemporary Art San Diego; and Equal (2015) in the Museum of Modern Art, New York.[citation needed]
Serra's most known series of sculptures using rolled steel plates are the Torqued Ellipses. In 1991 Serra visited Borromini's Church of San Carlo alle Quattro Fontane in Rome and mistook the ovals of the dome and the floor to be offset from one another.[56] He thought to make a sculpture in this torqued form. Serra constructed models of this perceived form in his studio by cutting two ellipse-shaped pieces of wood and nailing a dowel between them. He then turned the ellipses so they were at a right angle to one another and wrapped a sheet of lead around the form. After making a template from the models Serra worked with an engineer to fabricate the sculptures.[57] In total there are seven Torqued Ellipses and four Double Torqued Ellipses (an ellipse inside of an ellipse) dated between 1996 and 2004.[58] Each sculpture has a different degree or torque and measures up to 13 feet (3.9 m) high. The sculptures all have an opening so that they can be walked through and around.[59] Three Torqued Ellipses are on permanent view at Dia Beacon, New York.[60] In 2005 "The Matter of Time", a commissioned installation, opened at the Guggenheim Museum, Bilbao, Spain. Consisting of eight sculptures spanning a decade from 1994 to 2005, "The Matter of Time" highlights the evolution of Serra's sculptural forms. Serra chose to include five sculptures derived from the initial torqued ellipse: one single, one double ellipse, and three torqued spirals.[61] The Torqued Spirals followed after the Double Torqued Ellipses when Serra decided to connect a double ellipses into one wound form that can be entered and walked through.[29] The remaining sculptures in "The Matter of Time" are one closed (Blind Spot Reversed) and one open (Between the Torus and the Sphere) torus and spherical sculpture; and Snake: made of three parts, each comprising two identical conical sections inverted relative to each other and spanning 104 feet (31.7 m) overall. The sculptures are organized by Serra with intention. The direction which the viewer moves through the space creates a sensation of varying scale and proportion, and an awareness to the passing of time.[62][63]
In 2008 Serra participated in Monumenta, an annual exhibition held in Paris's Grand Palais featuring a single artist. For Monumenta Serra installed a single sculpture, Promenade (2008), consisting of five plates, each 55 feet (16.8 m) tall and 13 feet (4 m) wide, placed 100 feet (30 m) apart from one another across the cavernous interior of the Grand Palais. Overall, the sculpture spanned 656 feet (200 m). The plates were not placed in a line but stood side to side off the Grand Palais's center axis. They tilted either left or right, leaned either toward or away from another, and the viewer as they strolled around them.[64]
The sculpture Equal (2015), in the collection of The Museum of Modern Art, New York, consists of eight forged blocks. Each block measures 5 by 5 1⁄2 by 6 feet (1.5 × 1.7 × 1.8 m) and weighs 40 tons. The blocks are stacked in pairs and positioned on their longer or shorter sides so that each stack measures 11 feet (3.4 m) tall.[65] When walking amongst the four stacks the viewer becomes aware of their own sense of weight, balance, and gravity in relation to the sculptures.[66]
Four Rounds: Equal Weight, Unequal Measure (2017), consisting of four 82-ton (74 t) forged cylinders of varying dimensions is permanently installed at Glenstone in Potomac, Maryland. The sculpture is installed within a building designed by Thomas Phifer of Thomas Phifer and Partners, in collaboration with Serra to highlight the sculpture's mass within the confines of the building's interior.[67][68]
Drawings
[edit]Drawing was integral to Serra's practice. Serra made drawings on large sheets of canvas or handmade paper. They include horizontal or vertical compositions; constructions of overlapping sheets; or line drawings.[69] His drawings were primarily done in paintstick, lithographic crayon, or charcoal and are always black. Serra experiments with different techniques and tools to manipulate and apply the medium. He often pushes the conventions of drawing towards a tactile, phenomenological experience of movement, time, and space.[70] The artist said that his drawing practice is involved with "repetition, knowing there's no possibility of repeating, knowing that it's going to yield something different each time."[70]
