Richard Serra vol.1, Centro de Arte Hélio Oiticica by Danowski Design

Richard Serra

Exposição: 27 de novembro de 1997 a 15 de março de 1998 Centro de Arte Hélio Oiticica, Rio de Janeiro

Prefeito da Cidade do Rio de Janeiro Luiz Paulo Fernandez Conde Secretária Municipal de Cultura Helena Severo Presidente do Instituto Municipal de Arte e Cultura – RioArte Oduvaldo de Azeredo Braga Diretora Geral do Centro de Arte Hélio Oiticica Vanda Mangia Klabin

Catalogação na fonte do Departamento Nacional do Livro R518 Richard Serra / Vanda Mangia Klabin, [organizadora]. – Rio de Janeiro : Centro de Arte Hélio Oiticica, 1997. 144p. : il. (180 ilustrações de obras); 28x23cm.

ISBN 85-86675-01-6

1. Serra, Richard, 1939 — Exposições. 2. Escultura moderna — Séc. XX — Estados Unidos – Exposições. 3. Escultura americana — Exposições. I. Klabin, Vanda Mangia. 1947 — . II. Centro de Arte Hélio Oiticica.

CDD–730.973

© Copyright 1997 dos autores. Todos os direitos reservados ao Centro de Arte Hélio Oiticica. Rua Luís de Camões, 68 – Centro – 20060-040 Rio de Janeiro RJ tels (021) 232-2213/232-1104 fax (021) 232-1401

O Rio de Janeiro sempre teve sua imagem vinculada ao novo, ao sofis ticado, ao moderno. Os cariocas, com o seu talento criativo, descobrem e incentivam movimentos ou iniciativas de vanguarda.

Por isso mesmo, a Prefeitura do Rio de Janeiro, a cada dia, se empenha

mais e mais em apoiar eventos nacionais e internacionais, pois a Cidade é também o mais importante centro turístico, cultural e esportivo do Brasil.

Trazemos orgulhosos em nossa memória, por exemplo, as exposições

de Rodin e de Monet, que levaram ao Museu Nacional de Belas Artes mi lhares de visitantes de todo o país e o concerto de sinos, executado durante a recente visita do Papa João Paulo II.

Agora, a Secretaria Municipal de Cultura apresenta, no Centro de Arte

Hélio Oiticica, um dos mais importantes escultores da atualidade, o norteamericano Richard Serra que, pela primeira vez, faz uma exposição indivi dual na América Latina.

Metrópole em constante mutação urbana, o Rio recebe com satisfa

ção Richard Serra, autor de inúmeras obras monumentais, instaladas prin cipalmente em espaços públicos. Quem sabe não teremos também uma delas em uma das ruas da Cidade? Luiz Paulo Fernandez Conde Prefeito da Cidade do Rio de Janeiro

É com imenso prazer que o Centro de Arte Hélio Oiticica abre suas galerias para a exposição do artista plástico norte-americano Richard Serra, um dos nomes mais importantes da escultura contemporânea mundial. Sua obra, complexa e moderna, apresenta questões perceptivas e espaciais, envol vendo o público no processo criativo e exploratório de seus trabalhos.

Seu prestígio internacional pode ser comprovado através das escultu

ras instaladas em espaços públicos de países como o Japão, Aleman ha, Suíça, entre outros. Richard Serra é mais um artista renomado que vem ao Rio de Janeiro mostrar sua concepção inovadora de arte, possibilitando aos amantes do estilo uma oportunidade única de ver de perto seu talento.

Sempre incentivando eventos desta grandeza, a Prefeitura da Cidade

do Rio de Janeiro e a Secretaria Municipal de Cultura destacam a impor tância da mostra, que conta com a participação do artista, apresentando uma palestra. Helena Severo Secretária Municipal de Cultura

Introdução

Conv id ad o pel a noss a inst it uiç ão, Ric hard Serra — um dos art ist as m ais sign if ic at ivos da art e cont emp or ân ea int ern ac ion al —, junt am ent e com Clara Weyergraf-Serra, veio ao Rio de Janeiro, em abril deste ano, para co nhecer as galer ias do Centro de Arte Hélio Oiticica, visando à preparação de um projeto de exposição com foco nos desenhos monocromáticos ne gros. Na ocasião, o artista explorou minuciosamente a estrutura arquitetô nica do prédio para estabelecer um diálogo produtivo com o espaço — seu lugar de trabalho —, estudando a luminosidade e dimensões das salas. O espaço, no sentido de site, tanto na escultura como no desenho, é um fator determinante no modo de pensar o seu processo de trabalho. “... A expe riência do trabalho é inseparável do lugar onde ele se insere”.

Nascido em São Francisco e após ter passado alguns anos na Europa,

Ric hard Serra se est ab el ec e em Nova York em 1966, quand o real iz a s eus primeiros trabalhos, utilizando ainda mater iais flexíveis como borracha, chumbo líquido, tubos de néon luminosos dispersos e/ou projetados so bre as pared es dos amb ient es. Ess as comp os iç ões amorf as já anunc iam uma problemática diversa do minimalismo ortodoxo, onde prevalece uma estrutura de ação que articula o procedimento escultór ico com uma ma nipulação direta do espaço ao redor.

Em seguida, produz uma extraordinária série intitulada ‘Props’, onde um conjunto de questões já aponta para a dissolução do objeto escultórico. Construções instáveis, elementos combinados de modo a criar estruturas de equilíbrio precário, marcam a ruptura de Serra com o caráter represen tativo, narrativo ou composicional da escultura tradicional. A forma, agora aberta, passa a ser determinada em função da sua massa, gravidade, peso e volume, alterando a experiência perceptiva do espectador além dos limi tes do conceito de visibilidade corrente. A utilização de grandes e pesadas

placas de aço, sem suporte, solda ou qualquer fixação, abre novas possibi lidades de linguagem para o seu trabalho.

A partir dos anos setenta, quando começa a realizar a sér ie de dese

nhos de pigmento negro, o que fundamenta a elaboração de sua obra é o ‘sítio específico’, tradução literal para site-specificity. Ao subverter o pro cesso distanciado de uma situação de confinamento de ateliê, seu trabalho expande-se para a arena pública, realizando obras de grandes dimensões ins er id as no cont ext o do cot id ian o urb an o ou dent ro de rec int os arq ui tetônicos.

A esc al a de mon um ent al id ad e, elab orad a em coop eraç ão com uma equip e de eng en heiros, nos cant eiros navais ou sid er úrg ic os, reiv ind ic a pelo peso e força do seu impacto físico um espaço exclusivo e condições próprias de observação.

Gostar ia, para encerrar, de exprimir minha especial gratidão e reco nhec im ent o a Ric hard Serra pel o ent us iasm o com que aceit ou o conv it e para realizar esta exposição; a Clara Weyergraf-Serra pelo particular inte resse e cooperação demonstrados em todas as etapas do projeto e a Trina McKeever, que, com sua permanente assistência e pronto atendimento na liberação do material fotográfico e documental, possibilitou a finalização deste catálogo. A eles, os meus primeiros agradecimentos.

Agradeço às pessoas que ajudaram na preparação deste evento: Yve-

Alain Bois e Carlos Zilio pelo interesse generosamente manifestados na pri meira fas e de ent end im ent os com Serra; Ron ald o Brit o, cuj as bril hant es análises e discussões críticas foram de inestimável importância; Sula Da nowski e Claudia Machado que tão eficiente e dedicadamente colaboraram na coordenação editorial desta publicação e a todos que nos acompanha ram com confiança e paciência para a realização deste projeto. Vanda Mangia Klabin Diretora Geral do Centro de Arte Hélio Oiticica

Desenhar uma linha é ter uma idéia. Uma linha desenhada é a base da construção. Desenhar é inovar na multiplicidade. A linha dá à obra uma definição inexplicável. Ela define e redefine a estrutura. Cortar é desenhar uma linha, é separar, fazer uma distinção. (...) Richard Serra

To draw a line is to have an idea.

A drawn line is the basis of construction.

To draw is to innovate in multiplicity.

The line gives to the work an inexplicable

definition. It defines and redefines structure.

To cut is to draw a line, is to separate,

to make a distinction. (...)

Richard Serra

Richard Serra, 1972 Instalação Circuit 3

Strike: To Roberta and Rudy, 1969-1971 Aço laminado/Hot rolled steel 244 x 732 x 2,5cm Instalação na Lo Giudice Gallery, Nova York Coleção Giuseppe Panza di Biumo, Varese, Itália

One Ton Prop (House of Cards), 1969 Chumbo antimônio/Lead antimony Quatro chapas 122 x 122 x 2,5cm (cada) The Museum of Modern Art, Nova York Doação da família Grinstein 5

Casting, 1969 Chumbo/Lead 10 x 762 x 457cm Instalação no Whitney Museum of American Art, Nova York. Obra destruída

Skullcracker Series: Stacked Steel Slabs, 1969 Aço laminado/Hot rolled steel 610 x 244 x 305cm Instalação na Kaiser Steel Corporation, Fontana, Califórnia. Obra destruída 7

Skullcracker Series: Inverted House of Cards, 1969 Aço laminado/Hot rolled steel Quatro partes 244 x 305cm (cada) Instalação na Kaiser Steel Corporation, Fontana, Califórnia. Obra destruída

Equal (Corner Prop Piece), 1969 Chumbo antimônio/Lead antimony 122 x 122 x 2cm (chapa) e 214 x Ø 11cm (rolo) Área total 132 x 214 x 234cm The Museum of Modern Art, Nova York Gilman Foundation Fund 9

1-1-1-1, 1969 Chumbo antimônio/Lead antimony Quatro chapas 122 x 122 x 2,5cm (cada) e 213cm (rolo). Obra destruída

Cutting Device: Base Plate Measure, 1969 Chumbo, madeira, pedra e aço/ Lead, wood, stone and steel Área total 30,5 x 549 x 538cm (variável) The Museum of Modern Art, Nova York Doação de Philip Jonhson 11

To Encircle Base Plate Hexagram, Right Angles Inverted, 1970 Aço/Steel Aro 2,5 x 20cm e Ø 792cm Instalação nas ruas do Bronx, Nova York, 1970-1972 Coleção Sr. e Sra. Ronald K. Greenberg, St. Louis

Shift, 1970-1972 Concreto/Concrete Seis partes com área total de 248,41cm A inclinação da colina determina o contorno e a extensão de cada uma das partes Instalação em King City, Ontário, Canadá Coleção Roger Davidson, Toronto, Canadá 13

Twins: To Tony and Mary Edna, 1972 Aço laminado/Hot rolled steel Duas chapas 244cm x 12,80m x 4cm (cada) Coleção Giuseppe Panza di Biumo, Varese, Itália

Circuit, 1972 Aço laminado/Hot rolled steel Quatro chapas 244 x 732 x 2,5cm (cada) Área total 244cm x 10,97m x 10,97m Instalação na Documenta, Kassel, 1972 15

Sight Point, 1971-1975 Aço corten/Cor-Ten steel Três chapas 12,19m x 305cm x 6,5cm (cada) Coleção Stedelijk Museum, Amsterdã

Berlin Block for Charlie Chaplin, 1977 Aço forjado/Forged steel 191 x 191 x 191cm Nationalgalerie, Staatliche Museen Berlin, Stiftung Preussischer Kulturbesitz, Berlim 17

Delineator, 1974-1975 Aço/Steel Duas chapas 2,5 x 305 x 792cm (cada) Instalação na Ace Gallery, Los Angeles Coleção do artista

T.W.U., 1980 Aço Cor-Ten/Cor-Ten steel Três chapas 10,97m x 366cm x 7cm (cada) Instalação nas ruas de Nova York Coleção Galerie m, Bochum, Alemanha

Espaço em ato

Um contato produtivo com a obra de Richard Serra passa, de saída, pela

Ronaldo Brito

reavaliação dos fundamentos racionalistas, platônicos, que ainda governam a nossa compreensão da geometria. De fato, o que distingue a nossa ass im il aç ão das ling uag ens const rut iv as tem sid o a mal eab il id ad e intel ect ual e imag in at iv a, o ferv or afet iv o, enf im um inesp er ad o élan corp óreo frent e às fig uras geom ét ric as. Noss as ous ad ias e eleg ânc ias, nossas torções fenomenológicas e mesmo nossas aberturas existenciais são, pois, todas elas relativas a essa tradição intelectualista. A escultura de Ric hard Serr a, ao cont rár io, tem orig em num a trad iç ão emp ir ist a, anglo-saxônica, que toma desde logo a geometria como saber positivo. Ela é muito mais práxis, modelo de construção, do que contemplação de figuras ideais. O que torna a nossa eventual ‘conversão’ particularmente prov eit os a — sen ão emp at ia int uit iv a — é que, sob muitos aspectos, Serr a vem faz end o com os post ul ad os dess a trad iç ão empirista, com sua vocação pragmática, alguma coisa análoga ao que fazemos com os axiom as do rac ion al ism o eur op eu — ele os encarna em manobras problem át ic as que des af iam o sens o com um formal vigente e instilam um car át er imed iat am ente vital, até de mud a aventura pess oal, à experiência estética. Desde o neoconcretismo ao final dos a nos 50, nos empenhamos em de vassar a estrutura formal do objeto correspondente ao sujeito cartesiano, congênito às culturas latinas, e assim nos abrirmos a uma vivência estéti ca efetivamente interativa. Serra, por sua vez, desde cedo empenhava-se em radicar um conteúdo de verdade mater ial, repor um senso de expe riência corpórea dentro das linguagens minimalistas desencarnadas, an ti-substancialistas, que se reproduziam através de progressões lógicas e séries matemáticas. Pelo lado de dentro, digamos assim, nossos artistas test av am e forç av am os lim it es, event ualm ent e cheg av am a romp er a clausura ideal das figuras geométricas. Serra interrogava a disponibilida de literal, a exterioridade fluente dos elementos minimalistas, para logo constatar a sua insuficiência em sustentar um conceito enfático de escul tura contemporânea. Quer dizer: enquanto enfrentávamos os impasses últimos da lógica composicional e despertávamos para o seu arcaísmo,

enquanto nos debatíamos em nossas ‘mônadas’, Serra vivia a insatisfação com a aut o-suf ic iênc ia do obj et o vaz ad o min im al ist a e seu mod o de apresentação quase virtual no mundo. Em sua versão pessoal, a recusa da inter ior idade expressiva se dava através da exter ior idade opaca do aço desde logo problemática porque não-transparente. A superfície do real não seria, finalmente, plano lógico virtual e sim materialidade histórica esp ess a; esc ult uras não se res um em a exerc íc ios sob re poss ib il id ad es perceptivas, em uma palavra, jogos de linguagem, mesmo se jogos críti cos ao merc ad o da art e e feit os em mat er iais ind ust riais e em esc al a públic a. Esc ult ur as são agent es form ais dest in ad os à exp er iênc ia de apreensão concreta, poética e política, do fenômeno do espaço. Atuar na superfície do real e assim participar de seu processo de constru ção — viver, enfim, na atualidade do plano: eis a divisa utópica que her dáramos das vanguardas construtivas e tentávamos repotencializar em condições particularmente adversas porque quase exclusivamente priva das. Ora, o impulso inicial de uma o bra como a de Richard Serra é indis sociável de um partido crítico decidido perante as condições de realidade pública do trabalho de arte contemporâneo. Indissociável ainda de uma tomada de posição estratégica frente ao processo de institucionalização integral da arte moderna que ter ia resultado numa autêntica vitór ia de Pirro: custou-lhe a própria causa. Desde uma posição excêntrica, um tanto anacrônica, graças à convivên cia com o impacto superficial dos ícones bizantinos, Malevitch pôde ex trair prontamente da conquista planar cubista as conseqüências mais ra dicais e reverter o fervor religioso em força cultural revolucionária. O êx tas e míst ic o transf orm ava-se, com a mesm a vorac id ad e, no êxt as e da práxis. Creio que a intuição básica de Malevitch — a verdade universal da forma está no ímpeto inédito de sua emergência — é condição de pos sibilidade histórica para a linguagem contemporânea de Serra. Mas a vi são planar idealista — a terra contemplada de cima, pela primeira vez, independente de pontos de vista regionais — materializa-se agora numa percepção estética descentrada que se sabe exercício político no plano espesso e truncado do real. Nele, Serra promove intervenções que sem pre envolvem as formas públicas do estar-no-mundo. De modo incisivo — muitas vezes incluindo o imaginário coletivo, através da referência de seus títulos, em suas operações de superfície —, a sua poética tem a ver

com o desenho ativo do envolvimento topológico entre homem e mundo. Man if est am ent e, a com eç ar por sua apar ênc ia e por sua esc al a, Serra parte da adesão irrestrita ao curso do mundo: a arte será tudo menos eva siva. Também manifestamente, penso, ele atua aí por contraposições, por rearticulações e redefinições que, justo por assimilarem o entorno a seu processo de formalização, conseguem desafiar a sua fisionomia domi nante. E, quem sabe, entre outras coisas denunciar o que chamaríamos a sua má fé formal generalizada. E se a linguagem do artista não é m ais ‘construtiva’, nem por isto toma feição negativa, muito menos cética — ela se realiza por meio da positi vação tenaz e reiterada da experiência viva da forma. A sua força de atra ção é francamente mobilizadora. O juízo estético autônomo ganha uma súb it a reab il it aç ão cont emp or ân ea porq ue deix a de ser mom ent o de subtração ao mundo para se converter na hiperatenção a determinados aspectos do real que o trabalho surpreendentemente altera ao expor al gumas de suas propriedades formais latentes até então imperceptíveis. E semelhante contato estético situa-se, desde logo, na dimensão do fazer: trata-se de fazer (com tudo o que o verbo implica de prospectivo) a expe riência da escultura ou do desenho enquanto agentes da forma móvel do mund o circ und ant e. A verd ad e de cad a o bra coinc id e, pont ualm ent e, com a atividade intensa de apreendê-la. Nada ilusionista, nem mesmo especulativa, ela entretanto paradoxalmente atesta (e seu volume, sua massa e seu peso só vêm ajudar a promoção desse paradoxo) a vibração semp re um pouc o ‘a berta’, ind et erm in ad a, inerent e à noss a pres enç a transitiva no circuito do mundo. Sem dúvida, o raciocínio do artista não parte de figuras geométricas, mas de elementos regulares que vão operar com a autoridade e a mobilidade de transformadores espaciais. Tampouco o seu conceito de espaço equi vale à noção de entidade matemática homogênea, a priori, a nada enfim que se conf und a com o plan o geom ét ric o abst rat o: se alg um a cois a, o espaço já começa a surgir para Serra como extensão histórica heterogê nea, extensão política conflituada e ainda, é provável, extensão social in suficientemente assumida e tratada como tal. Inexiste, a rigor, espaço: só exist em a tos de esp ac ial iz aç ão e s uas cons eq üênc ias conc ret as. O que por si só reafirmar ia, se não me engano, sua adesão ao espír ito de livre pesquisa da razão moderna e sua vocação emancipatória.