Following his break into space with sculptures like Strike: To Roberta and Rudy (1969–71), Serra became interested in redefining architectural space with drawing as well.[71] In 1974 Serra started to make his Installation Drawings—large-scale site-specific sheets of canvas completely covered in paintstick and stapled to the wall. The Installation Drawings cover the wall, or walls, of a given space.[72] Shafrazi and Zadikians were two of Serra's first Installation Drawings. Both were exhibited at Leo Castelli Gallery, New York City in 1974 and measured approximately 10 1⁄2 feet (3.2 m) high and 18 feet (5.5 m) wide overall.[73] Serra continued to make Installation Drawing throughout his career. Other notable drawing series include: Diptychs (1989); Dead Weight (1991–92); Weight and Measure (1993–94); Videy Afangar (1989–91); Rounds (1996–97); out-of-rounds (1999–2000); Line Drawings (2000–02); Solids (2008); Greenpoint Rounds (2009); Elevational Weights (2010); Rifts (2011–18); Transparencies (2011–13); Horizontal Reversals (2014) Rambles (2015–16); Composites (2016); Horizontals and Verticals (2016–17); and Orchard Street (2018).[74]
National and international survey exhibitions of Serra's drawings have included Richard Serra: Tekeningen/Drawings 1971–1977 at the Stedelijk Museum, Amsterdam in 1978; Richard Serra: Tekeningen/Drawings at the Bonnefantenmuseum, Maastrict in 1990; Richard Serra Drawings: A Retrospective at The Metropolitan Museum of Art, New York, the San Francisco Museum of Modern Art, and Menil Collection, Houston from 2011 to 2012; and Richard Serra: Drawings 2015–2017: Rambles, Composites, Rotterdam Verticals, Rotterdam Horizontals, Rifts at the Museum Boijmans van Beuningen. Rotterdam, The Netherlands in 2017.[75]
Prints
[edit]Serra began making prints in 1972. Working closely with Gemini G.E.L. in Los Angeles, Serra developed unconventional printing techniques. He made over 200 printed works and like his sculpture and drawing, his prints reflect an interest in process, scale, and experimentation with material.[76]
His early lithographs starting in 1972 include the prints Circuit; Balance; Eight by Eight; or 183rd & Webster Avenue, each titled after a sculpture created around the same time. In 1981 Serra produced his first lithograph series comprising seven editions, titled: Sketch #1 through Sketch #7. That same year Serra begin to make larger-scale prints such as Malcolm X; Goslar, or The Moral Majority Sucks.[77]
After pushing lithography to its limit, Serra began to work with silkscreen to produce a unique surface in his prints. He did so by first applying a layer of ink onto the paper. He then would apply a layer of paint stick through the second screen creating a saturated and textured surface.[78]
Serra continued to work this his silkscreen technique, sometimes combining it with etching and aquatint. His print series include: Videy Afanger (1991); Hreppholer (1991); WM (1996); Rounds (1999); Venice Notebook (2001); Between the Torus and the Sphere (2006); Paths and Edges (2007); Level (2008); Junction (2010); Reversal (2015); Elevational Weight (2016); Equal (2018); and (?) (2019).[citation needed]
Films and video works
[edit]From 1968 to 1979 Serra made a collection of films and videos. Although he began working with sculpture and film at the same time, Serra recognized the different material capacities of each and did not extend sculptural problems into his films and videos.[79][80] Serra collaborated with several artists including Joan Jonas, Nancy Holt, and Robert Fiore, on his films and videos. His first films, Hand Catching Lead (1968), Hands Scraping (1968) and Hand Tied (1968) involve a series of actions: a hand tries to catch falling lead; pairs of hands move lead shavings; and bound hands untie themselves.[81]
A later film Railroad Turnbridge (1976) frames the surrounding landscape of the Willamette River in Portland, Oregon, as the bridge turns. Steelmill/Stahwerk (1979), made in collaboration with the art historian Clara Weyergraf is divided in two parts. The first part is made up of interviews of German steel factory workers about their work. The second part captures the forging of Serra's sculpture Berlin Block (for Charlie Chaplin).[81]
Survey exhibitions and screenings of his films have been held at the Kunstmuseum Basel, Switzerland in 2017;[82] Anthology Film Archives, New York, October 17–23, 2019;[83] and Harvard Film Archive, January 27 – February 9, 2020.[84] In 2019, Serra donated his entire film and video works to the Museum of Modern Art in New York.[citation needed]
Exhibitions
[edit]Serra's first solo exhibition was in 1966 at Galleria Salita in Rome, Italy.[85] His first solo exhibition in the U.S. was at the Leo Castelli Warehouse, New York in 1969.[86] His first solo museum exhibition was held at the Pasadena Art Museum in California in 1970.[87]