Recusando a aura, o tempo celebrativo do monumento, a escultura de Richard Serra insiste em radicar nas circunstâncias básicas, nos embates incontornáveis mas também na renovada disposição lúdica, de um estarno-mundo que, como nos adverte Merleau-Ponty, consiste muito menos em ver do que em ser vist o, muit o men os em exerc er uma vis ão com preensiva sobre o todo do que em transitar entre múltiplos fenômenos de coesão e dispersão, entre múltiplos fatores de conjunção e descontinui dad e, que torn am ris íveis noss os conc eit os meram ent e inst rum ent ais acerca da percepção e exigem o seu urgente reendereçamento em termos de pensamento do corpóreo e de inteligência topológica. O interesse espontâneo de Serra pelo valor cognitivo íntegro de uma lin guagem do corpo transitivo em meio ao enganoso sistema de signos do real contemporâneo — longe de qualquer mimetismo antropomórfico mas muito próximo à nossa vivência cotidiana entre vastos labirintos de plan os urb an os, ao mesm o temp o, conc ret os e abst rat os dem ais — o afastou instintivamente do minimalismo ortodoxo. De fato, para esse ti po de nominalismo escultór ico, que respirava a atmosfera rarefeita co mum às filosofias da linguagem, a o bra de arte tendia a se resumir à pro posição de problemas de sintaxe perceptiva, impregnados, com freqüên cia, pela discussão crítica sobre os conceitos de arte vigentes pública e institucionalmente. Nada mais estranho à contundência típica da arte de Serra, sempre a propor tensões, iminências e desequilíbrios mater iais, sempre a nos defrontar com situações espaciais-limites. Ainda assim hesito falar em expressividade, pelo menos na acepção es trita do termo. O adjetivo talvez comprometesse o trabalho com o dua lismo metafísico do corpo e da alma, da forma e do conteúdo, que pre tende resolutamente deixar para trás. E a ausência de tratamento de su perfície, a ausência de concessões a valores plásticos qualitativos, natu ralmente acentuam o seu aspecto anônimo. Dito isto, me parece inegável o seu sóbrio pathos dramático. A própria economia de uma poética vol tada exclusivamente a certos materiais — enfim, a autodisciplina implí cita numa aparência estética austera que vai se impondo no mundo qua se por exclusão de todas as outras, em todo caso, pela recusa a todo ape lo frívolo — já revelam uma sensibilidade propensa a lidar com a massa de gravidade da existência. Mas, notor iamente, o efeito dramático das obras de Serra deriva sobretudo da enérgica disposição — eu diria até, de

seu drive escultórico — para enfrentar a maciça e complexa, a instável e arriscad a eng en har ia do esp aç o soc ial da vid a. As s uas enorm es plac as de aço e s eus pes ad os des en hos neg ros exib em cont ud o a inesp erad a concisão peculiar aos aforismos, a mesma linguagem sucinta mas de al cance amplo, o mesmo senso de humor ocasionalmente mordaz. E, o que no mom ent o me parec e cruc ial, conc ent ram uma res erva quânt ic a de energia étic a: irrad iam conf ianç a na a ção da form a, ist o é, na próp ria transformação. Atravessando o contorno do objeto de arte tradicional — e, por extensão, toda a idéia de gênese morfológica — levando às últimas conseqüências a rej eiç ão mod ern a do ilus ion ism o ant rop om órf ic o, a o bra de Ric hard Serra permanece entretanto fiel à noção de escultura como o pensamen to próprio da experiência física da presença, a investigação por excelên cia da participação material do homem no mundo. Rio de Janeiro, 1997

Ronaldo Brito, Rio de Janeiro, RJ, 1949. Crítico de arte, tendo iniciado suas ativid ades no semanário Opinião, escreveu vários ensaios e artigos em livros, periódicos e catálogos, dentre os quais destacam-se: Waltércio Caldas, Amílcar de Castro, Iberê Camargo, Sérgio Camargo, Eduardo Sued, Antônio Dias, Jorge Guinle, Mira Schendel, José Resende, Tunga, Cássio Loredano, Antonio Manuel e o livro Neoconcretismo, vértice e ruptura do projeto construtivo. É autor de dois volumes de poesia – Asmas e Quarta do singular. Mora no Rio de Janeiro, é membro do Conselho Editorial da Rev ista de História da Arte e Arquitetura, Gávea; professor de estética e história da arte no Centro de Artes da UNI-RIO e no mestrado de história social da cultura da PUC/RJ.

Slice, 1980 Aço corten/Cor-Ten steel 305cm x 37,95m x 4cm Instalação na Leo Castelli Gallery, Nova York Coleção do artista

Tilted Arc, 1981 Aço Cor-Ten/Cor-Ten steel 366cm x 36,58m x 6,5cm Instalação na Federal Plaza, Nova York General Services Administration, Washington D.C. Obra destruída pelo governo americano, em 1989 21

St. John’s Rotary Arc, 1980 Aço Cor-Ten/Cor-Ten steel 366cm x 60,96m x 6,5cm Instalação na saída do Túnel Holland, Nova York Leo Castelli Gallery, Nova York

Clara-Clara, 1983 Aço Cor-Ten/Cor-Ten steel Duas partes 366cm x 36,58m x 5cm (cada) Instalação no Jardin des Tuilleries, Place de la Concorde Instalação permanente na Square de Choisy, Paris

Carnegie, 1984-1985 Aço Cor-Ten/Cor-Ten steel Quatro chapas trapezoidais 11,84m x 366cm x 276cm x 6,5cm (cada) Museum of Art, Carnegie Institute, Pittsburgh Doação da Sra. William R. Roesch 24

Kitty Hawk, 1983 Aço Cor-Ten/Cor-Ten steel Chapa superior 122 x 427 x 6,5cm Chapa inferior 122 x 183 x 10cm Altura total 243cm Coleção Saatchi, Londres

Street Levels, 1986-1987 Aço Cor-Ten/Cor-Ten steel Cinco chapas 480cm x 10,25m x 5cm (cada) Área total 480cm x 20,55m x 10,25m Instalação em Karlsstrasse/Königstresse para a Documenta 8, Kassel Galerie m, Bochum, Alemanha Coleção do artista 26

Fulcrum, 1986-1987 Aço Cor-Ten/Cor-Ten steel Cinco chapas 16,90m x 430cm x 7,6cm (cada) Coleção RSD, Broadgate, Londres

27/28

Maillart Extended, 1988 Aço forjado/Forged steel Dois pilares e duas vergas em cada extremidade de uma passagem para pedestres 366 x 30 x 30cm (cada pilar) e 731 x 30 x 30cm (cada verga) Instalação no Grandfey Viaduct, Suíça

Porten i Slugten, 1984-1986 Aço Cor-Ten/Cor-Ten steel Duas chapas 360cm x 12m x 5cm e 360cm x 10,45m x 5cm Louisiana Museum, Humlebæk, Dinamarca 30

Call Me Ishmael, 1986 Aço Cor-Ten/Cor-Ten steel Duas partes 366cm x 15,24m x 6,35cm (cada) Coleção Donald e Doris Fisher, São Francisco, Califórnia

“My Curves Are Not Mad”, 1987 Aço Cor-Ten/Cor-Ten steel Duas chapas 427cm x 13,70m x 5cm (cada) Instalada: 343cm de extensão Coleção Raymond Nasher, cedida ao Dallas Museum of Fine Arts, Dallas, Texas 32

Serpentine, 1992-1993 Aço Cor-Ten/Cor-Ten steel Quatro chapas com área total c. 396cm x 31m x 7,5cm Coleção Frances e John Bowes, Sonoma, Califórnia

33/34

Afangar, 1990 Nove pares de pedras-ferro sobre dois níveis de elevação no perímetro da Ilha nove pedras com c. 300 x 60 x 60cm e nove pedras com c. 400 x 60 x 60cm Instalação na Videy Island, Islândia Coleção Cidade de Reykjavik, Islândia

Octagon For St. Eloi, 1991 Aço indaten forjado/ Forged, indaten steel Octógono, 200 x 244cm Encomenda do governo para a Vila de Chagny, França 36

Threats of Hell, 1990 Aço-carbono/Carbon steel Três chapas 460 x 460 x 25cm (cada) Instalação no CAPC, Musée d’Art Contemporain, Bordeaux, França Coleção Christian Moueix, Libourne, França

Two Forged Rounds for Buster Keaton, 1991 Aço forjado/Forged steel Dois blocos cilíndricos 162 x 226cm (cada) Instalação na Gagosian Gallery, Nova York Coleção Robert e Jane Meyerhoff, Phoenix, Maryland

Peso

Em uma de min has lemb ranç as m ais ant ig as, vej o-me no carr o com meu pai, ao nasc er do dia, atravess and o a pont e Gold en Gat e, em São Francisco, em direção ao estaleiro. Meu pai trabalhava lá como encana dor, e est ávam os ind o ass ist ir ao lanç am ent o de um nav io. Iss o foi no outono de 1943, no dia em que completei quatro a nos. Quando chega mos, o navio-tanque, uma estrutura de aço em preto, a zul e laranja, es tava equilibrado no alto de um guincho. Sua dimensão horizontal me pa receu desproporcionalmente grande; para uma criança de quatro anos, era como um arranha-céu deitado. Lembro-me que caminhei sob o arco do casco com meu pai, observando a enorme hélice de latão, espiando entre os estais. Então, numa súbita explosão de atividade, foram retira dos os esteios, traves, tábuas, estacas, barras, picadeiras de dique, todo o cobro; os cabos foram soltos; as manilhas foram desmontadas; os esti cad ores de f ios foram abert os. Hav ia uma tot al inc ong ruênc ia ent re o desl oc am ent o daq uel e pes o imens o e a rap id ez e agil id ad e com que a tarefa era realizada. À medida que os andaimes iam se desfazendo, o na vio descia a rampa em direção ao mar, ao som festivo de gritos, buzinas de nevoeiro, assobios. Liberto de suas amarras, sobre troncos que rola vam, o navio deslizava cada vez mais depressa. Num momento de ansie dade tremenda, o navio-tanque estremeceu, balançou, inclinou-se para o lado e mergulhou no mar, submergindo até o m eio; depois subiu, até enc ont rar o pont o de equil íb rio. A mult id ão aquiet av a-se ao mesm o tempo em que o petroleiro também se aquietava, sofrendo uma trans formação: o peso imenso e obstinado de ainda há pouco era agora uma estrutura flutuante, livre, solta. O maravilhamento daquele instante per manece em mim até hoje. Toda a matér ia-prima de que eu necessitava está contida nesta lembrança, que com freqüência reaparece em meus sonhos.

O peso é para mim um valor. Não que seja mais premente que a le

veza: é que sei m ais sobre o peso do que sobre a leveza, e portanto tenho mais a dizer a seu respeito, a respeito do modo de equilibrar peso, dimi nuir pes o, adic ion ar e subt rair pes o, conc ent rar pes o, disp or pes o, apoiar peso, localizar peso, trancar peso; dos efeitos psicológicos do pe so, a desorientação do peso, o desequilíbrio do peso, a rotação do peso, o movim ent o do pes o, a direc ion al id ad e do pes o, a form a do pes o. Te nho mais a dizer sobre os perpétuos ajustes meticulosos do peso, mais a dizer sobre o prazer proporcionado pela exatidão das leis da gravidade.

Tenho mais a dizer sobre o processamento do peso do aço, mais a dizer

Richard Serra

sobre a forja, a oficina de laminação, o forno de soleira aberta.

É difícil exprimir idéias de peso a partir de objetos cotidianos, pois a tarefa seria infindável; há no peso uma vastidão imponderável. Porém posso ver a história da arte como a história da particularização do peso. Ten ho m ais a diz er sob re Mant egn a, Céz ann e e Pic ass o do que sob re Botticelli, Renoir e Matisse, embora sinta admiração pelo que me falta. Ten ho m ais a dizer sob re a hist ór ia da esc ult ura enq uant o hist ór ia do peso, mais a dizer sobre monumentos mortuár ios, mais a dizer sobre o peso e densidade e concretude de incontáveis sarcófagos, mais a dizer sobre túmulos, mais a dizer sobre Michelangelo e Donatello, mais a dizer sobre a arquitetura micênica e inca, mais a dizer sobre o peso das cabe ças olmeque.

Somos contidos e condenados pelo peso da gravidade. Porém, Sísi fo empurrando o peso de seu pedregulho encosta acima incessantemen te interessa-me menos que o trabalho infindável de Vulcano no fundo da crat era fum eg ant e, mart el and o mat ér ia-prim a. O proc ess o const rut i vo, a concentração e o esforço cotidianos me fascinam mais que a leveza da dança, mais que a busca do etéreo. Tudo que escolhemos na vida por ser leve logo nos revela seu peso insustentável. Enfrentamos o medo do peso insustentável: o peso da repressão, o peso da constrição, o peso do governo, o peso da tolerância, o peso da resolução, o peso da responsa bilidade, o peso da destruição, o peso do suicídio, o peso da história que diss olv e o pes o e erod e o sign if ic ad o, red uz ind o-o a uma const ruç ão

calculada de leveza palpável. O resíduo da história: a página impressa, o lampejo da imagem, sempre fragmentár ia, sempre dizendo menos que o peso da experiência.

É a distinção entre o peso pré-fabricado da história e a experiência direta que evoca em mim a necessidade de fazer coisas que nunca antes foram feit as. Est ou semp re tent and o enf rent ar as cont rad iç ões da me mória e fazer tábua rasa, tentando valer-me da minha própria experiên cia e m eus próprios materiais mesmo quando me defronto com uma si tuação que está além das possibilidades de realização. Inventar métodos sobre os quais não sei nada, utilizar o conteúdo da experiência de modo que ela se torne conhecida para mim, e então desafiar a autoridade dessa experiência e desse modo desafiar a mim mesmo. Nova York, 1988

Intersection, 1992 Aço Cor-Ten/Cor-Ten steel Quatro chapas 370cm x 13m x 5,5cm (cada) Instalação em frente ao Theaterplatz, Basel Doação de 272 pessoas ao Canton e à Cidade de Basel, 1994

Elevations for L’Allee de La Mormaire, 1993 Aço resistente à ação do tempo/ Weatherproof steel dez partes, sendo 3 blocos de 173 x 625 x 30cm, 4 blocos de 152 x 493 x 30cm, 3 blocos de 132 x 376 x 30cm Coleção François Pinault, Montfort L’ Amaury, França

To Whom it May Concern, 1995 Aço Cor-Ten/Cor-Ten steel Nove elementos: (3) 152 x 670 x 20cm (3) 165 x 670 x 20cm, (3) 178 x 670 x 20cm Instalação na Matthew Marks Gallery, Nova York

Exchange, 1995-1996 Aço Cor-Ten/Cor-Ten steel Sete partes 19,50m x 430/281cm x 6,5cm (cada) Coleção Fonds d’Urbanisation et d’Amenagement du Plateau de Kirchberg, Luxemburgo 42

58 x 64 x 70, 1996 Aço forjado/Forged steel Seis blocos 175 x 160 x 145cm (cada) Instalação na Gagosian Gallery, Nova York

43/44

Instalação de Torqued Ellipse I (1996), Torqued Ellipse II (1996) e Double Torqued Ellipse (1997) no DIA Center for the Art, Nova York, 1997

Doubled Torqued Ellipse, 1997 Aço Cor-Ten/Cor-Ten steel Elipse externa 396/2,50cm x 10/0,15m x 822cm/(projeção 82,5cm) Elipse interna 396/2,50 x 792 x 640cm/(projeção 62,5cm) Instalação no DIA Center for the Art, Nova York 46

Snake, 1996 Aço Cor-Ten/Cor-Ten steel Seis partes curvas, área total 396cm x 31,69m Coleção Guggenheim Museum, Bilbao, Espanha

Observações sobre desenho

Richard Serra

Aos vinte anos de idade, viajei à Cidade do México via Guadalajara para ver os murais de Diego Rivera, Orozco e Siqueiros. Tendo estudado prin cipalmente os murais de Orozco no Hospicio Cabanas, Guadalajara, e no pátio do Colegio Grande, Cidade do México, convenci-me de que os mu ralistas mexicanos, ao abordar o problema da estrutura e espaço arquite tôn ic os, est av am m ais avanç ad os que s eus cont emp or ân eos pint ores norte-americanos. A questão era o contexto, não o chassi.

Comecei os desenhos sobre tela negra depois de completar Strike (1969-1971) e Circuit (1972). No caso de Strike, coloquei uma chapa de aço de 2,5 x 7,5m num canto da sala, de modo que a chapa se apoiasse no

c hão e nas pared es do cant o, div id ind o o amb ient e em d ois esp aç os iguais justapostos. Ao se contornar a obra, percebe-se esta como plano, linha e plano. Em Circuit, pus quatro chapas nos quatro cantos de uma sala quadrada. As beiras das chapas, atuando como linhas, e os quadran tes esp ac iais res ult ant es da col oc aç ão das chap as converg em para um núcleo central. O quadrado aberto do núcleo central torna-se a interse ção perc ept iva de lin has, plan os e vol um es, criand o ao mesm o temp o um efeito centrífugo e um centrípeto. Depois de Strike e Circuit, passei a me interessar em estruturar esculturalmente um dado contexto e dessa forma redefini-lo.

Est a preoc up aç ão com lug ar e cont ext o tin ha sua cont rap art e no meu trabalho como desenhista, à medida que meus desenhos começa

ram a assumir um lugar dentro do espaço da parede. Eu não queria acei tar o espaço arquitetônico como um continente limitador, queria que ele fosse entendido como um lugar para estabelecer e estruturar espaços dis juntivos e contraditórios. Graças a seu peso, sua forma, sua localização, sua planar idade e o delineamento ao redor de suas bordas, a tela negra me permitia definir espaços dentro de um dado contexto arquitetônico.

O peso de um desenho é uma função não apenas do número de ca

madas de tinta mas também, e principalmente, da forma específica do desenho. Está claro — desde o Cristo de Mantegna até as maçãs de Cé zann e — que as form as pod em den ot ar pes o, mass a e vol um e. O qua drad o tem m ais pes o — em term os grav it ac ion ais — que o ret âng ul o; o trap éz io, m ais que o los ang o. O triâng ul o é uma form a lev e, muit o 47

Egyptian Horsemix I: Squared to the Floor, 1979 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen 330 x 396cm Jean Bernier Gallery, Atenas

rápida.

A única maneira de conter um peso dentro dos confins de um dado

espaço é definir a forma do desenho em relação direta com o chão, a pa rede, o canto ou o teto do espaço. Quando se faz isso, um espaço ou lugar

pode ser localizado dentro de um continente arquitetônico cujo caráter difere da intenção arquitetônica. As instalações de tela negra funcionam quando realizam o deslocamento da arquitetura sobre a superfície plana. Todas as estratégias ilusionistas devem ser evitadas. As formas negras, funcionando como pesos em relação a um dado volume arquitetônico, criam espaços e lugares dentro desse volume, e criam também uma ex periência disjuntiva da arquitetura.

Por exemplo: duas formas negras instaladas em paredes opostas es

corçam a largura da sala. O recinto fica m ais estreito; a compressão do es paço é registrada de moto tátil. Decisões muito específicas têm que ser tomadas para determinar o tamanho e a direcionalidade, a horizontalida de ou verticalidade de um desenho em um dado espaço. Qual a extensão de superfície necessária para conter as formas enquanto pesos em relação ao tamanho de um dado espaço? Que cortes têm que ser feitos a fim de desestabilizar a experiência do espaço? O processo decisório é semelhan te à conceituação de uma escultura destinada a um lugar específico, na medida em que a localização vai determinar o modo como eu penso a res peito do que eu vou fazer. Normalmente uso o estúdio só para preparar a tela com cola e gesso. Corto e recubro a tela com tinta em bastão já no lu gar da instalação. Teoricamente, não é necessário que eu me encarregue pessoalmente de preparar a superfície de meus desenhos. Mas no proces so de cobrir uma tela com tinta, a partir do centro e indo em direção às bordas, muitas vezes encontro a solução necessária em termos de peso e forma do desenho em relação ao campo total da parede e o volume total do espaço.

As decisões quanto ao corte devem ser baseadas na experiência con creta do lugar de instalação. Cortar é desenhar uma linha, separar, fazer uma distinção, definir a relação específica entre as linhas do desenho e as linhas da arquitetura. Enquanto linha, o corte define e redefine a estrutu ra. Q uem trab al ha num det erm in ad o esp aç o por vár ios d ias seg uid os

conscientiza-se do modo como as pessoas atravessam aquele espaço, co mo a luz aparece nele, como as entradas e saídas do espaço estão sendo usadas, se se trata de um espaço de passagem ou de reunião. Conforme as dif erent es funç ões do esp aç o, há que enc ont rar sol uç ões dif erent es para o desenho. É muito difícil, se não impossível, tomar essas decisões sem ter uma experiência de primeira mão do espaço em questão. Eu ja mais mandar ia alguns assistentes ir até lá para trabalhar a partir de um esboço. Não me interesso por arte “aplicada”. Trabalhar a partir de pre missas ou esquemas a priori invar iavelmente leva à ornamentação e à decoração. É por isso que a maior parte dos desenhos para parede pare cem papel de parede. Tais desenhos têm sempre uma função decorativa e não estrutural.

A utilização do negro é o modo mais enfático de marcar um campo

branco, quer se use grafite, carvão ou tinta em bastão. É também a ma neira mais enfática de marcar sem criar significados associativos. Podese cobrir uma superfície de preto sem o risco de cair em alguma leitura equivocada, metafórica ou de outra natureza qualquer. Uma tela coberta de preto permanece uma extensão do desenho na medida em que é uma extensão do ato de marcar. O uso de qualquer outra cor seria uma exten são do ato de colorir, com s uas inevitáveis alusões à natureza. Desde Gu tenberg que o preto é sinônimo de procedimento gráfico. O que me inte ressa é a mecanização do procedimento gráfico, e não o gesto pictór ico alusivo.

O preto é uma propriedade e não uma qualidade. Em termos de pe

so, o preto é mais pesado, cria um volume m aior, contém-se num campo m ais comp rim id o. Pod e ser comp arad o à fund iç ão. Por ser o mat er ial cromático mais denso, o preto absorve e dissipa luz em grau máximo, e deste modo altera tanto a luz artificial quanto a natural numa sala. Uma forma negra pode manter seu espaço e seu lugar em relação a um volume maior e alterar a massa desse volume de imediato.

A tela é a minha solução mais prática para estender o desenho dire tamente para a parede. O papel é limitado pelo tamanho e pela resistên cia. É frágil demais para suportar várias camadas de tinta e aderir à pare de perfeitamente lisa. Já a tela vem em rolos grandes que posso recortar

de modo a adaptá-la ao lugar. Depois de ser tratada com cola de pele de coelho e gesso, a tela permanece fina, mas se torna firme e pode facil mente ser trabalhada na parede. No papel, a tinta em bastão fica sobre a superfície, enquanto na tela a tinta se funde com a superfície. O papel é sempre entendido como o veículo a que a tinta foi aplicada. Eu quer ia que tinta e superfície de suporte fossem lidas como uma coisa só. Qual quer tipo de junção — por m ais necessária que seja por motivos funcio nais — para mim é sempre uma espécie de ornamento. A idéia de usar tela tem também um outro aspecto: este meio conservador é utilizado com o fim de realizar um projeto de desenho que contradiz seu uso esta belecido e tradicional na pintura. Eu tinha necessidade de resolver o de senho em relação à arquitetura. Libertada de sua utilização tradicional na pintura, a tela permitia que o desenho interagisse e contrastasse com um contexto arquitetônico.

Sei que há quem diga que minhas instalações de desenhos negros

são esculturais. Estes desenhos não apenas são planos, no nível da pare de, como também não criam qualquer ilusão de tridimensionalidade. Po rém eles integram o observador na tridimensionalidade específica da lo calização de sua instalação. Os desenhos tornam o espectador cônscio de sua movimentação física numa galer ia ou museu, da existência de seis

planos delimitando a sala. Ao criar uma disjunção na entidade arquitetô nic a, o des en ho t raz à atenç ão crít ic a do obs ervad or as caract er íst ic as formais e funcionais da arquitetura. É essa experiência, presumo, que é vista como uma exper iência escultural. Chamar as instalações de dese nhos de esculturais por qualquer outra razão é totalmente equivocado, tão equivocado quanto seria dizer que meus filmes são esculturais. Dian te de experiências que são novas, as pessoas, em vez de aceitá-las como novas, tentam relacioná-las com conhecimentos que já detêm. Ao negar o novo, e las não apenas se privam da experiência do novo como também contribuem para uma compreensão básica equivocada do desenvolvi ment o da art e. Tud o é vist o com o part e dest a ou daq uel a trad iç ão; as rupturas e disjunções não são admitidas.

Se as preocupações metodológicas são de segunda mão, elas se tor nam o conteúdo da investigação do artista, e a obra acaba não passando

de uma reformulação de estratégias formalistas. Se a arte está tão intima mente presa, numa relação de dependência, a uma tradição referencial histór ica, ela será muito limitada e suscetível a análises formais óbvias. As instalações de desenhos não aceitam uma definição estática, não se entregam com facilidade a análises e categorizações; elas negam as defi nições tradicionais.

Os des en hos sob re pap el são norm alm ent e est ud os feit os dep ois que uma escultura é completada. São o resultado da tentativa de avaliar e def in ir o que me surp reend e num a esc ult ura, o que eu não cons eg uia compreender antes de a obra ser construída. Eles me permitem entender aspectos diferentes da percepção, bem como o potencial estrutural de uma dada escultura. São destilações da experiência de uma estrutura es cult ural. O des en ho é um out ro tip o de ling uag em. Muit as vezes, para compreender uma coisa é preciso ou desmontá-la ou aplicar uma outra ling uag em a ela. Desd e que com ec ei a trab al har, semp re a chei que se conseguisse desenhar uma coisa eu ter ia uma compreensão estrutural dela. Não desenho para representar, ilustrar ou diagramar obras existen tes. As formas desenhadas em papel têm origem na visão de um volume, um detalhe, uma quina, um peso. Nesse sentido, o desenho é um índice das estruturas que construí.

Nunca faço desenhos para esculturas. O desenho é uma atividade separada, um envolvimento presente, com seus próprios problemas con comitantes e inerentes. É impossível, mesmo através da analogia, repre sentar uma linguagem espacial. A maior ia das representações e ilustra ções são enganosas. Nova York, 1987

A New Drawing, 1985 Tinta em bastão s/ linho belga/Paintstick on Belgian linen Duas partes 220 x 145cm (cada) Instalação no Museum Haus Lange, Kiefeld Coleção Rijksmuseum Kröler-Müller, Otterlo, Holanda

Framed, 1976 Tinta em bastão s/ parede/ Paintstick on wall Comprimento das linhas (c. 76cm) igual à largura da porta Instalação no Artist Space, Nova York. Obra destruída 50

High Verticals, 1979 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen Duas partes 427 x 135cm (cada) Instalação na Richard Hines Gallery, Seattle Coleção do artista

Institutionalized Abstract Art, 1976 Tinta em bastão s/ parede/Paintstick on wall, c. 218 x 226cm Instalação no Art Institute of Chicago Obra destruída 52

Seattle Square, 1979 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen Quadrado de 244cm em ângulo de 45° no canto esquerdo, 257 x 257cm Instalação na Richard Hines Gallery, Seattle Galerie Alfred Schmela, Düsseldorf

Left Corner Horizontal, 1979 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen 152 x 560cm (152cm do chão) Instalação na Richard Hines Gallery, Seattle Galerie Alfred Schmela, Düsseldorf 54

Two Rectangles Floor to Ceiling, 1979 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen Duas partes 218 x 183cm (cada) Instalação na Richard Hines Gallery, Seattle Obra destruída

Equal Size, Unequal Weight, 1988 Tinta em bastão s/ linho/Paintstick on linen 290cm x 18,30m Instalação em Kunsthalle Basel Galerie m, Bochum, Alemanha Coleção do artista

Aswan, 1990 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen Quatro partes 383,5 x 116cm (cada) Instalação em Maastricht Galerie m, Bochum, Alemanha 57

Tovey’s Corner, 1986 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen Duas partes 137 x 630cm (cada) Instalação na Galerie Maeght Lelong, Nova York Leo Castelli Gallery, Nova York Coleção do artista

58/59

Judith and Holofernes, 1991 Tinta em bastão s/ linho belga/Paintstick on Belgian linen Duas partes 335cm x 12,80m (cada) Instalação no Carnegie Museum of Art, Pittsburgh

60/61

Sem título, 1992 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen Duas partes, 219 x 138cm e 138 x 219cm Instalação na Fondation Château de Jau, Perpignan, França

62/63

Sem título, 1992 Tinta em bastão sobre parede/Paintstick on wall Duas partes 94,5 x 98cm (cada) Instalação no Musée de Collioure, Cérvet, França

Serpentine Corner, 1992 Tinta em bastão s/ linho belga/Paintstick on Belgian linen Duas partes 167 x 574cm (cada) Instalação na Serpentine Gallery, Londres

65/66/67

Two for Rushdie, 1992 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen Duas partes 513 x 320cm (cada) Instalação na Serpentine Gallery, Londres

68/69/70/71

Fort Worth, 1994 Tinta em bastão s/ linho belga/Paintstick on Belgian linen Quatro partes instaladas em 2 salas, sendo 3 partes 345 x 614cm (cada) e 1 parte 345 x 493cm Instalação no Modern Art Museum of Forth Worth, Forth Worth, Texas

Richard Serra, Verb list, 1967-1968

Cronologia

Os números entre parênteses no texto a seguir referem-se às legendas, correspondendo ao local onde a obra foi exibida ou a algum fator relacionado àquele trabalho.

1939

1965

Nasce Richard Serra em São Francisco a 2 de novembro, filho do meio numa família de três meninos; seu pai, Tony, natural de Maiorca, trabalhava em uma fábrica de doces e sua mãe, Gladys Serra, era judia, natural de Odessa. A arte o acompanha desde sua infância: sua mãe gostava de pintar e o estimulava, levando-o a museus e oferecendo livros de arte; seu pai foi também um grande incentivador do interesse do filho pela arte, descendente de espanhóis, interes sados em fazer arte. Seu avô tinha sido entalhador de madeira.

Recebe da Yale University bolsa de viagem ao exterior; fica um ano em Paris, onde passa algum tempo desenhando no estúdio de Brancusi no Musée d’Art Moderne. Conhece Philip Glass. 1966

Viaja de carona de Atenas a Istambul. Passa um ano em Florença, com uma bolsa da Fundação Fulbright. Apresenta sua primeira exposição individual na Galleria La Salita, Roma (1). Seus trabalhos de estudante prenunciam a atividade da Arte Povera. Viaja à Espanha e ao norte da África. Muda-se para Nova York.

1957-1961

Estuda na University of California em Berkeley e em Santa Barbara, concluindo o bacharelado em literatura inglesa. Começa a trabalhar em siderúrgicas como U.S. Steel, Califórnia, Kaiser Steel e Bethlehem Steel para sustentar-se.

1 Live Animal Habitat, 1963-1964 Técnica mista/Mixed media 40,6 x 85,4 x 25cm Galleria La Salita, Roma 2 Trough Pieces, 1966-1967 Borracha e fibra de vidro/ Rubber and fiberglass Duas partes 151 x 47 x 61cm e 180 x 15 x 15cm Museum Ludwig, Colônia, Alemanha 3 Plinths, 1967 Fibra de vidro, borracha e néon azul/ Fiberglass, rubber and neon tubing (blue) 244 x 20,5cm Musée National d’Art Moderne, Centre Georges Pompidou, Paris 4 Belts, 1967 Borracha vulcanizada e néon azul/ Vulcanized rubber and neon tubing (blue) 214 x 732 x 51cm Solomon R. Guggenheim Museum Coleção Panza di Biumo, Varese, Itália

Participa das mostras coletivas: From Arp to Artschwager I, Noah Goldowsky Gallery, Nova York; e Drawings, Yale University Art Gallery, New Haven, Connecticut.

1961-1964

1967

Estuda na Yale University, New Haven, Connecticut, concluindo o bacharelado e o mestrado em belas-artes. Em seu último ano, assume cargo de instrutor e trabalha com Josef Albers em seu livro The interaction of color (1963). Entra em contato com artistas da Escola de Nova York: Philip Guston, Robert Rauschenberg, Ad Reinhardt e Frank Stella.

Começa a realizar trabalhos com borracha (2) e néon (3, 4) e as scatter pieces – instalações de peças espalhadas pelo chão (5). Conhece Carl Andre, Liza Bear, Eva Hesse, Nancy Holt, Jasper Johns, Joan Jonas, Donald Judd, Philip Leider, Bruce Nauman, Steve Reich, Robert Smithson e Michael Snow. Juntamente com Robert Fiore, Steve Reich e Philip Glass, sustenta-se carregando móveis em mudanças. Participa das seguintes exposições: From Arp to Artschwager II, Noah Goldowsky Gallery, Nova York; Directions, Purdue University, West Lafayette, Indiana; e Drawings 1967, Ithaca College Museum, Ithaca, Nova York.

5 Scatter Piece, 1967 Látex/Rubber latex 762 x 762cm Coleção Donald Judd, Marfa, Texas

6 Splashing, 1968 Chumbo/Lead 45,5 x 792,5cm Instalação na Castelli Warehouse, Nova York (Obra destruída) 7 Splash Piece: Casting, 1969-1970 Chumbo/Lead 48 x 274,5 x 455cm Instalação no ateliê de Jasper Johns, Nova York Coleção San Francisco Museum of Modern Art, doação de Jasper Johns 6

8 Richard Serra e Jasper Johns durante a instalação de Splash Piece: Casting, no ateliê de Jasper Johns, Nova York 9 Fotogramas do filme Hand Catching Lead, 1968 16mm, P/B, 3’30’’ Produção Castelli-Sonnabend Tapes and Films Inc., Nova York 10 Thirty-Five Feet of Lead Rolled Up, 1968 Chumbo/Lead Ø 12,5 x 61cm Coleção Horace Solomon, Nova York

11 Clothes Pin Prop, 1969 Chumbo antimônio/Lead antimony 229cm (rolo), 102 x Ø 15cm (tubo) Coleção Giuseppe Panza di Biumo, Varese, Itália

1968-1969

1968

Começa a trabalhar com a Leo Castelli Gallery, Nova York. Faz uma série de peças em chumbo fundido e moldado, “Splashings” (6) e “Castings”. Exibe rolos de chumbo (10) e props (escoras) (11) no Solomon R. Guggenheim Museum. Realiza primeiros filmes de estúdio (9) e começa a fazer desenhos lineares. Começa a trabalhar com aço Cor-Ten: com o apoio do Los Angeles County Museum of Art, realiza a “Skullcracker Series” na Kaiser Steel Corporation, Fontana, Califórnia. Inicia uma série de grandes instalações de aço para interiores; começa a trabalhar com engenheiros de estrutura. Faz uma série de peças de aço cortado e serrado. Participa do “Word Location Project” com Philip Glass em Long Beach Island, Nova Jersey. Colabora com Joan Jonas em obras de vídeo, cinema e performance. Faz Splash Piece: Casting (7, 8) no estúdio de Jasper Johns.

Realiza mostra individual na Galerie Ricke, Colônia. Participa das seguintes mostras coletivas: From Arp to Artschwager III, Noah Goldowsky Gallery, Nova York; Three Sculptors (com Mark di Suvero e Walter de Maria), Noah Goldowsky Gallery, Nova York; Programm I, Galerie Ricke, Colônia; Primary Structure, Minimal Art, Pop Art, Anti-Form, Galerie Ricke, Colônia, Alemanha Ocidental; Anti-Form, John Gibson Gallery, Nova York; Soft and Apparently Soft Sculpture, American Federation of the Arts (exposição itinerante); Kunstmarkt 6, Kunsthalle, Colônia; Nine at Castelli, Castelli Warehouse, Nova York; e 1968 Annual Exhibition: Contemporary American Sculpture, Whitney Museum of American Art, Nova York.

12 Richard Serra trabalhando com chumbo, Castelli Warehouse, Nova York, 1969

13 2-2-1: To Dickie and Tina, 1969 Chumbo antimônio/Antimony lead Cinco chapas, 122 x 122cm (cada), (rolo) 213cm Área total 132 x 249 x 335cm Hirshhorn Museum, Washington D.C. 14 Floor Pole Prop, 1969 Chumbo antimônio/Antimony lead 254 x 254 x 144cm (chapa), 240 x Ø 11cm (rolo) Stedelijk Museum, Amsterdã 15 Instalação de One Ton Prop (House of Cards), 1969 Museum of Art, Rhode Island School of Design, Providence

1969

Realiza sua primeira exposição individual nos Estados Unidos, na Castelli Warehouse, Nova York (12), e também na Galleria Françoise Lambert, Milão. Participa das exposições: Here and Now, Washington University Gallery of Art Steinberg Hall, St. Louis, Missouri; New Media: New Methods, The Museum of Modern Art, Nova York (exposição itinerante); Series: Photographs, School of Visual Arts, Nova York; Kunst der sechziger Jahre (Arte dos Anos Sessenta), Wallraf-Richartz Museum, Colônia; Soft Art, New Jersey State Museum Cultural Center, Trenton, Nova Jersey; Op Losse Schroeven, situaties en cryptostructuren (Square Pegs in Round Holes), Stedelijk Museum, Amsterdã (14); Sechs Kunstler (Seis Artistas), Galerie Ricke, Colônia; When Attitude Becomes Form, Kunsthalle Bern – exposição itinerante, levada a Haus Lange, Krefeld, Alemanha Ocidental, e ao Institute of Contemporary Art, Londres; Contemporary American Sculpture, Selection II, Whitney Museum of American Art, Nova York, montada por The Howard and Jean Lipman Foundation e o Whitney Museum of American Art; No 7, Paula Cooper

Gallery, Nova York; Anti-Illusion: Procedures/ Materials, Whitney Museum of American Art, Nova York; Nine Young Artists, Theodoron Awards, The Solomon R. Guggenheim Museum, Nova York; 7 Objekte/69, Galerie Ricke, Colônia; Highlights of the 1968-1969 Art Season, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; Anti-Form, Museum of Contemporary Art, Chicago; 557,087, Seattle Art Museum, Seattle, Washington; The George Waterman Collection, Museum of Art, Rhode Island School of Design, Providence, Rhode Island (15); Art by Telephone, Museum of Contemporary Art, Chicago; Five Sculptors, University of California, Irvine, Califórnia; Verborgene Strukturen, Museum Folkwang, Essen, Alemanha Ocidental; e participa de outras coletivas na Joseph Helman Gallery, St. Louis, Missouri, e no Kaiser Wilhelm Museum, Krefeld, Alemanha Ocidental.

1970

Visita Robert Smithson e Nancy Holt durante a construção de Spiral Jetty (16, 17), Great Salt Lake, Utah, e ajuda no projeto. Viaja ao Japão com Joan Jonas. Instala To Encircle Base Plate Hexagram, Right Angles Inverted no Ueno Park, Tóquio, e trabalha também em Kioto. Recebe bolsa Guggenheim. Cria Sawing Device: Base Plate Measure, trabalho onde doze troncos são cortados sobre uma base de cimento, no Pasadena Art Museum, Pasadena, Califórnia. Numa rua do Bronx, Nova York, instala To Encircle Base Plate Hexagram, Right Angles Inverted. O catálogo anual das exposições do Whitney Museum documenta a obra. Dá início a uma série de grandes obras inseridas em paisagens com Pulitzer Piece: Stepped Elevation (18, 19), St. Louis e Shift (a Tony Serra), King City, Ontário, Canadá. Apresenta várias exposições individuais: Joseph Helman Gallery, St. Louis, Missouri; University of California, San Diego; Galerie Ricke, Colônia; Pasadena Art Museum, Pasadena, Califórnia; e Ace Gallery, Los Angeles.

Tokyo Biennale ‘70 (Between Man and Matter – 10th International Art Exhibition of Japan), Tokyo Metropolitan Art Gallery, Tóquio, também realizada no Kyoto Municipal Art Museum, Kioto, Aichi Prefectural Art Gallery, Nagóia, e Fukuoka Prefectural Cultural House, Fukuoka, Japão; Zeichnungen Amerikanischer Kunstler (Desenhos de Artistas Ameri canos), Galerie Ricke, Colônia; Conceptual Art/Arte Povera/Land Art, Galleria Civica d’Arte Moderna, Turim; Information, The Museum of Modern Art, Nova York; Identifications, Kunstverein Hanover, Hanover; 1970 Annual Exhibition, Contemporary American Sculpture, Whitney Museum of American Art, Nova York; Castelli at Dayton’s, Dayton’s Gallery 12, Minneapolis, Minnesota, e 3-00: New Multiple Art; Whitechapel Art Gallery, Londres; e também participa de uma coletiva na Joseph Helman, St. Louis, Missouri.