The first retrospective of his work was held at the Museum of Modern Art, New York, in 1986.[88] A second retrospective was held at The Museum of Modern Art, New York in 2007.[89]
The first survey exhibition of his drawings was held at the Stedelijk Museum Amsterdam in 1977 and traveled to the Kunsthalle Tübingen in 1978. A second retrospective of drawings was presented at The Metropolitan Museum of Art, New York City; the San Francisco Museum of Modern Art; and The Menil Collection, Houston from 2011 to 2012.[90] An overview of the artist's work in film and video was on view at the Kunstmuseum Basel, in 2017.[91]
Serra enjoyed solo exhibitions at the Staatliche Kunsthalle Baden-Baden, 1978; Museum Boijmans Van Beuningen, Rotterdam, 1980; Musée National d'Art Moderne, Centre Pompidou, Paris, 1983–1984; Museum Haus Lange, Krefeld, 1985; The Museum of Modern Art, New York, 1986 and 2007; Louisiana Museum of Modern Art, Humlebæk, 1986; Westphalian State Museum of Art and Cultural History, Münster, 1987; Städtische Galerie im Lenbachhaus, Munich, 1987; Stedelijk Van Abbemuseum, Eindhoven, 1988; Bonnefantenmuseum, Maastricht, 1990; Kunsthaus Zürich, 1990; CAPC Musée d'Art Contemporain, Bordeaux, 1990; Museo Nacional Centro de Arte Reina Sofía, Madrid, 1992; Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1992; Dia Center for the Arts, New York, 1997; Museum of Contemporary Art, Los Angeles, 1998–1999; Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997–1998; Trajan's Market, Rome, 1999–2000; Pulitzer Foundation for the Arts, St. Louis, 2003; National Archaeological Museum, Naples, 2004; and Museum Boijmans Van Beuningen, Rotterdam, in 2017.[92][93]
Collections
[edit]Serra's work is included in many museums and public collections around the world. Selected museum collections which own his work include The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; Art Gallery of Ontario, Toronto; Art Institute of Chicago; Bonnefantenmuseum, Maastricht, The Netherlands; Centre Cultural Fundació La Caixa, Barcelona; Centre Georges Pompidou, Musée National d'Art Moderne, Paris; Modern Art Museum of Fort Worth, Texas; Dia Art Foundation, New York; Guggenheim Museum Bilbao and New York; Pérez Art Museum Miami, Florida; Hamburger Kunsthalle, Hamburg, Germany; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC; Moderna Museet, Stockholm; and Glenstone Museum, Potomac, Maryland.[94][95][96]
Selected public collections which hold his work include City of Bochum, Germany; City of Chicago, Public Art Collection; City of Goslar, Germany; City of Hamburg, Germany; City of St. Louis, Missouri; City of Tokyo, Japan; City of Berlin, Germany; City of Paris, France; Collection City of Reykjavík, Iceland.[94]
Personal life
[edit]Richard Serra moved to New York City in 1966. He bought a house in Cape Breton, Nova Scotia, in 1970 and spent summers working there. Serra married art historian Clara Weyergraf in 1981.[97] As of 2019, Serra maintained a home in Manhattan and studios in Nova Scotia and the North Fork of Long Island.[98]
Serra died from pneumonia at his home in Orient, New York, on March 26, 2024, at the age of 85.[3][99][100][101]
Awards and honors
[edit]Serra was the recipient of many notable prizes and awards, including Fulbright Grant (1965–66); Guggenheim Fellowship (1970); République Française, Ministère de la Culture et de la Communication Chevalier de l'Ordre des Arts et des Lettres (1985 and 1991); Japan Arts Association, Tokyo Praemium Imperiale (1994); a Leone d'Oro for lifetime achievement, Venice Biennale, Italy (2001); American Academy of Arts and Letters (2001); Orden pour le Mérite für Wissenschaften und Künste, Federal Republic of Germany (2002); Orden de las Artes y las Letras de España, Spain (2008); The National Arts Award: Lifetime Achievement Award (bestowed by Americans for the Arts 2014); Hermitage Museum Foundation's Award for Lifetime Contributions to the World of Art (2014); Chevalier de l'Ordre national de la Légion d'honneur, Republic of France (2015); Landesmuseum Wiesbaden Alexej-von-Jawlensky-Preis (2017); and a J. Paul Getty Medal (2018).[94]
Writings and interviews
[edit]Gathered in the following three anthologies is a comprehensive collection of writings by, and interviews with, the artist:
- Richard Serra: Writings/Interviews. Chicago and London: University of Chicago Press. August 15, 1994. ISBN 978-0-226-74880-1. OL 9651745M. Includes writings by the artist and interviews by Friedrich Teja Bach, Liza Béar, Patricia E. Bickers, Lizzie Borden, Lynne Cooke, Douglas Crimp, Peter Eisenman, Mark Francis, Bernard Lamarche-Vadel, Annette Michelson, Robert C. Morgan, Alfred Pacquement, Brenda Richardson, Mark Rosenthal, Nicholas Serota, David Sylvester, and Clara Weyergraf.