16 Robert Smithson e Richard Serra durante a construção de Spiral Jetty, 1970 Great Salt Lake, Utah 17 Spiral Jetty, 1970 (de Robert Smithson) Great Salt Lake, Utah 18/19 Pulitzer Piece: Stepped Elevation, 1970-1971 Aço Cor-Ten/Cor-Ten steel Três chapas distribuídas em uma área de 13.000m2 Coleção Joseph e Emily Pulitzer, St. Louis 20 Sem título, 1970 Aço/Steel Ø 487cm Coleção Roger Davidson, Toronto 21 Balanced, 1970 Aço laminado/Hot rolled steel 247 x 157 x 2,5cm Galerie Ricke, Colônia, Alemanha Coleção Pace Gallery, Nova York

Participa das seguintes coletivas: Programm III, Galerie Ricke, Colônia (21);

22 Circuit, 1972 Aço laminado/Hot rolled steel Quatro chapas 244 x 732 x 2,5cm (cada) Área total 244cm x 10,97m x 10,97m Galerie m, Bochum, Alemanha 23 Equal Parallel and Right Angle Elevations, 1973 Aço laminado/Hot rolled steel Quatro partes, duas com 61 x 450 x 13,5cm e duas com 61 x 68,5 x 13,5cm Instalação na Galeria Toselli, Milão Coleção particular 24 Sem título, 1971 Carvão s/ papel/Charcoal on paper 67 x 101,5cm Leo Castelli Gallery, Nova York 25 Sem título, 1972 Carvão s/ papel/Charcoal on paper 76 x 105cm Leo Castelli Gallery, Nova York

1971

Dá início aos desenhos sobre tela negra. Começa a passar o verão trabalhando em Cape Breton, Nova Escócia, Canadá. Ganha concurso para realização de escultura para o campus da Wesleyan University, em Middletown, Connecticut, com Sight Point (26, 27, 28). O projeto foi rejeitado; a obra foi mais tarde instalada no Stedelijk Museum, em Amsterdã. Participa das seguintes coletivas: 7e Biennale de Paris; Il Triennale India, Lalit Kala Akademi, Nova Délhi – expo sição organizada sob os auspícios do International Council of the Museum of Modern Art, Nova York; Sixth Guggenheim International, The Solomon R. Guggenheim Museum, Nova York; Body, Loeb Student Center, New York University, Nova York; Amerikanst Kunst (Pintura Americana) 1950-70, Louisiana Museum, Humlebæk, Dinamarca; Works for New Spaces, Walker Art Center, Minneapolis, Minnesota; 7 Neue Arbeiten, Galerie Ricke, Colônia; Prospect 71 – Projection, Stadtische Kunsthalle, Düsseldorf, Alemanha Ocidental; Projects: Pier 18, The Museum of Modern Art, Nova York; Sonsbeek 71, Sonsbeek buiten de perken, Park Sonsbeek, Arnhem, Holanda;

100

Arte de sistemas, Centro de Arte y Comu nicación, Museo de Arte Moderno, Buenos Aires; Works on Film (com Morris, Nauman, Sonnier), Leo Castelli Gallery, Nova York; Art & Technology, Los Angeles County Museum of Art; e Recent Vanguard Acquisitions, Art Gallery of Ontario, Toronto, participando também de uma mostra coletiva na Lo Giedice Gallery, Nova York. 1972-1974

Após a morte de Robert Smithson, com pleta a Amarillo Ramp no Texas com Nancy Holt e Tony Shafrazi. Instala Circuit (22) na Documenta 5. Viaja ao Peru com Rudolph Wurlitzer. 1972

Realiza exposição individual na Video galerie Gerry Schum, Düsseldorf, Alemanha Ocidental, e na Ace Gallery, Los Angeles. Participa da Zeichnungen, Galerie Ricke, Colônia; Judd/Serra, Leo Castelli Gallery, Nova York; Diagrams & Drawings, Rijksmuseum Kröller-Müller, Otterlo, Holanda; Spoleto Arts Festival, Spoleto,

Itália, e em outras coletivas na Irving Blum e Margo Leavin, ambas em Los Angeles; Castelli Graphics, Nova York; Galerie Ricke, Colônia; e Leo Castelli Gallery, Nova York. 1973

Faz exposições individuais na Galerie Ricke, Colônia; Galleria Toselli, Milão (23); Castelli Graphics, Nova York. Apresenta desenhos na Ace Gallery, Los Angeles. Participa da 1973 Biennial Exhibition, Contemporary American Art, Whitney Museum of American Art, Nova York; 7 Lithographen, Galerie Ricke, Colônia; 3D into 2D: Drawings for Sculpture, The New York Cultural Center; Diagrams & Drawings, Kunstmuseum, Basel; Soft as Art, The New York Cultural Center; Options and Alternatives: Some Directions in Recent Art, Yale University Art Gallery, New Haven, Connecticut; Festival of Contemporary Arts, Oberlin, Ohio; Art in Space: Some Turning Points, The Detroit Institute of Arts; Centre National d’Art Contemporain, Paris; American Drawings 1963-1973, Whitney Museum of American Art, Nova York; American

26 Sight Point, 1971-1975 Aço Cor-Ten/Cor-Ten steel Três chapas 12,19m x 305cm x 6,5cm (cada) Coleção Stedelijk Museum, Amsterdã 27 Vista do interior de Sight Point 28 Bate-estacas preparando a fundação de Sight Point 29 Abstract Slavery, 1974 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen 290 x 538cm Coleção Rijkmuseum Kröller-Müller, Otterlo, Holanda 30 Zadikian’s, 1974 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen Duas partes, esquerda 287 x 327cm e direita 286 x 328cm Coleção Giuseppe Panza di Biumo, Varese, Itália

Drawing 1970-1973, Yale University Art Gallery, New Haven, Connecticut; Drawings, Cusack Gallery, Houston; Record as Artwork, Galleria Françoise Lambert, Milão; American Art: Third Quarter Century, Seattle Art Museum, Seattle, Washington; Contemporanea, Parcheggio di Villa Borghese, Roma, e em outras exposições na Lo Giudice Gallery, Nova York; Amerika-Haus, Berlim, e Leo Castelli Gallery, Nova York. 1974

Apresenta exposições na Ace Gallery, Los Angeles; Large Scale Drawings; School of Visual Arts, Nova York, e Leo Castelli Gallery, Nova York (30). Tem participação em Some Recent American Art, National Gallery of Victoria, Melbourne, Austrália, exposição organi zada sob os auspícios do International Council of the Museum of Modern Art, Nova York, também levada para a Art Gallery of New South Wales, Sydney, Art Gallery of South Australia, Adelaide, Art Gallery of Western Australia, Perth, e City of Aukland Art Gallery, Aukland, Nova Zelândia; Drawings, Leo Castelli Gallery, Nova York; Line as Language: Six Artists

Draw, The Art Museum, Princeton University, Princeton, Nova Jersey; Videotapes: Six from Castelli, De Saisset Art Gallery, University of Santa Clara, Santa Clara, Califórnia; Interventions in Landscape, Hayden Gallery, Massachusetts Institute of Technology, Cambridge, Massachusetts; Art Now 1974, John F. Kennedy Center for the Performing Arts, Washington D. C.; Records as Artwork, Galerie Ricke, Colônia; Work on Paper, Diane Stimpson Gallery, Vancouver, Canadá; Prints from Gemini, G.E.L., Walker Art Center, Minneapolis, Minnesota, também levada para o Akron Art Institute, Ackland Art Center, University of North Carolina, Chapel Hill, Carolina do Norte, The Winnipeg Art Gallery, Winnipeg, Manitoba, Canadá, e Denver Art Museum, Denver, Colorado; 4X Minimal Art, Galerie Ricke, Colônia; Castelli at Berggruen, John Berggruen Gallery, São Francisco; Art/Voir, Centre d’Art Contemporain, Paris; In Three Dimensions, Leo Castelli Gallery, Nova York; e Public Sculpture/Urban Environment, The Oakland Museum, Oakland, Califórnia.

101

31 Black Orchid, 1974 Tinta em bastão s/ tela/Paintstick on canvas 335 x 292cm Exibido no Städtisches Museum, Leverkusen, Alemanha Coleção Kaiser Wilhelm Museum, Krefeld 32/33 Fotogramas do filme Railroad Turnbridge, 1976 16mm, P/B, 19’

1975

Recebe prêmio da Skowhegan School of Painting and Sculpture. Filma Railroad Turnbridge (32, 33), em Portland, Oregon. Projeta a primeira peça curva para o Centre Georges Pompidou, Paris. (Sua proposta é rejeitada). Inicia colaboração com Alexander von Berswordt-Wallrabe da Galerie m, Bochum, Alemanha Ocidental. Sight Point é instalada no pátio dos fundos do Stedelijk Museum, Amsterdã. Apresenta Richard Serra: Delineator na Ace Gallery, Venice, Califórnia, e também realiza exposição individual no Portland Center for the Visual Arts, Portland, Oregon. Participa em Drawings, Daniel Weinberg Gallery, São Francisco; Color as Language, Museo de Arte Moderno, Bogotá, exposi ção organizada sob os auspícios do International Council of the Museum of Modern Art, Nova York, também levada para o Museu de Arte de São Paulo, Museu de Arte Moderna, Rio de Janeiro, Museo de Bellas Artes, Caracas, e Museo de Arte Moderno, Cidade do México; Fourteen Artists, The Baltimore Museum of Art, Baltimore, Maryland; The Video Show, Serpentine Gallery, Londres; USA:

102

Zeichnungen 3, Stadtisches Museum, Leverkusen, Schloss Morsbroich, Leverkusen, Alemanha Ocidental (31); The Condition of Sculpture: A Selection of Recent Sculpture by Younger British and Foreign Artists, Hayward Gallery, Londres; Projected Video, Whitney Museum of American Art, Nova York; e Sculpture: American Directions 1945-1975, National Collection of Fine Arts, Smithsonian Institution, Washington D.C., também levada para Dallas Museum of Fine Arts, Dallas, Texas, e New Orleans Museum of Art, Nova Orleães; Video Art, Institute of Contemporary Art, University of Pennsylvania, Filadélfia. 1976

Apresenta Richard Serra: Drawings, na Ace Gallery, Los Angeles. Participa de várias exposições coletivas: Drawing Now (29), The Museum of Modern Art, Nova York, também levada para Kunsthaus Zurich, Zurique, Staatliche Kunsthalle Baden-Baden, Alemanha Ocidental, Graphische Sammlung Albertina, Viena, Sonja HenieNiels Onstad Stiftelser, Kunstsenter Hovikodden, Noruega, e The Tel Aviv

Museum; Scale, Fine Arts Building, Nova York; Survey: Part II, Sable-Castelli Gallery, Toronto; Seventy-second American Exhibition, The Art Institute of Chicago; 200 Years of American Sculpture, Whitney Museum of American Art, Nova York; Ideas on Paper, The Renaissance Society at the University of Chicago; Sculpture 76, Greenwich Arts Council, Greenwich, Connecticut; Rooms, Institute for Art and Urban Resources, PS 1, Long Island City, Nova York; Amerikanische Kunst von 1945 bis Heute, Nationalgalerie, Berlim; Amerikanische Druckgraphik aus öffenlichen Sammlungen der Bundes republik Deutschland, Kunsthalle Kiel, Alemanha; An Exhibition for the War Resisters League, Heiner Freidrich, Nova York; New York-Downtown Manhattan: Soho, Berlin Festival, Akademie der Kunste, Berlim, também levada para Louisiana Museum, Humlebæk, Dinamarca; 20th Century American Art from Friends’ Collections, Whitney Museum of American Art, Nova York; A View of a Decade, Museum of Contemporary Art, Chicago; American Drawn and Matched, The Museum of Modern Art, Nova York; Drawings, Sable-Castelli Gallery, Toronto; New York: The State of Art, The New York State Museum, Albany, Nova York; Drawings for Outdoor Sculpture 1946-1977, John Weber Gallery, Nova York, também levada para Mead Gallery, Amherst College, Amherst, Massachusetts; University of California Art Galleries, Santa Barbara, Califórnia; La Jolla Museum of Contemporary Art, La Jolla, Califórnia; Hayden Gallery, Massachusetts Institute of Technology, Cambridge, Massachusetts, e Laguna Gloria Art Gallery, Austin, Texas; Works from the Collection of Dorothy and Herbert Vogel, The University of Michigan Museum of Art, Ann Arbor; Private Notations: Artist’s Sketchbooks II, Philadelphia College of Art, Filadélfia; Structures for Behavior. New Sculptures by Robert Morris, David Rabinowitch, Richard Serra and George Trakasi, Art Gallery of Ontario, Toronto.

34 Berlin Block for Charlie Chaplin, 1977 Aço forjado/Forged steel 191 x 191 x 191cm Nationalgalerie, Staaliche Museen Berlin Stiftung Preussischer Kulturbesitz, Berlim

35 Fundição de Berlin Block for Charlie Chaplin 36 2nd Rectangle to the Floor, 1977 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen 322 x 287cm Instalação no Stedelijk Museum, Amsterdã Nationalgalerie, Staaliche Museen Berlin, Berlim

37 Rectangle to the Floor, 1977 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen 104 x 518cm Galerie m, Bochum, Alemanha

1977

1978

Sua mãe suicida-se em 14 de fevereiro. Aceita proposta de trabalhar no projeto da Pennsylvania Avenue em Washington D.C., do qual retira-se em 1978. Trabalha na siderúrgica Thyssen, Henrichshutte, Hattingen, Alemanha Ocidental, fazendo Berlin Block for Charlie Chaplin (34, 35) para a Nationalgalerie Berlin. Instala Terminal na Documenta 6.

Expõe Richard Serra: Works 66-77, na Kunsthalle Tübingen, Alemanha Ociden tal, e Staatliche Kunsthalle Baden-Baden, Alemanha Ocidental (24, 25); Richard Serra: Early Works in Steel and Lead, na Ace Gallery, Venice, Califórnia, e apresenta também uma mostra individual na Blum Helman Gallery, Nova York.

Apresenta exposição individual na Galerie Daniel Templon, Paris; Galerie m, Bochum, Alemanha Ocidental; Staatliche Kunsthalle Baden-Baden, Alemanha Oci dental, e no Stedelijk Museum, Amsterdã (36, 37); e Kunsthalle Tübingen, Alemanha Ocidental, com Richard Serra: Drawings 1971–1977. Participa da 1977 Biennial, Whitney Museum, Nova York.

Participa em Atypical Works, Julian Pretto Gallery, Nova York; Nauman, Serra, Shapiro, Jenney, Blum Helman Gallery, Nova York; Between Sculpture and Painting, Worcester Art Museum, Worcester, Massachusetts; Ace Gallery, Vancouver, Canadá; Struc tures for Behavior, Art Gallery of Ontario, Toronto; Summer Group Show, Leo Castelli Gallery, Nova York; 20th Century Drawings-5 Years of Acquisitions, Whitney Museum of American Art, Nova York; Selections from the Permanent Collection, La Jolla Museum of Contemporary Art, La Jolla, Califórnia; Made by Sculptors, Stedelijk Museum, Amsterdã; Daniel Templon, Dix Ans, Galerie Daniel Templon, Paris; Sculpture, Richard Hines Gallery, Seattle, Washington, e Z.B. Skulptur, Städelisches Kunstinstitut, Frankfurt, Alemanha Ocidental; 73rd American Exhibition, The Art Institute of Chicago.

103

38 Terminal, 1977 Aço Cor-Ten/Cor-Ten steel Quatro chapas trapezoidais, 12,50m x 274 a 366cm (irregular) x 6,5cm Bochum, Alemanha 39 Vista do interior de Terminal 40 Egyptian Horsemix II: Rectangle to the Floor, 1979-1980 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen 350,5 x 389cm Margo Leavin Gallery, Los Angeles 41 Toll (Whitney Installation), 1979 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen Três partes, da esquerda para a direita 274 x 367,5 x 652m5 x 457cm Instalação no Whitney Museum of American Art, Nova York Coleção do artista

1979

Seu pai morre em 5 de junho. A General Services Administration lhe encomenda uma escultura permanente para a Federal Plaza, Nova York. Durante a campanha eleitoral alemã, a CDU (União Democra ta-Cristã), partido político, critica a insta lação de Terminal (1977) em Bochum, Alemanha Ocidental (38, 39). Filma Steelmill/Stahlwerk na siderúrgica Thyssen com Clara Weyergraf. Apresenta Richard Serra: Matrix/Berkeley 20, Matrix Gallery, University Art Museum University of California, Berkeley; Richard Serra: Sculpture, Films 1966-1978, Staatliche Kunsthalle Baden-Baden, Alemanha Ocidental; Richard Serra: Drawings, KOH Gallery, Tóquio, também levada para a Richard Hines Gallery, Seattle, Washington, e Galerie Alfred Schelma, Düsseldorf, Alemanha Ocidental. Participa de Pieces to Be: Unrealized Monumental Sculpture, Rosa Esman Gallery, Nova York; Galleriet, Lund, Suécia; The Broadening of the Concept of Reality in the Art of the 70’s and 80’s, Museum Haus Lange, Krefeld, Alemanha Ocidental; 1979 Biannual Exhibition, Whitney Museum of American Art, Nova York (41); Drawings by Castelli Artists,

104

Castelli Graphics, Nova York; Selected Sculpture from the Permanent Collection, Museum of Contemporary Art, Chicago; Great Big Drawing Show, Institute for Art & Urban Resources, PS 1, Long Island City, Nova York; The Minimal Tradition, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; Contem porary Sculpture: Selections from the Collection of the Museum of Modern Art, The Museum of Modern Art, Nova York; 73rd American Exhibition, The Art Institute of Chicago; Summer Group Show, Leo Castelli Gallery, Nova York; Selections from the Permanent Collection, La Jolla Museum of Contemporary Art, La Jolla, Califórnia; Thirty Years of Box Construction, Sunne Savage Gallery, Boston; American Masters of the 60’s and 70’s, Brooks Memorial Art Gallery, Memphis, Tennessee; Gerry Schum, Stedelijk Museum, Amsterdã; e Weich und Plastisch: Soft Art, Kunsthaus Zurich, Zurique.

42 St. John’s Rotary Arc, 1980 Vista aérea 43 T.W.U., 1980 Aço Cor-Ten/Cor-Ten steel Três chapas 10,97m x 366cm x 7cm (cada) Instalação nas ruas de Nova York, 1981-1982 Coleção Galerie m, Bochum, Alemanha 44 Wright’s Triangle, 1976-1980 Aço Cor-Ten/Cor-Ten steel Área total 305cm x 10,97m x 10,97m Western Washington State University, Bellingham 45 Waxing Arcs, 1980 Aço laminado/Hot rolled steel Duas chapas 300cm x 12,29m x 2cm (cada) Museum Boymans-van Beuningen, Rotterdam

1980

Instala St. John’s Rotary Arc (42) e T.W.U. (43) em Nova York; Wright’s Triangle (44) na Western Washington University, Bellingham, Washington, e trabalhos para paisagens em Wenkenpark, Basel. Apresenta exposição individual no Museum Boymans-van Beuningen (45), Rotterdam, e Richard Serra: Elevator 1980, no Hudson River Museum, Yonkers, Nova York. Participa de diversas exposições coletivas: Marking Black, The Bronx Museum of the Arts, Nova York; Brown Invitational Exhibition, Bell Gallery, Brown University, Providence, Rhode Island; Kelly/Serra, Blum Helman Gallery, Nova York; Leo Castelli: A New Space, Leo Castelli Gallery, Nova York; From Reinhardt to Christo, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio; 91e Salon des Artistes Indépendants, Grand Palais, Paris; The Norman Fisher Collection at the Jacksonville Art Museum, The Jacksonville Art Museum, Jacksonville, Flórida; Mel Bochner/ Richard Serra, Hayden Gallery, Massachusetts Institute of Technology, Cambridge, Massachusetts; American Sculpture: Gifts of Howard and Jean Lipman, Whitney Museum of American Art, Nova York; Pier + Ocean, Hayward

Gallery, Londres, e Rijksmuseum KröllerMüller, Otterlo, Holanda; Skulptur im 20. Jahrhundert, Wenkenpark, Riehen/Basel; The Eleventh International Sculpture Conference, Washington D.C.; 50th Anniversary Gifts, Whitney Museum of American Art, Nova York; Master Prints by Castelli Artists, Castelli Graphics, Nova York; La Biennale di Venezia, Veneza; Arbeiten zwischen 1966 und 1972, Galerie Ricke, Colônia; Donald Judd, Bruce Nauman, Richard Serra: Sculpture, Richard Hines Gallery, Seattle, Washington; Selections from the Permanent Collection, La Jolla Museum of Contemporary Art, La Jolla, Califórnia; Reliefs, Westfälisches Landesmuseum für Kunst und Kultur geschichte, Münster, Alemanha Ocidental e Kunsthaus Zurich, Zurique; Key Works from 1969, Ace Gallery, Venice, Califórnia; Donald Judd, Richard Serra: Skulpturen und Zeichnungen, Württembergischer Kunstverein, Stuttgart, Alemanha Ocidental; Selected Tapes, A Space, Toronto; Amalgam, Castelli Graphics, Nova York; American Drawing in Black and White: 1970-1980, The Brooklyn Museum, Nova York, e Drawings to Benefit the Foundation for Contemporary Performing Arts, Leo Castelli Gallery, Nova York.

105

1981

Instala, na Federal Plaza (Nova York), Tilted Arc (46), escultura encomendada pelo governo federal. Casa-se com Clara Weyergraf. Recebe o prêmio Kaiserring de escultura concedido pela cidade de Goslar, Alemanha Ocidental; instala Gedenstatte. Aceita encomenda de escultura para paisagem no Louisiana Museum, Humlebæk, Dinamarca, para ser instalada em 1986.

46 Tilted Arc, 1981 Aço Cor-Ten/Cor-Ten steel 366cm x 36,58m x 6,5cm Instalação na Federal Plaza, Nova York General Services Administration, Washington D.C. Obra destruída pelo governo americano, em 1989 47 Marilyn Monroe – Greta Garbo, 1981 Aço Cor-Ten/Cor-Ten steel Duas curvas com diâmetros diferentes 305cm x 25,91m x 400cm Instalação na Leo Castelli Gallery, Nova York 48 Tower, 1981 Tinta em bastão s/ linho belga/Paintstick on Belgian linen Duas partes 256cm x 12,12m (cada) Instalada na Corcoran Gallery of Art, Washington D.C.

106

Expõe Richard Serra: Recent Drawings, Blum Helman Gallery, Nova York; Richard Serra: Slice, 1980, Leo Castelli Gallery, Nova York (47) e apresenta outras exposições individuais na KOH Gallery, Tóquio; Mönchehaus-Museum fur Moderne Kunst, Goslar, Alemanha Ocidental, e Castelli Graphics, Nova York. Integra as exposições Galleriet, Lund, Suécia; 1981 Biennial Exhibition, Whitney Museum of American Art, Nova York; Twenty Artists: Yale School of Art 1950-1970, Yale University Art Gallery, New Haven, Connecticut; 37th Biennial Exhibition of Contemporary American Painting, The Corcoran Gallery of Art, Washington, D.C. (48); Seventeenth Annual Exhibition, Randolph-Macon Woman’s College, Lynchburg, Virgínia;

Leo Castelli Selects for Gloria Luria Gallery, Bar Harbour Island, Flórida; Kounellis, Merz, Nauman, Serra, Museum Haus Lange, Krefeld, Alemanha Ocidental; Westkunst, Museen der Stadt Köln, Colônia; Insights: Small Works from the Past 15 Years, New Gallery of Contemporary Art, Cleveland, Ohio; Schwarz, Städtische Kunsthalle, Düsseldorf, Alemanha Ocidental; Artists and Architects: Collaboration, The Architectural League, Nova York, e Films by American Artists: One Medium Among Many, exposição itinerante promovida pelo Arts Council of Great Britain.

49/50 Twain, 1974-1982 Aço Cor-Ten/Cor-Ten steel Oito chapas, sendo sete com 366cm x 12,19m x 5cm (cada) e uma com 366cm x 15,24m x 5cm St. Louis, Missouri 51 Step, 1982 Aço/steel Duas vigas c. 274 x 732 x 25,5cm Coleção Jacques Hachuel, Madri 52 Alameda Street (Rail Box Series), 1982 Tinta em bastão s/ papel reforçado/Paintstick on reinforced paper 363 x 450cm Gemini G.E.L., Los Angeles e Galerie m, Bochum, Alemanha

1982

Instala Twain (49, 50) em St. Louis, Missouri (iniciado em 1974). Viaja à Espanha e estuda arquitetura moçárabe. Instala escultura na paisagem perto de Celle, Santomato di Pistoia, Itália. Trabalha em Bilbao, País Basco, Espanha. Apresenta Richard Serra: Metal Wall Drawings, Lithographs, Gemini G.E.L., Los Angeles; Richard Serra: Model for St. Louis Project and Large-Scale Drawings, Leo Castelli Gallery, Nova York; Richard Serra: Marilyn Monroe – Greta Garbo (A Sculpture for Museum Goers), Leo Castelli Gallery, Nova York; Richard Serra: Drawings and Studies, The Saint Louis Art Museum e uma exposição na Carol Taylor Art, Dallas, Texas. Participa de Group Exhibit, Akira Ikeda Gallery, Tóquio; Surveying the Seventies: Selections from the Permanent Collection of the Whitney Museum of American Art, Whitney Museum of American Art, Fairfield County, Connecticut; Arte Povera, Antiform, Sculptures 1966-69, Centre d’Arts Plasti ques Contemporains de Bordeaux, Bor deaux; ‘60-’80: Attitudes/Concepts/Images, Stedelijk Museum, Amsterdã; Castelli and His Artists/Twenty-Five Years, mostra orga nizada pelo Aspen Center for the Visual Arts, Aspen, Colorado, também levada

para: La Jolla Museum of Contemporary Art, La Jolla, Califórnia, Aspen Center for the Visual Arts, Colorado, Leo Castelli Gallery, Nova York, Portland Center for the Visual Arts, Portland, Oregon, Laguna Art Museum, Austin, Texas; Abstract Drawings 1911-1981: Selections from the Permanent Collection, Whitney Museum of American Art, Nova York; Johns, Kelly, Serra: Nova York, Blum Helman Gallery, Nova York; A Century of Modern Drawing, The British Museum, Londres, exposição organizada sob os auspícios do International Council of The Museum of Modern Art, Nova York; Documenta 7, Kassel, Alemanha Ocidental (52); Great Big Drawings, Hayden Gallery, Massachusetts Institute of Technology, Cambridge, Massachusetts; The New York School: Four Decades, The Solomon R. Guggenheim Museum, Nova York; Corres pondencias: 5 Arquitectos, 5 Escultores, Palacio de las Alhajas, Madri; Hassam and Speicher Fund Purchase Exhibition, American Academy of Arts and Letters, Nova York; Kunst wird Material, National galerie, Berlim; Group Exhibition, Akira Ikeda Gallery, Nagóia, Japão; Group Exhibition, Leo Castelli Gallery, Nova York, e Group Exhibition, Margo Leavin Gallery, Los Angeles (40).

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53 Fassbinder, 1983 Aço Cor-Ten/Cor-Ten steel Três chapas 500 x 216 x 5cm (cada) Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, Alemanha 54 Instalação de Fassbinder, 1983 55 Corner Block, 1983 Aço laminado/Hot rolled steel Chapa 152 x 152 x 4cm e bloco 28 x 28 x 91,5cm Akira Ikeda Gallery, Tóquio 56 Instalação de Clara-Clara, 1983 Jardin des Tuileries, Paris 54

1983

Recebe bolsa de estudos honorária da Bezalel Academy, Jerusalém. Viaja ao Japão. Instala Fassbinder (53, 54) no Westfälisches Landesmuseum, Münster, Alemanha Ocidental. Expõe Richard Serra: Around the Corner, 1982, Blum Helman Gallery, Nova York; Richard Serra: New Sculpture, Akira Ikeda Gallery, Tóquio (55); Richard Serra: Skulpturen und Zeichnungen 1967-1983, Galerie Reinhard Onnasch, Berlim; Richard Serra, Musée Nationale d’Art Moderne, Centre Georges Pompidou, Paris, e, por ocasião da mostra, instala Clara-Clara (56) no Jardin des Tuileries; além de mostras individuais na Galerie m, Bochum, Alemanha Ocidental, e Larry Gagosian Gallery, Los Angeles. Participa das seguintes exposições cole tivas: Monumental Drawings by Sculptors, Hilwood Art Gallery, C.W. Post Center, Long Island University, Greenvale, Nova York; Drawing Conclusions: A Survey of American Drawing 1958-1983, Daniel Weinberg Gallery, Los Angeles; Black & White, A Print Survey, Castelli Graphics, Nova York; Connections: Bridges/Ladders/ Ramps/Staircases/Tunnels, Institute of

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1984

Contemporary Art, University of Pennsylvania, Filadélfia; Minimalism to Expressionism: Painting and Sculpture since 1965 from the Permanent Collection, Whitney Museum of American Art, Nova York; Artists Choose Artists II, CDS Gallery, Nova York; Monuments & Landscapes: The New Public Art, McIntosh/Drysdale, Houston; Summer Group Show, Leo Castelli Gallery, Nova York; 17th Biennale Antwerpen, Park Middelheim, Bélgica; Black and White, Margo Leavin Gallery, Los Angeles; Daniel Weinberg Gallery, Los Angeles; Aspects of Minimalism, Flow Ace Gallery, Los Angeles; Homage To Leo Castelli, Seibu Department Stores, Tóquio; Contemporary Drawing, Delahunty Gallery, Dallas, Texas; Sculpture: The Tradition in Steel, Nassau County Museum of Fine Art, Roslyn Harbour, Nova York; Ars 83 Helsinki, The Art Museum of the Ateneum, Helsinki; Portfolios, Nippon Club Gallery, Nova York, e Works on Paper, Matthews Hamilton Gallery, Filadélfia.

Instala La Palmera (57) e projeta praça em La Verneda, Barcelona. Instala escultura permanente, Slat, em La Défense, Paris. Realiza diversas exposições individuais, tais como: Richard Serra: Room Installation Drawing and Drawings from Clara-Clara (58), Leo Castelli Gallery, Nova York; Richard Serra: Sculpture, Galerie Daniel Templon, Paris; exposições na Galerie Nordenhake, Malmö, Suécia, e na Larry Gagosian Gallery, Los Angeles. Participa em muitas exposições coletivas: Large Drawings, Zikha Gallery, Wesleyan University, Middletown, Connecticut; American Art Since 1970, Whitney Museum of American Art, Nova York (exposição itinerante); The Skowhegan Celebration Exhibition, Hirschl & Adler Galleries, Nova York; Drawings by Sculptors: Two Decades of Non-Objective Art in the Seagram Collection, The Montreal Museum of Fine Arts, exposição itinerante, que inclui mostra no Seagram Building, Nova York; Selections from the Permanent Collection, Painting and Sculpture, The Museum of Modern Art, Nova York; Skulptur im 20. Jahrhundert, Merain-Park, Basel; La Biennale di Venezia, Veneza; Castelli at Art Center-

57 La Palmera, 1982-1984 Concreto/Concrete Duas curvas 274cm x 50,29m x 25,5cm (cada) La Verneda, Barcelona 58 Clara-Clara, 1984 Tinta em bastão s/ papel/ Paintstick on paper 202,5 x 125,5cm Leo Castelli Gallery, Nova York 59 The Trail of Tilted Arc, 1985 Vídeo, cor, 55’

1985

Sculpture at Art Center, Art Center College of Design, Pasadena, Califórnia; American Sculpture, Margo Leavin Gallery, Los Angeles; Summer Exhibition/ 20 Years of Collecting, Stedelijk Museum, Amsterdã; ROSC, Dublin; MadridMadrid, Madri; Summer Group Show, Leo Castelli Gallery, Nova York; Prints and Drawings of The New York School, Fine Arts Center, University of Massachusetts at Amherst, Massachusetts; Contempo rary Paintings and Sculpture V: 19571984, Oil & Steel Gallery, Nova York; Black: Painting and Sculpture, Akira Ikeda Gallery, Nagóia, Japão; Content: A Contemporary Focus 1974-1984, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; Drawings, Blum Helman Gallery e Leo Castelli Gallery, ambas em Nova York; Wiesbadener Skulpturentage, Wiesbaden, Alemanha Ocidental, e Gemini G.E.L., Art and Collaboration, National Gallery of Art, Washington, D.C. Participa também em exposições coletivas na Hill Gallery, Birmingham, Michigan, e Larry Gagosian Gallery, Los Angeles.

Audiência pública para relocalização do Tilted Arc (59) da Federal Plaza. Maioria esmagadora dos que testemunham são a favor, mas o diretor em exercício da General Services Administration ordena que o administrador regional procure uma possível localização alternativa. Solicita ao National Endowment for the Arts que forme uma comissão para aprovar ou não o local recomendado. O governo da França encomenda escultura para o sítio histórico nacional em Bourg-en-Bresse, claustro do século dezesseis em Brou. Condecorado como Chevalier dans l’Ordre des Arts et des Lettres pelo governo francês. Clara-Clara é instalada na praça de Choisy, Paris. Recebe encomenda de escultura para hospital em Nagóia, Japão. Instala Carnegie, escultura vertical em frente do The Museum of Art, Carnegie Institute. Recebe prêmio Carnegie. Realiza mostras individuais no Museum Haus Lange, Krefeld, Alemanha Ocidental; Le Coin du Miroir, Dijon, França; Galleria Stein, Milão; Akira Ikeda Gallery, Tóquio; Richard Serra: Vertical Structures (Models), na Galerie Maeght Lelong, Nova York, Large Silk-Screens, na Gemini G.E.L., Los

Angeles; Richard Serra: Recent Sculpture in Europe 1977-1985, Galerie m, Bochum, Alemanha Ocidental e Richard Serra, Monchehausmuseum, Goslar, Alemanha Ocidental. Participa de muitas exposições coletivas, tais como: On Paper, The Greenberg Gallery, Saint Louis, Missouri; Large Drawings, exposição itinerante patroci nada por Independent Curators Incorporated, Nova York, também levada para Bass Museum of Art, Miami Beach, Flórida; Madison Art Center, Madison, Wisconsin; Norman Mackenzie Art Gallery, Regina, Saskatchewan, Canadá; Anchorage Historical & Fine Arts Museum, Anchorage, Alasca; Santa Barbara Museum, Santa Barbara, Califórnia; Large Scale Drawings by Sculptors, The Renaissance Society of the University of Chicago; “Black”: Jasper Johns, Frank Stella, Richard Serra, Akira Ikeda Gallery, Tóquio; The Sculptor as Draftsman, Visual Arts Museum, Nova York; The Maximal Implications of the Minimal Line, Edith C. Blum Art Institute, The Bard College Center, Annandale-on-Hudson, Nova York; Exhibition-Dialogue/ Exposição- Diálogo, Centro de Arte

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60 Olson, 1985-1986 Aço Cor-Ten/Cor-Ten steel Duas partes 305cm x 10,97m x 5cm (cada) Instalação na Leo Castelli Gallery Coleção Saatchi, Londres 61 Equal-Parallel: Guernica-Bengasi, 1985 Aço laminado/Hot rolled steel Dois blocos 148,5 x 148,5 x 24cm (cada) e duas chapas 148,5 x 500 x 24cm (cada) Centro de Arte Reina Sofía, Madri 62 State Street Consequence, 1985 Aço forjado/Forged steel Dois blocos 91,5 x 73,5 x 73,5cm e 73,5 x 91,5 x 73,5cm Instalação na State Street, Chicago 63 Porten i Slugten, 1984-1986 Aço Cor-Ten/Cor-Ten steel Duas chapas 360cm x 12m x 5cm e 360cm x 10,45m x 5cm Louisiana Museum, Humlebæk

63 60

1986

Moderna, Fundação Calouste Gulbenkian, Lisboa; Group Exhibition, Leo Castelli Gallery, Nova York; Philip Johnson Exhibition, The Museum of Modern Art, Nova York; Chicago Sculpture International MILE, Illinois Not For Profit Organization, State Street Mall, Chicago (62); Tension: Examples in Art, the 20th Century, Leila TaghiniaMilão, Nova York; Summer Group Show, Marian Goodman Gallery e Leo Castelli Gallery, ambas em Nova York; New York 85, ARCA, Marselha; Internationale Triennale der Zeichnung, Kunsthalle Nürnberg, Nuremberg, Alemanha Ocidental, também levada para Neue Galerie der Stadt Linz, Linz, Áustria, e Transformations in Sculpture: Four Decades of American and European Art, Solomon R. Guggenheim Museum, Nova York; Carnegie International 1985, Carnegie Museum of Art.

Inaugura a retrospectiva Richard Serra, Sculpture at the Museum of Modern Art, Nova York. O museu adquire Circuit. Constrói Olson (60) e Call Me Ishmael. Concebe e constrói Equal-Parallel: Guernica-Bengasi (61), uma instalação de interior para um ‘sítio específico’, no Centro de Arte Reina Sofía, Madri. Instala Porten i Slugten (63), obra inserida na paisagem, no Louisiana Museum, Humlebæk, Dinamarca. Viaja com Clara pelo Peloponeso, Grécia. Expõe na Middendorf Gallery, Washington D.C. e mostra Early Lead Sculptures and Lithographs, Galerie m, Bochum, Alemanha Ocidental; New Sculpture, Leo Castelli Gallery, Nova York; Installation Drawing, New City, Venice, Califórnia; New Drawings, Maeght Lelong Gallery, Nova York; Prints, Musée de Brou, Bourgen-Bresse, França; Sculpture, Jean Bernier Gallery, Atenas; Drawings, Louisiana Museum, Humlebæk, Dinamarca, e Richard Serra: Major Sculpture, Hoffman Borman Gallery, Santa Monica, Califórnia; Richard Serra: Sculpture, The Museum of Modern Art, Nova York. Participa em Agyptische und Moderne Skupltur: Ausbruch und Dauer, Stätisches

110

Museum Leverkusen, Schloss Morsbroich, Leverkusen, Alemanha Ocidental; Sculpture for Public Places: Maquettes, Models and Proposals, Marisa Del Re Gallery, Nova York; Public and Private: American Prints Today, Brooklyn Museum, Nova York; Bodenskulptur, Kunsthalle Bremen, Alemanha Ocidental; Natural Forms and Forces: Abstract Images in American Sculpture, Hayden Museum, Massachusetts Institute of Technology, Cambridge, Massachusetts; De Sculptura, Messepalast, Viena; Entre la Geometria y el Gesto: North American Sculpture 1965-75, Palacio Velasquez, Madri; Referencias, Centro de Arte Reina Sofía, Madri; A Sculpture Show, Marian Goodman Gallery, Nova York; Qu’est-ce que la Sculpture Moderne?, Musée National d’Art Moderne, Centre Georges Pompidou, Paris; Summer Group Show, Leo Castelli Gallery e Maeght Lelong Gallery, ambas em Nova York; Kiefer and Serra, Saatchi Foundation, Londres; Monumental Drawings, Brooklyn Museum, Nova York; Individuals: A Select History of Contemporary Art 1945-86, Museum of Contemporary Art, Los Angeles; Leo Castelli and Castelli Graphics at Gabrielle Bryers, Gabrielle

64 64 Berlin Junction, 1986-1987 Aço Cor-Ten/Cor-Ten steel Duas partes 396cm x 12,80m x 5cm (cada) Berlim 65 Keystone, 1987 Aço Cor-Ten/Cor-Ten steel Três chapas com área total de 322 x 429cm Solomon R. Guggenheim Museum, Nova York 66 Fulcrum, 1986-1987 Aço Cor-Ten/Cor-Ten steel Cinco chapas 16,90m x 430cm x 7,6cm (cada) Coleção RSD, Broadgate, Londres 65

Bryers Gallery, Nova York; Leo Castelli at Gagosian, Gagosian Gallery, Los Angeles; e Sculpture: Richard Serra, Ellsworth Kelly, Mark Di Suvero, Michael Hall, Tony Smith, Hill Gallery, Birmingham, Michigan. 1987

Instala Berlin Junction (64) em frente ao Martin-Gropius-Bau, Berlim. Esta escultura será instalada em caráter permanente em frente ao Philharmonie Hall de Hans Scharoun. Constrói Street Levels and Spiral Sections para Documen ta 8, Kassel, Alemanha Ocidental. Processa o governo federal dos Estados Unidos. O United States District Court nega provimento ao processo. O NEA Tilted Arc Site Review Advisory Panel conclui que Tilted Arc foi construída especificamente para o lugar onde foi instalado, na Federal Plaza, e lá deve permanecer. Dá início a série de props de parede planas de aço (65). Instala escultura ao ar livre no jardim do Israel Museum, Jerusalém. Fulcrum (66) – 16,90 metros de altura, 7,60 metros de largura e 200 toneladas –, escultura ao ar livre para um ‘sítio específico’, é encomendada por

Rosehaugh Stanhope Developers para a Bolsa de Valores de Londres, Broadgate, Londres. A Stadtische Galerie im Lenbachhaus, Munique (67), inaugura a mostra Seven Spaces-Seven Sculptures; o museu decide adquirir toda a instalação para colocá-la em exposição permanente. Desenha medalha em homenagem aos vinte e cinco anos de atuação de Edward Kennedy no Senado Federal. Realiza as mostras individuais Richard Serra Graphics, Harcus Gallery, Boston; Richard Serra, New Prints, Gemini, G.E.L., Los Angeles; Richard Serra: New Editions, Pace Primitive/Prints, Nova York; Richard Serra: Zeichnungen, Westfalisches Landes museum fur Kunst und Kulturgeschichte, Münster, Alemanha Ocidental; Richard Serra: Seven Spaces-Seven Sculptures, Lenbachhaus Stadtische Galerie, Munique; Richard Serra: Sculpture 1985-1987, Leo Castelli Gallery (68) e The Pace Gallery, Nova York; e expõe também na Akira Ikeda Gallery, Tóquio. Participa de Der Unverbrauchte Blick, Martin Gropius-Bau, Berlim; Philip Glass/Richard Serra A Collaborative Acoustical Installation, Ohio State University; Works on Paper, Christine