- Richard Serra, Interviews, Etc., 1970–1980. Yonkers, New York: Hudson River Museum. 1980. OCLC 9946126. OL 4124913M. Written and compiled by Richard Serra in collaboration with Clara Weyergraf. Includes interviews by Friedrich Teja Bach, Liza Béar, Lizzie Borden, Douglas Crimp, Bernard Lamarche-Vadel, and Clara Weyergraf.
- Richard Serra, Schriften, Interviews 1970–1989. Bern: Benteli Verlag. 1990. OCLC 950242621. German translation of the 1980 Hudson River Museum publication with additional contributions by Thomas Beller, Peter Eisenman, Philip Glass, Gerard Hovagymyan, Robert C. Morgan, Alfred Pacquement, Brenda Richardson, and Harald Szeemann.
Actor
[edit]Serra plays an architect who is a third level Mason in artist and filmmaker Matthew Barney's Cremaster 3 from the director's five-part Cremaster Cycle.[102]
Selected writing
[edit]All are solely by Richard Serra unless indicated otherwise.
- "Play it Again, Sam." Arts Magazine 44, no. 4 (February 1970), pp. 24–27.
- "Verb List, 1967–68." First published in Avalanche [New York], no. 2 (Winter 1971), pp. 20–21.
- "Skullcracker Stacking Series." In Scott, Gail R., A Report on the Art & Technology Program of the Los Angeles County Museum of Art 1967–1971, pp. 299–300. Los Angeles: Los Angeles County Museum of Art, 1971.
- Jackson, Ward, and Richard Serra. "Richard Serra." Art Now: New York 3, no. 3 (September 1971), p. 4.
- Serra, Richard. "Statements." Artforum 10, no. 1 (September 1971), p. 64.
- "On Frame, on Color-Aid." Artforum 10, no. 1 (September 1971), p. 64.
- Jonas, Joan, and Richard Serra. "Paul Revere." Artforum 10, no. 1 (September 1971), pp. 65–67.
- Serra, Richard, and Rosalind Krauss, ed. "Shift." Arts Magazine 47, no. 6 (April 1973), pp. 49–55.
- Serra, Richard, and Clara Weyergraf. "St. John's Rotary Arc." Artforum 19, no. 1 (September 1980), pp. 52–55.
- "Notes from Sight Point Road." Originally published in Perspecta: The Yale Architectural Journal, no. 19 (1982), pp. 172–81. Edited and printed as "Extended Notes from Sight Point Road" in Richard Serra: Neuere Skulpturen in Europa 1977–1985 (Eine Auswahl)/Recent Sculpture in Europe 1977–1985 (Selected), pp. 11–15.
- "Letter from Richard Serra to President Ronald Reagan" [in Portuguese and English]. Lo Spazio Umano [Portugal], no. 2 (April–July 1985), pp. 89–92. Bilingual, Portuguese and English.
- "Serra Writes the President." Art & Artists 14, no. 3 (May–June 1985), special supplement, pp. 3, 22.
- "Notes on Drawing." First published in Güse, Ernst-Gerhard, ed. Richard Serra, pp. 66–68. New York: Rizzoli, 1988.
- "Weight." In Richard Serra: 10 Sculptures for the Van Abbe, pp. 10–12. Exh. cat. Stedelijk Van Abbemuseum, Eindhoven, 1988. Bilingual in Dutch and English.
- "'Tilted Arc'—A Precedent?" [letter to the editor]. The New York Times, April 30, 1989, sec. 2, p. 5.
- "'Tilted Arc' Destroyed." Art in America 77, no. 5 (May 1989), pp. 34–47, cover.
- "Artists Have Rights to Their Works." Des Moines Sunday Register, October 29, 1989, pp. 3C.
- "The Yale Lecture, January 1990." Kunst & Museumjournaal [Amsterdam: English edition] 1, no. 6 (1990), pp. 23–33.
- "Art and Censorship". Critical Inquiry. 17 (3): 574–581. April 1991. doi:10.1086/448597.
- "Afangar Series." Open City, no. 2 (1993), pp. 101–7.
- "Donald Judd, 1928-1994" [eulogy. Parkett, nos. 40–41 (1994), pp. 176–79.
- "Basel, 18. January 1994/Basel, January 18, 1994." In Martin Schwander, ed., Richard Serra: Intersection Basel, pp. 72–79. Basel: Christoph Merian Verlag and Düsseldorf: Richter Verlag, 1996. ISBN 9783928762526. OCLC 37725722.
- "Notes on The Matter of Time." In Richard Serra: The Matter of Time, p. 141. Bilbao: Museo Guggenheim Bilbao, and Göttingen: Steidl Verlag, 2005. ISBN 9788495216434. OCLC 66529716.
Selected interviews
[edit]- Bear, Liza. "Document: Spin Out '72–'73 for Bob Smithson" [interview with the artist, October 30, 1973]. Avalanche[New York], no. 8 (Summer/Fall 1973), pp. 14–15.
- Bear, Liza. "Prisoner's Dilemma" [interview with the artist, January 27, 1974]. Avalanche [New York], no. 9 (May–June 1974), pp. 26–28.
- Bear, Liza. "Richard Serra: Sight Point '71-75/Delineator '74–76" [radio interview, February 23, 1976]. First published in Art in America 64, no. 3 (May–June 1976), pp. 82–86.
- Borden, Lizzie. "Richard Serra Interviewed by Lizzie Borden." In Richard Serra: Tekeningen/Drawings 1971–1977, pp. 9–14. Exh. cat. Stedelijk Museum, Amsterdam, 1977.
- Michelson, Annette, and Clara Weyergraf. "Richard Serra's Films: An Interview." October, no. 10 (Fall 1979), pp. 68–104.
- Bear, Liza. "Interview" [March 30, 1976]. First published in Richard Serra: Interviews, Etc. 1970–1980, pp. 65–73.Yonkers, New York: The Hudson River Museum, 1980.
- Bach, Friedrich Teja. "Interview: Richard Serra & Friedrich Teja Bach" [March 14, 1975]. In Richard Serra: Interviews, Etc. 1970–1980, pp. 45–55. Yonkers, New York: The Hudson River Museum, 1980.
- Lamarche-Vadel, Bernard. "Entretien avec Richard Serra" [interview with the artist, May 1980]. First published in Artistes [Paris], no. 7 (January- February 1981), pp. 24–29.
- Crimp, Douglas. "Richard Serra's Urban Sculpture: An Interview" [July 1980]. Arts Magazine 55, no. 3 (November 1980), pp. 118–24.
- Pacquement, Alfred. "Interview." In Richard Serra: Writings, Interviews, pp. 157–64. Chicago and London: The University of Chicago Press, 1994.
- Szeemann, Harold. "On the Bridge." In Richard Serra: "Maillart Extended," pp. 20–25. Bern: Benteli Verlag, 1989. Trilingual, German, French, and English.
- Serota, Nicholas, and David Sylvester. "Interview with the artist" [May 27, 1992]. In Richard Serra: Weight and Measure, pp. 9–25. Exh. cat. Tate Gallery, London. Düsseldorf: Richter Verlag, 1992.
- Kimmelman, Michael (August 11, 1995). "AT THE MET AND THE MODERN WITH: Richard Serra; One Provocateur Inspired by Another". The New York Times. p. C1, C26.