67 Gate, 1987 Aço forjado/Forged steel Dois esteios 364 x 31,5 x 32cm (cada) e duas barras 446 x 32 x 32cm e 552 x 32 x 32cm Munique

Burgin Gallery, Nova York; XXXth Anniversary, the First 15 Years 1957-1987, Leo Castelli Gallery, Nova York; Group Show, Galerie Daniel Templon, Paris; Pop, Minimalism & Earthart: The MCA’s Permanent Collection with Selected Loans, The Museum of Contemporary Art at 333, Chicago; Robert Morris, Claes Oldenburg, Richard Serra, Frank Stella, Joseph Kosuth, Leo Castelli Gallery, Nova York; L’Époque, La Mode, La Morale, La Passion 1977-1987; Aspects de l’Art d’aujourd’hui, Musée National d’Art Moderne, Centre Georges Pompidou, Paris; Sculptor’s Drawings, Blum Helman Gallery, Nova York; Drawings for Sculpture, Thomas Segal Gallery, Boston; Leo Castelli: A Tribute Exhibition, The Butler Institute of American Art, Youngstown, Ohio; Bourgeois, Horn, Laib, Long, Mangold, Ryman, Serra, Gallery Maeght Lelong, Nova York, e Galerie Catherine Issert, Paris; Sculpture of the Sixties, Margo Leavin Gallery, Los Angeles, Califórnia; Strong Statements in Black and White, James Goodman Gallery, Nova York; Homage to Leo Castelli: Dedicated to the Memory of Toiny Castelli, Galerie Daniel Templon, Paris; The Sonnabend Gallery,

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68 Cornered, 1987 Aço Cor-Ten/Cor-Ten steel Duas chapas 427 x 823 x 5cm e 427 x 511 x 5cm Leo Castelli Gallery, Nova York 69 Write Whim over the Lintel (R. W. Emerson), 1988 Tinta em bastão s/ linho/Paintstick on linen 215 x 351cm Kunsthalle, Basel 70 One, 1987-1988 Aço laminado/Hot rolled steel Bloco cilíndrico 180 x Ø 210cm Coleção Rijkmuseum Kröller-Müller, Otterlo, Holanda

1988

Centro d’Arte Reina Sofía, Madri, também levada para CAPC, Musée d’Art Contem porain, Bordeaux; Gemini G.E.L.: Art and Collaboration, Los Angeles County Museum of Art, Los Angeles; Lead, Hirschl & Adler Modern, Nova York; Small Survey of Minimalism, John C. Stoller Gallery, Minneapolis, Minnesota; Standing Sculpture, Museo d’Arte Contemporaneo, Castello di Rivoli, Turim, e The Great Drawing Show 1587-1987, Michael Kohn Gallery, Los Angeles. Participa também de uma exposição na The Douglas Cramer Foundation Gallery, Los Olivos, Califórnia.

Recorre da sentença do District Court junto ao United States Court of Appeals for the Second Circuit. O Circuit Court of Appeals confirma a decisão do District Court no sentido de negar provimento ao processo que visava impedir que o governo destruísse Tilted Arc. Instala One (70), peça forjada de 50 toneladas, no parque das esculturas do Rijksmuseum Kröller-Müller, Otterlo, Holanda. Instala Maillart Extended (verga e lintel em duas partes) (71, 72) nas duas extremidades da passarela para pedestres do Grandfey Viaduct, ponte entre Friburgo e Berna, Suíça. A ponte foi restaurada por Maillart em 1924-26. Instala Elevations for Mies no jardim da vila de Mies Van der Rohe, Haus Esters, Museen der Stadt Krefeld, Alemanha Ocidental. Apresenta Zeichnungsinstallationen, Kunsthalle, Basel (69); Richard Serra, New Prints, Gemini, G.E.L., Los Angeles; New Graphics, Galerie Littmann, Basel; Richard Serra: Lithographien und handuberzeichnete Siebdrucke, Neuer Berliner Kunstverein, Berlim; Richard Serra: 10 Sculptures for the van Abbe, Stedelijk van Abbemuseum, Eindhoven, Holanda (73); Neue Arbeiten, 6 Skulpturen,

112

3 Ziechnungen, Galerie m, Bochum, Alemanha Ocidental; Richard Serra: Recent Works, Galerie Nordenhake, Estocolmo; Das druckgraphische Werk, Wilhelm-Hack Museum, Ludwigshafen am Rhein, também levada para: Ulmer Museum, Ulm, Alemanha Ocidental; Graphik-Sammlung ETH Zurich, Zurique, 1989; Neue Galerie der Stadt Linz, Áustria, 1990; Kunstmuseum Düsseldorf, Alemanha Ocidental, 1990; Frankfurter Kunstverein, Frankfurt, 1990; Malmö Konsthall, Malmö, Suécia, 1990; Provincial Museum Hasselt, Bélgica, 1990. Participa das seguintes exposições coletivas: Major Sculpture: Heizer, Andre, Di Suvero, Serra, Shapiro, Larry Gagosian Gallery, Nova York; The Print: 14 Prints of the 80’s, Jack Tilton Gallery, Nova York; Leo Castelli Gallery’s XXXth Anniversary Exhibition, Akira Ikeda Gallery, Tóquio; Works on Paper: Paintings and Prints, B. R. Kornblatt Gallery, Nova York; Acquisitions Recentes, Galerie Daniel Templon, Paris; Drawing, Painting By Sculptors, Hill Gallery, Birmingham, Michigan; Gordon Matta Clark and Friends, Galerie Lelong, Nova York; John Chamberlain, Donald Judd, Richard Serra,

71/72 Maillart Extended, 1988 Aço forjado/Forged steel Dois pilares 366 x 30 x 30cm (cada) e duas vergas 731 x 30 x30 cm (cada) Instalação no Grandfey Viaduct, Suíça 73 T-Junction, 1988 Aço forjado/Forged steel Duas barras, vertical 25 x 25 x 240cm e horizontal 25 x 25 x 780cm Coleção Stedelijk van Abbe Museum, Eindhoven, Holanda 74 Sem título, 1988 Tinta em bastão s/ papel/ Paintstick on paper 210 x 418,5cm Leo Castelli Gallery, Nova York

Joel Shapiro, Lawrence Oliver Gallery, Filadélfia; Jannis Kounellis/ Richard Serra/ Antoni Tàpies, Galerie Jean Bernier, Atenas; Contemporary Abstract Sculpture, Carl Sclosberg Fine Arts, Sherman Oaks, Califórnia; Michael Heizer/Richard Serra/ Robert Smithson, Tony Shafrazi Gallery, Nova York; Made in the Sixties: Paintings and Sculpture from the Permanent Collection of the Whitney Museum of American Art, Whitney Museum of American Art Downtown at Federal Reserve Plaza, Nova York; Group Sculpture Show, Donald Young Gallery, Chicago; 1988: The World of Art Today, Milwaukee Art Museum, Milwaukee, Wisconsin; Castelli Graphics 1969-1988: An Exhibition of Selected Works in Honor of Toiny Castelli, Castelli Graphics, Nova York; In Memory of Toiny Castelli, James Mayor Gallery, Londres; Merce Cunningham Dance Company Benefit Exhibition and Art Sale, Blum Helman Gallery, Nova York; Drawings 1973-1987, Laurie Rubin Gallery; Australian Biannual, Sydney; 50 jaar Rijksmuseum Kröller-Müller, Rijksmuseum, KröllerMüller, Otterlo, Holanda; Zeitlos, Hamburger Bahnhoff, Berlim; Positions of Present Day Art: Merz, Stella, Kounellis,

Paik, Serra, Nationalgalerie, Berlim; Group Exhibition, Burnett Miller Gallery, Los Angeles; Group Sculpture, The Pace Gallery, Nova York; Objects, Lorence Monk Gallery, Nova York; Colección Leo Castelli, Foundation Juan March, Madri; Last Show: Leo Castelli 142 Greene Street, Leo Castelli Gallery, Nova York; La Colore Seule, L’Experience du Monochrome, Musée St. Pierre Art Contemporain, Lyon; Black and White, Marisa Del Re Gallery, Nova York; Bruce Nauman, Richard Serra: Sculpture and Drawing, Leo Castelli Gallery, Nova York (74); In the Making: Drawings by Sculptors, Sculpture Center, Nova York; Exhibition for the benefit of the Foundation for Contemporary Perfor mance Arts, Leo Castelli Gallery e Brooke Alexander Gallery, Nova York; Group Sculpture Show, Marian Goodman Gallery, Nova York; Academia, Bonnefanten museum, Maastricht, Holanda; Recent Acquisitions, The Museum of Modern Art, Nova York; e Three Decades: The Oliver Hoffmann Collection, The Museum of Contemporary Art, Chicago.

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75 Destruição de Tilted Arc na noite de 15 de março, 1989 76 Stacks, 1989 Aço laminado/Hot rolled steel Duas partes 236 x 244 x 25cm (cada) Coleção Yale University Art Museum The Katherine Ordway Fund

1989

Tilted Arc (75) é destruída pelo governo federal dos Estados Unidos em 15 de março. Aceita pedido do governo francês para apresentar um projeto para uma praça na frente de uma igreja românica em Chagny, Borgonha. Aceita encomenda da Yale University Art Gallery, New Haven, Connecticut, para construir Stacks (76), instalação para ‘sítio específico’, no Sculpture Hall. Instala Axis, construção aberta, vertical, também para ‘sítio específico’, justaposta ao prédio Philip Johnson, para o Museen der Stadt Bielefeld, Alemanha Ocidental. Convidado pelo Listasafn ASI, Reyjkavik, Islândia, e o Sindicato dos Escultores da Islândia a construir um trabalho para ‘sítio específico’, inserido na paisagem de uma ilha na enseada de Reykjavik. Instala Trunk em St. Gallen, Suíça. Circuit III é instalada numa sala de 12m2, consistindo de quatro chapas com 330 x 760cm (cada). A obra faz parte de Situation Kunst, Ruhr-University Bochum, Alema nha Ocidental. Começa a trabalhar com Min Tanaka na Ópera Comique, Paris, num espetáculo de dança a estrear em setembro de 1990, por ocasião do festival de outono. Instala Standing Stones, obra para ‘sítio específico’, composta por seis

114

cubos de granito, no Des Moines Art Center, Des Moines, Iowa. Apresenta as exposições: Richard Serra Graphik, Galerie Cora Holzl, Düsseldorf, Alemanha Ocidental; Richard Serra: Gravures Recentes, Galerie Lelong, Paris; Richard Serra: New Paintstick/Silkscreen Prints, John C. Stoller & Co., Minneapolis, Minnesota; Weights and Measures, Leo Castelli Gallery, Nova York; Richard Serra Sculpture, Pace Gallery, Nova York, e na Donald Young Gallery, Chicago. Participa em The 60’s Revisited, New Concepts/New Materials, Leo Castelli Gallery, Nova York; Works on Paper, Paula Cooper Gallery, Nova York; The Linear Image: American Master Work on Paper, Marisa del Re Gallery, Nova York; Sculpture International, Chicago; Exposition Inaugurale, Fondation Daniel Templon, Musée Temporaire; Art in Place: Fifteen Years of Acquisitions, The Whitney Museum of American Art, Nova York; The Innovators/Entering the Sculpture, ACE Gallery, Los Angeles; Contemporary Art from the Chase Manhattan Bank Collection, The Yokohama Museum of Art, Japão; A Decade of American Drawing: 1980-1989, Daniel Weinberg

Gallery, Los Angeles; Dei Emaginare Sammlung, Kunstverein, Braunchweig, Alemanha Ocidental; I Triennal de Bijuix Joan Miró, Fundación Joan Miró, Barcelona; Image World: Art and Media Culture, The Whitney Museum of American Art, Nova York; Einleuchten Will, Vorstel und Simul in HH, Deichtorhallen, Hamburgo, Alemanha Ocidental; Sculpture, Fred Hoffmann Gallery, Santa Mônica, Califórnia; Aus Meiner Sicht, Eine Ausstellung von Rolf Ricke, Kolnischer Kunstverein, Colônia, e Geometric Abstraction and Minimalism in America, The Solomon R. Guggenheim Museum, Nova York.

77 77 Hours of the Day; 1990 Aço laminado/Hot rolled steel Quatro chapas (1) 182 x 208 x 15cm, (2) 167 x 512 x15cm, (3) 152 x 512 x 15cm e (4) 137 x 512 x 15cm Zurique 78 Equal and Diagonal Opposite Corners (for Samuel Beckett), 1990 Tinta em bastão s/ linho belga/ Paintstick on Belgian linen Duas partes 384 x 673cm (cada) Instalação na Galerie Yvon Lambert, Paris 78

79 Afangar, 1990 Nove pedras com c. 300 x 60 x 60cm e nove pedras com c. 400 x 60 x 60cm Instalação na Videy Island, Islândia Coleção Cidade de Reykjavik, Islândia

1990

Instala Stacks no Yale University Museum. Convidado a propor paisagem como ‘sítio específico’ para uma obra de grandes proporções, em Zeewolde, Holanda. Instala Hours of the Day (77) para uma mostra em Kunsthaus Zürich, Zurique, e Threats of Hell no CAPC Musée d’Art Contemporain, Bordeaux. Termina Afangar (79), obra de grandes proporções para lugar específico, em Videy Island, Reykjavik, Islândia. Institui prêmio para jovens e promissores escultores islandeses, com encomendas remuneradas. Aceita encomenda de construir uma obra em uma paisagem como ‘sítio específico’, no Storm King Art Center, Mountainville, Nova York. Apresenta as seguintes exposições individuais: Richard Serra: Tekeningen, Bonnefantenmuseum, Maastricht, Holanda; Richard Serra – vier neue Zeichnungen/Four New Drawings, Galerie m, Bochum, Alemanha; e Drawings, Galerie Yvon Lambert, Paris (78). Participa das seguintes coletivas: The Sixties Revisited, New Concepts/New Materials, Leo Castelli Gallery, Nova York; Prints and Drawings by Contemporary Masters, Tavelli Gallery, Aspen, Colorado;

Carl Andre, Donald Judd, Richard Serra, Galerie Pierre Huber, Genebra; Radikal auf Papier, Aargauer Kunsthaus, Aarau, Alemanha; Concept Art, Minimal Art, Arte Povera, Land Art, Sammlung Marzona, Kunsthalle Bielefeld, Bielefeld, Alemanha; The New Sculpture 1965-75: Between Geometry and Gesture, The Whitney Museum of American Art, Nova York, também levada para The Museum of Contemporary Art, Los Angeles; Situation Kunst (für Max Imdahl), Schlossepark, “Haus Weitmar” Bochum, Alemanha; Group Show, Akira Ikeda Gallery, Tóquio; American Masters of the Sixties, Shafrazi Gallery, Nova York; Two Decades of American Art, Nassua County Museum of Art, Roslyn Harbor, Nova York; Presencias DOS Mil, Minimal Art, Theospacio, Madri; Sculpture, Daniel Weinberg Gallery, Los Angeles; Sculpture and Painting: Large Scale Work by Gallery Artists, Pace Gallery, Nova York; Pharmakon ’90, Nippon Convention Center, Tóquio; The Unique Print/70’s into 90’s, Museum of Fine Arts, Boston; Sculpture and Drawings, Rosa Esman Gallery, Nova York; Amerikanische Videos aus den Jahren 1965-75: The Castelli/ Sonnabend Tapes and Films, A Selection,

Kunstlerhaus Stuttgart; NEON-strücke, Sprengel Museum Hannover, Hanover; Kunstminen, Kunstmuseum Düsseldorf; The Transparent Thread: Asian Philosophy in Recent American Art, Hoffstra Museum, Hoffstra University, Hempstead, Nova York; New Paintings, Warsh Rankin Fine Art Limited, Nova York; Leo Castelli: Post Pop Artists, Nadia Bassanese Studio d’Arte, Trieste; Max Beckmann, Stadtische Galerie im Stadelschen Kunstinstitut, Frankfurt; Minimalism and Post-Mini malism, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; 7 Objects/69/90, Fine Arts Center, University Gallery, University of Massachusetts at Amherst, Amherst, Massachusetts; Hyperbate: Serra, Lawler, Graham, Godard, École supérieure d’art visuel, Genebra; e Beyond The Frame, RubinSpangle, Nova York.

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80 Hreppholar V, 1991 Gravura a água-forte colorida/ Color etching 87,5 x 110cm 81 Octagon For St. Eloi, 1991 Aço indaten forjado/ Forged, indaten steel Octógono, 200 x 244cm Encomenda do governo para a Vila de Chagny, França

82 Two Forged Rounds for Buster Keaton, 1991 Aço forjado/Forged steel Dois blocos cilíndricos 162 x 226cm (cada) Instalação na Gagosian Gallery, Nova York Coleção Robert e Jane Meyerhoff, Phoenix, Maryland

1991

Recebe o prêmio de escultura WilhelmLehmbruck em Duisburg, Alemanha. Condecorado como Officier de l’Ordre des Arts et des Lettres pelo ministro da Cultura da França. Aceita encomenda do “Hall of Witness” do U.S. Holocaust Memorial Museum em Washington, D.C. Propõe uma estrutura vertical com sete chapas para o Kunstsammlung Nordrhein- Westfalen de Düsseldorf. Shaft é instalada em caráter permanente no Museet for Samtidkunst, Blankplassen, Oslo. Completa Schunnemonk Fork no Storm King Art Center de Mountainville, Nova York. Instala Octagon for St. Eloi (81) em frente à Église St. Martin em Chagny, França. Forja duas peças redondas de 55 toneladas na Finkl Steel de Chicago. Instala Two Forged Rounds for Buster Keaton (82) na Gagosian Gallery em Nova York. Coopera com o fotógrafo alemão Dirk Reinartz num livro sobre Afangar (80), escultura concluída na Islândia em 1990. O livro é publicado na Alemanha pela Gerhard Steidl. Apresenta as exposições: Richard Serra Drei Zeichungen, Stadtisches Kunstinstitut, Frankfurt; Richard Serra, Malmö Konsthall, Malmö, Suécia; Richard Serra, New

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Editions Published by Gemini G.E.L., Paintsticks and Etchings 1991, Gemini G.E.L. at Joni Moisant Weyl, Nova York; Richard Serra Sculpture and Drawings, Gagosian Gallery, Nova York, e Richard Serra: The Afangar Icelandic Series, The Museum of Modern Art, Nova York. Participa em Grands Formats: Photographs, Prints, Multiples, Galerie Coppens, Bruxelas; Olga Rozanova, Richard Serra, Genève Musée d’Art et d’Histoire, Genebra; Not on Canvas, Asher-Faure Gallery, Los Angeles; Sculpture, The Pace Gallery, Nova York; The Body as Site, Art Films at the School of Visual Arts, School of Visual Arts, Nova York; Artists’ Sketchbooks, Matthew Marks Gallery, Nova York; Selections from the Permanent Collection, Museum of Contemporary Art (California Plaza Building), Los Angeles; Summer 1991, The Pace Gallery, Nova York; Schwarzweiss in der Fläche – Farbe im Raum, Darmstädter Sezession, Darmstadt, Alemanha; Chamberlain, Judd, Martin, Mangold, Ryman and Serra, The Pace Gallery, Nova York; L’Espai i la Idea, Fundación “la Caixa” Centre Cultural, Barcelona; A View from the 60’s: Selections

from the Leo Castelli Collection and the Michael and Ileana Sonnabend Collection, Guild Hall, East Hampton, Nova York; Height x Length x Width: Contemporary Sculpture from the Weatherspoon Collection, Weatherspoon Art Gallery, The University of North Carolina at Greensboro; Minimalism and PostMinimalism: Drawing Distinctions and Selections from the Elaine e Werner Dannheisser Collection: Painting and Sculpture from the 80’s and 90’s, The Parrish Art Museum, Southampton, Nova York; Group Exhibition, Donald Young Gallery, Seattle, Washington; Power: Its Myths and Mores in American Art, 1961-1991, Indianapolis Museum of Art, Indianapolis, Indiana, também exibida no Akron Art Museum, Akron, Ohio (1992), e Virginia Museum of Fine Arts, Richmond, Virgínia (1992); Jasper Johns, Ellsworth Kelly, Roy Lichtenstein, Richard Serra: Works Loaned by the Artists in Honor of Neil Rudenstine, Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts; 1991 Carnegie International, The Carnegie Museum of Art, Pittsburgh, Pensilvânia; Schwerelos (Weightless), Exhibition Berlimische Galerie, Grosse Orangerie, Schloss Scharlottenburg, Berlim; A Passion for Art, Tony Shafrazi Gallery, Nova York; Chamberlain, Harris, Matta-Clark, Oppenheim, Serra, Smithson, Weiner, Horace Solomon Gallery, Nova York; e Dine, Irwin, Judd, Morley, Oldenburg, Schnabel, Serra, Pace Gallery, Nova York.