- Cooke, Lynne and Michael Govan. "Interview with Richard Serra" [Cape Breton, July 10, 1997]. In Richard Serra: Torqued Ellipses, pp. 11–31. Exh. cat. Dia Center for the Arts, New York, 1997.
- Sylvester, David. "Interview." In Russell Ferguson, Anthony McCall, and Clara Weyergraf-Serra, eds. Richard Serra: Sculpture 1985–1998, pp. 187–206. Exh. cat. Museum of Contemporary Art, Los Angeles. Göttingen: Steidl Verlag, 1998.
- Waters, John. "Art Profile: Richard Serra." Vogue Hommes International (Spring-Summer 2002), pp. 116–24.
- Peyser, Jonathan. "Declaring, Defining, and Dividing Space: Conversation with Richard Serra." Sculpture 21, no. 8 (October 2002), pp. 28–35.
- Foster, Hal. "Richard Serra in Conversation with Hal Foster." In Richard Serra: The Matter of Time, pp. 23–41. Bilbao: Museo Guggenheim Bilbao, and Göttingen: Steidl Verlag, 2005.
- Bui, Phong. "In Conversation: Richard Serra with Phong Bui", The Brooklyn Rail, June 2006, pp. 22–24. Reprinted in Richard Serra: Rolled and Forged, pp. 5–15. Exh. cat. Gagosian Gallery, New York, 2006.
- McShine, Kynaston. "A Conversation About Work with Richard Serra". In Richard Serra: Forty Years, pp. 15–40. Exh. cat. The Museum of Modern Art, New York, 2007.
- Pacquement, Alfred. "Richard Serra: Grand Seigneur du Grand Palais." In Richard Serra: Monumenta 2008/Grand Palais, pp. 4–11. Boulogne: Beaux Arts Éditions, 2008.
- Storr, Robert. "Richard Serra Goes Public in Paris." Art Press [Paris], no. 345 (May 2008), pp. 28–35.
- Garrels, Gary. "An Interview with Richard Serra." In Richard Serra: Drawing: A Retrospective, pp. 65–83. Exh. cat. The Menil Collection, Houston, 2011.
- Enright, Robert. "The Weight of History: Richard Serra's Sculpture and Drawings" [interview with the artist]. Border Crossings 36, no. 4 (December 2017 – February 2018), pp. 30–43.
- Serra, Richard, and Hal Foster. "Conversations About Sculpture". New Haven and London: Yale University Press, 2018.
References
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{{cite book}}
: CS1 maint: multiple names: authors list (link) - ^ McPhie, P. (December 2, 1975). "The origin of the alkaline inactivation of pepsinogen". Biochemistry. 14 (24): 5253–5256. doi:10.1021/bi00695a003. ISSN 0006-2960. PMID 44.
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{{cite book}}
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{{cite book}}
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{{cite book}}
: CS1 maint: multiple names: authors list (link) - ^ Serra, Richard (1990). Notes on Drawing. Bern, Switzerland: Benteli Publishers. p. 9.
- ^ White, Michelle (2011). Drawing as Drawing. Houston: The Menil Collection.
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- ^ a b c Richard Serra CV[dead link][better source needed]
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External links
[edit]- 1938 births
- 2024 deaths
- 20th-century American sculptors
- 20th-century American male artists
- 21st-century American sculptors
- 21st-century American male artists
- American male sculptors
- Sculptures by Richard Serra
- American abstract artists
- American video artists
- American experimental filmmakers
- Minimalist artists
- Members of the American Academy of Arts and Letters
- Recipients of the Pour le Mérite (civil class)
- Artists from San Francisco
- Commandeurs of the Ordre des Arts et des Lettres
- Order of Arts and Letters of Spain recipients
- American people of Russian descent
- American people of Spanish descent
- American people of Ukrainian-Jewish descent
- Weathering steel
- Members of the European Academy of Sciences and Arts
- University of California, Santa Barbara alumni
- Yale University alumni
- Yale School of Art alumni
- Members of the Academy of Arts, Berlin
- 20th-century American printmakers
- Honorary members of the Royal Academy
- Sculptors from California
- People from Tribeca
- Deaths from pneumonia in New York (state)