83 Weight and Measure, 1992 Aço forjado/Forged steel Dois blocos 173 x 104 x 275cm e 152 x 104 x 275cm Instalação na Tate Gallery, Londres

84 The Drowned and the Saved, 1992 Aço forjado/Forged steel Duas partes em forma de L, área total 147 x 310 x 35cm Instalação na Stommeln Synagogue, Pulheim, Alemanha Coleção Diozesanmuseum, Colônia, Alemanha

85 Running Arcs (For John Cage), 1992 Aço Cor-Ten/Cor-Ten steel Três partes 400cm x 17m x 5cm (cada) Intalação na Kunst Sammlung Nordrhein-Westfalen, Düsseldorf 86 Intersection, 1992 Aço Cor-Ten/Cor-Ten steel Quatro chapas 370cm x 13m x 5,5cm (cada) Instalação em frente ao Theaterplatz, Basel

1992

Expõe Weight and Measure (83), obra para ‘sítio específico’ composta de dois blocos forjados, nas galerias DuVeen da Tate Gallery, Londres, Running Arcs for John Cage (85) no Kunstsammlung NordrheinWestfalen, Düsseldorf, The Drowned and the Saved (84) na sinagoga de Stommeln, Alemanha. Expõe desenhos de instalação na Serpentine Gallery, Londres. T.W.U. é adquirida pela prefeitura de Hamburgo. Instala em caráter permanente peça fundida, Gutter Splash, Two Corner Cast na DePont Stichting Foundation em Tilburg, Torque, no campus da Universi dade de Saarbrucken, Alemanha; Greenpoint no campus da University of Nebraska, Lincoln, e Intersection (86) na Theaterplatz, Basel. Uma iniciativa dos cidadãos patrocina a aquisição da escul tura. Começa a trabalhar numa obra para paisagem localizada num terreno de 2,5 hectares de um vale no Oliver Ranch em Geyserville, Califórnia. Recebe prêmio concedido pelo Sculpture Center, Nova York, por destaque em escultura. Aceita convite para ser membro da Academie Universelle des Cultures, fundada pelo presidente da França, François Mitterrand.

Realiza as exposições: Richard Serra, Retrospective, Museo Nacional Reina Sofía, Madri; Richard Serra: Graphik aus den Jahren 1989 bis 1992, Saarland museum, Saarbrücken, Alemanha; Richard Serra: Drawings and Etchings from Iceland, Matthew Marks Gallery, Nova York; Richard Serra: Deadweight Series, 2-part vertical drawings, Pace Gallery, Nova York; e Richard Serra: Ten Prints, Susan Sheehan Gallery, Nova York. Participa das coletivas: Jasper Johns, Richard Serra, and Willem de Kooning: Works Loaned by the Artists in Honor of Neil and Angelica Rudenstine, Arthur M. Sackler Museum, The Harvard University Art Museums, Cambridge, Massachusetts; Donald Judd, Sol Lewitt, Robert Mangold, Richard Serra, Galerie de l’Ancien Collège École Municipale d’Arts Plastiques, Paris; Yvon Lambert Collectionne, Musée d’Art Moderne Villeneuve d’Ascq, Paris; The Eighties in the Collection of the “la Caixa” Foundation, Estación de Plaza de Armas, Sevilha; Nauman Oppenheim Serra, Early Works 1968-71, Blum Helman Warehouse, Nova York; Schwerpunkt Skulptur, Krefelder

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90 87

87 Splash Piece: Casting, 1969-1992 Chumbo/Lead Duas e três cantoneiras c. 120 x 150 x 150cm e 90 x 210 x 150cm Coleção DePont Foundation for Contemporary Art, Tilburg, Holanda 88 Snake Eyes and Boxcars, 1993 Aço forjado/Forged steel Seis blocos com 104 x 104 x 122cm e seis blocos com 104 x 104 x 213cm Coleção Steven e Nancy Oliver, Alexander Valley, Califórnia

89 Intersection II, 1992 Aço Cor-Ten/Cor-Ten steel Quatro chapas 400cm x 15,85m x 5cm (cada) Instalação na Gagosian Gallery, Nova York 90 Croqui para Intersection, 1994 Grafite s/ papel/Pencil on paper c. 26 x 34,5cm Coleção do artista

1993

Kunstmuseum, Krefeld, Alemanha; Exposition Sentimentale, Fondation Chateau de Jau, Perpignan, França, e Musée de Collioure, Céret, França; TransForm: Bild Object Skulptur im 20 Jahrhundert, Kunstmuseum Basel, Kunsthalle Basel, Basel; Tropismes, Colleccio d’Art Contemporani Fundación “la Caixa”, Centre Cultural Tecla Sala del’Hospitalet, Barcelona, Espanha; De Opening, DePont Stichting voor hedendaagse kunst, Tilburg, Holanda (87); Both Art and Life: Gemini at 25, Newport Harbor Art Museum, Newport Beach, Califórnia; Schyls Donation, The Schyl Collection, Malmö Konsthall, Malmö, Suécia; Selections from Sandler O’Reilly and Fred Hoffman Galleries, Sandler O’Reilly-Fred Hoffman Galleries, Beverly Hills, Califórnia, e Exposition – face à face 1, Autour de la collection Sybil AlbersBarrier, Chateau de Mouans-Sartoux, Espace de l’Art Concret, Mouans-Sartoux, França.

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Eleito fellow da American Academy of Arts and Sciences. Expõe Intersection II (89) na Gagosian Gallery, obra adquirida pelo Museum of Modern Art, Nova York. Instala Gravity na escada do U.S. Holocaust Memorial Museum in Washington, D. C. Completa duas obras de grandes proporções para paisagens: Snake Eyes and Boxcars (88) em Geyserville, Califórnia, e Elevations for L’Allée de la Mormaire em Montfort l’Amaury, França. Concebe Serpentine. Realiza as mostras individuais: Richard Serra: Selections from the Permanent Collection, Solomon R. Guggenheim Museum, Nova York; Richard Serra: Eight Drawings, Daniel Weinberg Gallery, Los Angeles; e Richard Serra: Wall to Wall, Benesse House, Naoshima Contemporary Art Museum, Ilha Benesse, Japão. Participa das seguintes exposições cole tivas: Gravity and Grace: The Changing Condition of Sculpture 1965-1975, Hayward Gallery, Londres; The Tradition of Geometric Abstraction in American Art 1930-1990, The Whitney Museum of American Art, Nova York; Out of Sight – Out of Mind, Lisson Gallery, Londres; Serra/Kounellis, Akira Ikeda Gallery, Nova

York; From Rodin to Serra, Galerie Saqqârah, Gstaad, Suíça; Amerikanische Kunst im 20.Jahrhundert (Malerei und Plastik 1913-1993), Martin Gropius Bau, Berlim, também levada para a Royal Academy of the Arts, Londres; The Second Dimension: Twentieth Century Sculptor’s Drawings, The Brooklyn Museum, Brooklyn, Nova York; British and American Sculpture, Leo Castelli Gallery, Nova York; Singular Dimensions in Painting, Solomon R. Guggenheim Museum, Nova York; Sculpture, Leo Castelli Gallery, Nova York; Yale Collects Yale, Yale University Art Museum, New Haven, Connecticut; Drawing Rooms, Modern Art Museum of Fort Worth, Texas; Postminimal selections from the Collection, IVAM Centre Julio Gonzalez, Valência; Differentes Natures; Visions de l’Art Contemporain, Galerie Art 4 et Galerie de l’Esplanade, La Défense, Paris; Nova York on Paper, Galerie Beyeler, Basel; Maximal minimalism: Selected Works from the Sol Lewitt Collection, The Berkshire Museum, Pittsfield, Massachusetts, e Beyond Boundaries Art of the 60’s and 70’s, The San Francisco Museum of Modern Art, São Francisco.

91 Contrução de Serpentine 92 Serpentine, 1992-1993 Aço Cor-Ten/Cor-Ten steel Quatro chapas área total c. 396cm x 31m x 7,5cm Coleção Frances e John Bowes, Sonoma, Califórnia 93 Ateliê do artista com os desenhos Weight and Measure, 1994 Nova York

1994

Conclui Forged Narrows em Woodside, Califórnia, para Mimi e Peter Haas. Recebe, juntamente com Robert Wilson, título de doutor honoris causa em belasartes do California College of Arts and Crafts. Recebe Praemium Imperiale em Tóquio, conferido pela Japan Art Association. O presidente Clinton recebe na Casa Branca os agraciados com o Praemium Imperiale de 1994. Convidado a participar do concurso para o projeto do “Memorial aos Judeus Assassinados da Europa” em Berlim. Hours of the Day é instalada em caráter permanente no Bonnefantenmuseum, Maastricht, Holanda. Apresenta maquete de uma escultura vertical para o Plateau de Kirchberg em Luxemburgo. Fabrica Serpentine (91, 92) com a Dillinger Huttenwerke, Dillenger, Alemanha. Expõe props de chumbo na Galeria Nacional de Arte Contemporânea, Zacheta, Varsóvia, Polônia. Visita locais de campos de concentração de Auschwitz e Birkenau com Clara. Apresenta as individuais: Richard Serra – Props, Wilhelm-Lehmbruck-Museum, Duisburg, Alemanha, também levada para National Gallery of Contemporary

Art, Zacheta, Varsóvia, Polônia; Richard Serra: Drawings and Prints, The National Museum of Art, Osaka; Richard Serra: Weight and Measure Drawings, The Drawing Center, Nova York, também levada para: Saint Louis Art Museum, St. Louis, Missouri, The Baltimore Museum of Art, Baltimore, Maryland, e Fundação Gulbenkian, Lisboa; e Richard Serra: Cape Breton Drawings, Gagosian Gallery, Nova York.

Marc Blondeau, Paris; “Même si c’est la nuit”, CAPC Musée d’Art Contemporain, Bordeaux; Summer Exhibition, Donald Young Gallery, Seattle, Washington; Prints of Darkness, Fogg Art Museum, Cambridge, Massachusetts; Little House on the Prairie, Marc Jancou Gallery, Londres; Sculptures & Reliefs, Akira Ikeda Gallery, Nagóia, Japão; e Arca de Noé/ Noah’s Ark, Fundação de Serralves, Porto, Portugal.

Participa em Sculptor’s Maquettes (Calder, Dine, Dubuffet, Moore, Nevelson, Oldenburg, Serra, Shapiro), Pace Wildenstein; Sculpture, Blum Helman, Nova York; Group Show, Jamileh Weber Galerie, Zurique; Imprimatur, Galerie Graff, Galerie de l’Uqam, Saidye Bronfman Centre for the Arts; 1969, Jablonka Galerie, Colônia; After and Before, The Rennaissance Society at The University of Chicago, Chicago; 30 Years – Art in the Present Tense: The Aldrich’s Curatorial History 1964-1994, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; The Tradition of the New: Postwar Masterpieces from the Guggenheim Collection, Solomon R. Guggenheim Museum, Nova York; Drawings, Galerie 93

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94/95 Maquetes de Torqued Ellipses 96 To Whom it May Concern, 1995 Aço Cor-Ten/Cor-Ten steel Nove elementos: (3) 152 x 670 x 20,32cm (3) 165m x 670 x 20,32cm (3) 178m x 670 x 20,32cm Instalação na Matthew Marks Gallery, Nova York

1995

Eleito membro da American Academy of Arts and Letters. Participa com a escultu ra Primo Levi na Whitney Biennial. Instala para John e Frances Bowes em Sonoma, Califórnia, No Problem for Eli Broad em Los Angeles, Califórnia. Constrói as primeiras séries de maquetes de chumbo para Torqued Ellipses (94, 95). Começa a trabalhar com o engenheiro Rick Smith no escritório de Frank Gehry no programa de computador Catia para criar estruturas elípticas. Visita siderúrgicas e estaleiros na Coréia para pesquisar possibilidades de construir esculturas elípticas. Gutter Corner Splash: Late Shift é doada por Jasper Johns e instalada, em caráter permanente, no San Francisco Museum of Modern Art. Nomeado acadêmico honorário da Royal Academy of Arts de Londres. Viaja à Cidade do México e Monterrey. Visita casa de Barragan. Realiza as exposições individuais: Richard Serra: 5 Skulpturen/Sculptures 1994/5, Galerie m, Bochum, Alemanha; Richard Serra: To Whom it May Concern, Matthew Marks Gallery (96), Nova York, e Richard Serra: Selected Drawings, Marc Blondeau, Paris.

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Participa das exposições coletivas: XXV Years, John Berggruen Gallery, São Fran cisco; 1995 Yamantaka Donation, An Exhi bition to Benefit Tibet House, New York, Gagosian Gallery, Nova York; Attitudes/ Sculptures, 1963-1972, CAPC Musée d’Art Contemporain, Bordeaux; 1995 Biennial Exhibition, Whitney Museum of American Art, Nova York; Gravuras por Escultores (Alexander Calder, Eduardo Chillida, Richard Serra), Gabinete de Arte Raquel Arnaud, São Paulo; Essence and Persuasion: The Power of Black and White, Anderson Gallery, Buffalo; Works from the Solomon R. Guggenheim Museum’s Panza Collection, Center for Curatorial Studies, Bard College, Annondale-on-Hudson, Nova York; Works on Paper, Matthew Marks Gallery, Nova York; Object and Image, Newport Harbor Art Museum, Newport Beach, Califórnia; Art Works: The Paine Webber Collection of Contemporary Masters, The Museum of Fine Arts, Houston, Texas, mostra também levada para o Boston Museum of Fine Arts; New Works on Paper: Sol Lewitt, Robert Mangold, Martin Puryear, Richard Serra, Donald Young Gallery, Seattle, Washington; e Contemporary Drawing: Exploring the Territory, Aspen Art Museum, Aspen, Colorado.

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97/98/99 Ike and Tina, 1996 Tinta em bastão s/ tela/ Paintstick on canvas Quatro partes 196 x 196cm (cada) Instalação na Matthew Marks Gallery, Nova York 100 Exchange, 1995-1996 Aço Cor-Ten/Cor-Ten steel Sete chapas 19,50m x 430/281cm x 6,5cm (cada) Coleção Fonds d’Urbanisation et d’Amenagement du Plateau de Kirchberg, Luxemburgo

101 Exchange, 1996 vista do interior 102 58 x 64 x 70, 1996 Aço forjado/Forged steel Seis blocos 175 x 160 x 145cm (cada) Instalação na Gagosian Gallery, Nova York 100

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1996

Instala Exchange (100, 101), escultura vertical composta por sete chapas de 20m de altura no Plateau de Kirchberg em Luxemburgo. Eleito membro da Akademie der Kunste, Berlim. Constrói Sea Level, obra concebida em 1988 para a cidade de Zeewolde, Holanda. Sea Level, feita de concreto, consiste de duas partes, tem 3m de altura, e cobre uma distância total de 495m. Fabrica a primeira Torqued Ellipse em Beth Ship, Sparrows Point, Maryland. Instala Pink Flamingos for Connie Caplan em Baltimore, Maryland. Fabrica Snake, escultura encomendada pelo Guggenheim de Bilbao com a Dillinger Huttenwerke, Dillingen, Alemanha. Forja os seis blocos para 58 x 64 x 70 (102) na Finkl Steel em Chicago. A obra foi concebida para a Gagosian Gallery, Nova York, e ali foi insta lada. Instala em caráter permanente Seeing is Believing no Kunsthalle Hamburg, Hamburgo. Instala Ike and Tina (97, 98, 99), desenho sobre tela negra, na Matthew Marks Gallery, Nova York. Instala Missouri Flats for Donald Bryant em St. Louis, Missouri. Convidado a participar do concurso da Millenium Bridge. Trabalha na proposta de uma passarela sobre o Tâmisa da St. Paul’s Cathedral até a nova Tate Gallery, em Londres, com o arquiteto

Frank Gehry e o engenheiro alemão Jorge Schlaich. Instala Crottorf Elevations for Hermann Hatzfeld, em Crottrof, Alemanha. Convidado a um jantar na Casa Branca em homenagem ao senador Fulbright. Instala Dialogue with Schlaun na Schlaun’s Ruschhaus em Nienberge, Münster, Alemanha. Faz as individuais: Richard Serra: Weight and Measure Etchings (93) and Ike and Tina: A Drawing Installation, Matthew Marks Gallery, Nova York, também levada para a John Berggruen Gallery, São Fran cisco; Richard Serra Drawings, Galerie Nieves Fernandez, Madri; Richard Serra: Weight and Measure Etchings, John Berggruen Gallery, São Francisco; e Richard Serra: Prints, International Biannial of Easel Graphik, KaliningradKönigsberg, Rússia. Participa de Drawings By Sculptors, C. Grimaldis Gallery, Baltimore, Maryland; Epitaphs, Edward Thorp Gallery, Nova York; Leo Castelli: An Exhibition in Honor of His Gallery and Artists, Gagosian Gallery, Los Angeles; Cultural Economies: Histories, from the Alternative Arts Movement, NYC, The Drawing Center, Nova York; Abstraction in the Twentieth Century: Total

Risk, Freedom, Discipline, Solomon R. Guggenheim Museum, Nova York; Drawings by Sculptors, William Holanda Drury Gallery, Marlboro College, Marlboro, Vermont; Monument et Modernité États des lieux: commandes publiques en France, 1990-1996, Delegation aux arts plastiques, Musée du Luxembourg, Paris; Thinking Print: Books to Billboards, 198095, The Museum of Modern Art, Nova York; A Century of American Drawings (from the Collection), The Museum of Modern Art, Nova York; Picasso: A Contemporary Dialogue, Galerie Thaddaeus Ropac, Salzburgo; Summer Group Show, Leo Castelli Gallery, Nova York; Zeichen – Raume, Museen Haus Lange und Haus Esters, Krefeld, Alemanha; Hollaendisches Bad (Etching. The Rennaissance of a Medium), Kunsthaus Hamburg, Hamburgo; Untitled, Galeria Elvira Gonzalez, Madri; Masters of American Sculpture: Alexander Calder, Mark Di Suvero, Richard Serra, David Smith, Gagosian Gallery; e {Open Secrets} Seventy Pictures on Paper. 1815 to the Present, Matthew Marks Gallery, Nova York.

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1997

Viaja ao Rio de Janeiro a convite do Centro de Arte Hélio Oiticica. Planeja mostra de desenhos de instalação para o Centro para novembro de 1997. Conhece o prefeito do Rio de Janeiro, Luiz Paulo Fernandez Conde, para discutir possibilidade de construir uma obra para a cidade. Conhece o arquiteto Oscar Niemeyer no Rio. Instala Snake (103) no Guggenheim de Bilbao. Visita o escultor basco Jorge Oteiza e conhece o arquiteto basco Rafael Moneo. Instala três Torqued Ellipses (104, 105) no DIA Center for the Arts em Nova York. Conceitua uma mostra na Temporary Contemporary in Los Angeles para o outono de 1998. Aceita encomenda de uma grande obra para paisagem para o Schurenbachhalde (monte de escória)

em Gelsenkirchen, Ruhrgebiet, Alemanha, bem como encomenda de uma obra para paisagem para o Staff Stiftung em Lemgo, Alemanha. Instala peça forjada para Virginia e Bagley Wright in Seattle, Washington. Apresenta a exposição individual Richard Serra: Drawings, Gagosian Gallery, Nova York. Participa das exposições coletivas: Rooms With a View – Environments for Video, Solomon Guggenheim Museum, Nova York; 4th Biennale de Lyon, Halle Tony Garnier, Lyon; Overholland in het KröllerMüller Museum, Kröller-Müller Museum, Otterlo, Holanda, e Skulptur Projekte in Münster, Münster, Alemanha. Vive e trabalha em Nova York e Cape Breton, Nova Escócia, no Canadá.

103 Snake, 1996 Aço Cor-Ten/Cor-Ten steel Seis partes curvas, área total 396cm x 31,69m Coleção Guggenheim Museum, Bilbao, Espanha 104 Torqued Ellipses I, II, III, 1997 Aço Cor-Ten/Cor-Ten steel Instalação no DIA Center for the Art, Nova York 105 Doubled Torqued Ellipse, 1997 Aço Cor-Ten/Cor-Ten steel Elipse externa 396/2,50cm x 10/0,15m x 822cm (projeção 82,5cm) Elipse interna 396/2,50 x 792 x 640cm (projeção 62,5cm) Instalação no DIA Center for the Art, Nova York 106 Richard Serra, 1989

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Space in Action

Ronaldo Brito

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For a productive contact with Richard Serra’s work

malist hollowed object and its nearly virtual presenta-

one must, to begin with, reevaluate the rationalistic

tion in the world. In his personal version, the refusal

and Platonic foundations that still underlie our per-

of expressive interiority took place through the

ception of geometry. Indeed, what characterizes our

opaque exteriority of steel, which was problematic

assimilation of constructive languages has been intel-

from the outset on account of its lack of transparency.

lectual and imaginative malleability, affective fervor,

The surface of the real was then not a virtual logical

an unexpected corporeal élan in relation to geometric

plane, but a thick historical materiality; sculptures

figures. Thus our elegance, every daring move and

were not pure exercises in perceptual possibilities – in

phenomenological twisting of ours, even our very ex-

a word, language games – even when they were criti-

istential openings are relative to this intellectualistic

cal games with the art market and made out of indus-

tradition. Richard Serra’s sculptures, on the contrary,

trial materials on a public scale. Sculptures are formal

draw from an Anglo-Saxon empiricist tradition that

agents meant for the concrete experience, poetical

treats geometry as positive knowledge from the out-

and political, of the phenomenon of space.

set. It is much more a praxis, a model for construction,

than contemplation of ideal figures. What makes our

in its process of construction, to live on the actuality

occasional “conversion” particularly fruitful – if not

of the plane: this was the utopian motto we inherited

intuitive empathy – is the fact that Serra has, in many

from constructivist avant-garde movements and

ways, been doing with the postulates of this empiricist

tried to revive in conditions that were particularly

tradition, with its pragmatic vocation, something anal-

adverse, since they were almost exclusively private.

ogous to what we do with the axioms of European ra-

Now, the initial impulse of a work such as that of

tionalism: he embodies them in problematic maneu-

Richard Serra cannot be dissociated from a critical

vers that challenge the prevailing formal common

decision made in response to the conditions of pub-

sense and endow esthetic experience with an imme-

lic reality of contemporary art. Nor can it be dissoci-

diately vital character, that of a wordless personal ad-

ated from a strategic stand in relation to the process

venture.

of complete institutionalization of modern art that

has resulted in a truly Pyrrhic victory: the cause itself

Ever since neoconcretism in the late fifties we

To act on the surface of the real and thus to share

have been trying to open up the formal structure of

was the price to pay.

the object corresponding to the Cartesian subject,

which is inherent in Latin cultures, so as to free our-

nistic position, thanks to the superficial impact of

selves for a real interactive esthetic experience. Serra,

Byzantine icons, Malevitch was able promptly to ex-

meanwhile, from the beginning has attempted to

tract from the planar dimension of cubism the most

ground a content of material truth, to restore a sense

radical consequences, and to convert religious fervor

of bodily experience within the incorporeal and anti-

into a revolutionary cultural force. Mystic ecstasy was

substantialistic minimalist languages, which repro-

transformed into the ecstasy of praxis, preserving the

duce themselves by logical progressions and mathe-

original voracity. I believe Malevitch’s basic intuition

matical series. Our artists tested and forced the limits

– that the universal truth of form lies in the thrust of

from within, so to speak, and at times managed to

its emergence – is the historical precondition for the

break the ideal seclusion of geometric figures. Serra

development of Serra’s contemporary language. But

questioned the literal availability, the flowing exteri-

the idealistic planar vision – the Earth seen from

ority of minimalist elements, and soon concluded

above for the first time, independently of regional

that they were inadequate to support an emphatic

viewpoints – is now materialized in a decentralized

concept of contemporary sculpture. That is, while we

esthetic perception that is aware of its own condition

faced the ultimate predicaments of compositional

as a political exercise on the coarse, truncated plane

logic and became aware of its archaic nature, while

of the real. There Serra performs interventions that

we struggled inside our “monads”, Serra experienced

always involve public ways of being-in-the-world. In

his discontent with the self-sufficiency of the mini-

an incisive way – often including the collective cul-

From his own eccentric and somewhat anachro-

tural memory, through his titles, in his surface opera-

and treated as such. In effect, there is no space: only

tions – Serra’s poetics has to do with the active draw-

acts of spatialization and their concrete consequences.

ing of the topologic involvement between man and

This, in itself, is enough to reaffirm, I believe, his en-

world. Manifestly, to begin with the appearance and

dorsement of the spirit of free research that charac-

scale of his work, Serra starts from an uncompromis-

terizes modern reason and its emancipatory voca-

ing attachment to the way of the world: art will be

tion.

anything but evasive. Also manifestly, I believe, he

acts by means of counterpositions, rearticulations

monument, Richard Serra’s sculpture insistently as-

and redefinitions that, precisely because they assimi-

serts its roots in the basic circumstances, in the inevi-

late their surroundings to their process of formaliza-

table clashes, but also in a renewed playfulness of a

tion, are able to challenge their dominant aspect –

being-in-the-world that, as Merleau-Ponty tells us,

and, perhaps, among other things, to give the lie to

consists less in seeing than in being seen, much less

what we might call their generalized formal bad faith.

in exerting a comprehensive view over the whole than

And if the artist’s language is no longer “construc-

in shifting between multiple phenomena of cohesion

tive”, this does not mean it has become negative, let

and dispersion, between multiple factors of conjunc-

alone skeptical: it is achieved through an insistent

tion and discontinuity. Such factors make us see how

positive assertion of the living experience of form. Its

pitiful are our merely instrumental concepts con-

force of attraction is clearly mobilizing. Autonomous

cerning perception, and urge us to readdress them in

esthetic judgment is suddenly rehabilitated in our

terms of a corporeal thinking and a topological intelli

times because it is no longer a turning away from the

gence.

world, but instead a form of extreme attention to cer-

tain aspects of reality that are surprisingly altered by

of a language of the transitive body in the midst of the

the work as it exposes some of reality’s latent formal

deceptive system of signs of contemporary reality – far

properties, hitherto imperceptible. Such an esthetic

from any anthropological mimicry but very close to

contact is, from the very beginning, a form of making:

our everyday life in the vast labyrinths of urban planes

it involves making (all the prospective undertones of

that are simultaneously too concrete and too abstract

the verb being relevant here) the experience of sculp-

– instinctively moved him away from orthodox mini-

ture or drawing as agents of the moving form of the

malism. In fact, for this kind of sculptural nominalism,

surrounding world. The truth of each work coincides,

which breathed the rarefied atmosphere common to

on a punctual basis, with the intense activity of ap-

the philosophies of language, the work of art tended to

prehending it. Though it is in no way illusionistic, or

be reduced to the proposition of problems of percep-

speculative, it nevertheless paradoxically proves (and

tual syntax, often pervaded by a critical discussion of

its volume, mass and weight only stress the paradox

the concepts of art that are current among the public.

all the more) the always somewhat “open” and unde-

Nothing could be more removed from the incisiveness

termined vibration that is inherent to our transitive

typical of Serra’s art, constantly proposing material

presence in the world’s circuit.

tensions, imminences and imbalances, always forcing

us to face spatial limit situations.

Undoubtedly, Serra’s reasoning sets out not from

By refusing the aura, the celebratory time of the

Serra’s spontaneous interest in the cognitive value

geometric figures, but from regular elements that will

operate with the authority and the mobility of spatial

ness, at least in the strict sense of the word. The term

transformers. Nor is his concept of space equivalent

might compromise Serra’s work by seeming to com-

to the notion of an a priori homogeneous mathemati-

mit it to the metaphysical dualism of body and soul,

cal entity, or to anything that might be identified with

form and content, which it resolutely intends to leave

the abstract geometric plane: if anything, space for

behind. And the absence of treatment of the surface,

Serra is from the outset a heterogeneous historical ex-

the absence of qualitative plastic values, naturally un-

tension, a turbulent political extension, and probably

derscores its anonymous aspect. Nevertheless, I be-

also a social extension, insufficiently acknowledged

lieve there is here an undeniable sober dramatic

For all that, I still hesitate to speak of expressive-

125

pathos. The very economy of a poetics concerned on-

scope, the same occasionally caustic sense of humor.

ly with certain materials – in a word, the self-disci-

And, which at present seems to me crucial, they con-

pline implicit in an austere esthetic appearance that

centrate a quantic reserve of ethical energy: they radi-

imposes itself on the world almost by excluding all

ate confidence in the action of form – that is, in

others, at least by refusing all frivolous appeal – these

transformation itself.

are enough to reveal a sensibility that tends to deal

with the mass of the gravity of existence. But clearly

ject of art – and, by extension, of any notion of mor-

the dramatic effect of Serra’s works derives above all

phological genesis – as well as extracting the ultimate

from his energetic disposition – I would even say,

consequences of the modern rejection of anthropo-

from his sculptural drive – to face the massive, com-

morphic illusionism, Richard Serra’s work neverthe-

plex, unstable, risky engineering of the social space

less remains faithful to the notion of sculpture as the

of life. His huge steel plates and weighty black draw-

thought proper to the physical experience of pres-

ings display an unexpected concision peculiar to

ence, the investigation of man’s material participa-

aphorisms, the same terse lang uage with a wide

tion in the world.

Going beyond the contour of the traditional ob-

Rio de Janeiro, 1997

Ronaldo Brito, Rio de Janeiro, 1949. Began career as art critic in the weekly Opinião. Has published a large number of essays and articles in books, periodicals, and catalogs. Among the artists he has written about are Waltércio Caldas, Amílcar de Castro, Iberê Camargo, Sérgio Camargo, Eduardo Sued, Antônio Dias, Jorge Guinle, Mira Schendel, José Resende, Tunga, Cássio Loredano, and Antonio Manuel. Other important publications are his book Neoconcret is mo, vértice e ruptura do projeto construtivo and two volumes of poetry, Asmas and Quarta do singular. He lives in Rio de Janeiro, is a member of the editorial board of the publication Revista de História da Arte e Arquitetura, Gávea; teaches esthetics and art history at the Centro de Artes, UNI-RIO, and at the master’s program in the social history of culture, PUC-Rio.

126

Weight

Richard Serra

One of my earliest recollections is that of driving with

say about the forge, the rolling mill and the open-

my father, as the sun was coming up, across the Gold-

hearth.

en Bate Bridge. We were going to Marine Shipyard,

where my father worked as a pipe fitter, to watch the

of everyday life, for the task would be infinite; there is

launching of a ship. It was on my birthday in the fall

an imponderable vastness to weight. However, I can

of 1943. I was four. When we arrived, the black, blue

record the history of art as a history of the particular-

and orange steel plated tanker was in way, balanced

ization of weight. I have more to say about Mantegna,

up on a perch. It was disproportionately horizontal

Cézanne and Picasso than about Botticelli, Renoir

and to a four year old was as large as a skyscraper on

and Matisse, although I admire what I lack. I have

its side. I remember walking the arc of the hull with

more to say about the history of sculpture as a history

my father, looking at the huge brass propeller, peer-

of weight, more to say about the monuments of death,

ing through the stays. Then, in a sudden flurry of ac-

more to say about the weight and density and con-

tivity, the shoring props, beams, planks, poles, bars,

creteness of countless sarcophagi, more to say about

keel blocks, all the dunnage, was removed; the cables

burial tombs, more to say about Michelangelo and

released; shackles dismantled; the come-alongs un-

Donatello, more to say about Mycenaean and Incan

locked. There was a total incongruity between the dis-

architecture, more to say about the weight of the

placement of this enormous tonnage and the quick-

Olmec heads.

ness and agility with which the task was carried out.

As the scaffolding was torn apart, the ship moved

weight of gravity. However, Sisyphus pushing the

down the chute towards the sea; there were the ac-

weight of his boulder endlessly up the mountain does

companying sounds of celebration, screams, fog

not catch me up as much as Vulcan’s tireless labor at

horns, shouts, whistles. Freed from its stays, the logs

the bottom of the smoking crater, hammering out raw

rolling, the ship slid off its cradle with an ever increas-

material. The constructive process, the daily concen-

ing motion. It was a moment of tremendous anxiety as

tration and effort appeal to me more than the light

the oiler en route rattled, swayed, tipped, and

fantastic, more than the quest for the ethereal. Every-

bounced into the sea, half submerged, to then raise

thing we choose in life for its lightness soon reveals its

and lift itself and find its balance. Not only had the

unbearable weight. We face the fear of unbearable

tanker collected itself, but the witnessing crowd col-

weight: the weight of repression, the weight of con-

lected itself as the ship went through a transforma-

striction, the weight of government, the weight of tol-

tion from an enormous obdurate weight to a buoyant

erance, the weight of resolution, the weight of re-

structure, free, afloat and adrift. My awe and wonder

sponsibility, the weight of destruction, the weight of

of that moment remained. All the raw material that I

suicide, the weight of history which dissolves weight

needed is contained in the reserve of this memory

and erodes meaning to a calculated construction of

which has become a recurring dream.

palpable lightness. The residue of history: the printed

Weight is a value for me, not that it is any more

page, the flicker of the image, always fragmentary, al-

compelling than lightness, but I simply know more

ways saying something less than the weight of experi-

about weight than lightness and therefore I have

ence.

more to say about it, more to say about the balancing

of weight, the diminishing of weight, the addition and

weight of history and direct experience which evokes

subtraction of weight, the concentration of weight,

in me the need to make things that have not been

the rigging of weight, the propping of weight, the

made before. I continually attempt to confront the

placement of weight, the locking of weight, the psy-

contradictions of memory and to wipe the slate clean,

chological effects of weight, the disorientation of

to rely on my own experience and my own materials

weight, the disequilibrium of weight, the rotation of

even if faced with a situation which is beyond hope of

weight, the movement of weight, the directionality of

achievement. To invent methods about which I know

weight, the shape of weight. I have more to say about

nothing, to utilize the content of experience so that it

the perpetual and meticulous adjustments of weight,

becomes known to me, to then challenge the author

more to say about the pleasure derived from the ex-

ity of that experience and thereby challenge myself.

It’s hard to convey ideas of weight from the objects

We are all restrained and condemned by the

It is the distinction between the prefabricated

actitude of the laws of gravity. I have more to say about the processing of the weight of steel, more to

New York, 1988

127

Notes of Drawing

Richard Serra

128

When I was twenty, I traveled to Mexico City via Gua

black canvas installations are successful when they

dalajara to see the murals of Diego Rivera, Orozco

achieve the displacement of the architecture on the

and Siqueiros. After having particularly studied Oroz-

flat surface. All illusionistic strategies must be avoid-

co’s murals in the Hospicio Cabanas in Guadalajara

ed. The black shapes, in functioning as weights in re-

and in the courtyard of the Colegio Grande in Mexico

lation to a given architectural volume, create spaces

City, I was convinced that the Mexican muralists, in

and places within this volume and also create a dis-

grappling with the problem of architectural space

junctive experience of the architecture.

and structure, were more advanced than their con-

temporary North American painters. The context was

site walls foreshorten the width of the room. The en-

the issue, not the stretcher.

closure becomes narrower; the compression of the

I started the black canvas drawings after I com-

space is haptically registered. Very specific decisions

pleted Strike (1969-1971) and Circuit (1972). For Strike

have to be made to determine size and directionality,

I placed a steel plate, measuring 8 by 24 feet, into the

horizontality or verticality of a drawing in a given

corner of the room, so that the plate is held by the cor-

space. How much surface is actually needed in order

ner, dividing the room into two equal juxtaposed

to hold the shapes as weights in relation to the size of

spaces. As one walks around the work, it is perceived

a given space? Which are the cuts that have to be

as plane-line-plane. For Circuit I placed four plates in-

made in order to destabilize the experience of the

to the four corners of a square room. The edges of the

space? The process of decision-making is similar to

plates, functioning as lines, and the spatial quadrants,

the conceptualization of site-specific sculpture in

resulting from the placement of the plates, converge

that the site determines how I think about what I am

towards a central core. The open square of the central

going to do. I usually use my studio only to prepare

core becomes the perceptual intersection of lines,

the canvas with glue and gesso. I cut and cover the

planes and volumes, creating the simultaneity of a

canvas with paintstick in the place of installation.

centrifugal and centripetal effect. After Strike and Cir-

Theoretically, there is no need for me personally to

cuit I became involved with structuring sculpturally a

surface my drawings. But in the process of covering a

given context and thereby redefining it.

canvas with paintstick, moving from the inside out, I

This preoccupation with site and context was par-

often find the solution needed in terms of weight and

alleled in drawing, in that my drawings began to take

shape of the drawing in relation to the total field of

on a place within the space of the wall. I did not want

the wall and the total volume of the space.

to accept architectural space as a limiting container. I

wanted it to be understood as a site in which to estab-

tual experience of the site of installation. To cut is to

lish and structure disjunctive, contradictory spaces.

draw a line, to separate, to make a distinction, to de-

By the nature of their weight, shape, location, flatness

fine the specific relationship between the lines of the

and delineation along their edges, the black canvases

drawing and the lines of the architecture. The cut as

enabled me to define spaces within a given architec-

line defines and redefines structure. If one works for

tural enclosure.

several days continuously in a space, one becomes

The weight of a drawing derives not only from the

aware of how people transverse that space, how the

number of layers of paintstick but mainly from the

light appears in that space, how the entrances and ex-

particular shape of the drawing. It is obvious – from

its of that space are being used, whether it is a transi-

Mantegna’s Christ to Cézanne’s apples – that shapes

tory space or a gathering space. Depending on the dif-

can imply weight, mass and volume. A square carries

ferent functions of a space, different drawing solutions

more weight – gravitationally – than a rectangle: a

must be found. It is very difficult, if not impossible, to

trapezoid, more than a diamond. A triangle is a light,

make these decisions without having an experience of

very quick shape.

the space firsthand. I would never send a few assis-

The only way to hold a weight within the confines

tants out and have them work from a given scheme. I

of a given space is by defining the shape of the draw-

am not interested in ‘applied’ art. To work from a pri-

ing in direct relation to the floor, wall, corner or ceil-

ori premises or schemes invariably leads to ornamen-

ing of the space. In so doing, a space or place can be

tation and decoration. That is the reason why most

located within the architectural container that differs

wall drawings resemble wall paper. These drawings

in character from the architectural intention. The

invariably have a decorative, not a structural function.

For example: Two black shapes installed on oppo-

The cutting decisions have to be based on the ac-

107

Richard Serra, 1996 Spot On Kunsthalle Hamburg, Alemanha

129

To use black is the clearest way of marking against

the viewer aware of his body movement in a gallery or

a white field, no matter whether you use lead or char-

a museum space. They make him aware of the six-

coal or paintstick. It is also the clearest way of mark-

sidedness of a room. In creating a disjunction in the

ing without creating associative meanings. You can

architectural entity, the drawings bring formal and

cover a surface with black without risking metaphori-

funct ional characteristics of the architecture to the

cal and other misreadings. A canvas covered with

viewer’s critical attention. It is this experience, I as-

black remains an extension of drawing in that it is an

sume, that is equated with a sculptural experience. To

extension of marking. The use of any other color

call the drawing installations sculptural for any other

would be the extension of coloration, with its un-

reason is a complete misrecognition; it is as wrong as

avoidable allusions to nature. From Gutenberg on,

calling my films sculptural. When people are con-

black has been synonymous with a graphic or print

fronted with experiences that are new, instead of ac-

procedure. I am interest in the mechanization of the

cepting them as such, they try to relate them back to

graphic procedure; I am not interested in the paint-

secure knowledge. By denying the new they not only

allusion gesture.

deprive themselves of its experience but contribute

Black is a property, not a quality. In terms of weight,

to a basic misunderstanding of development in art.

black is heavier, creates a larger volume, holds itself

Everything is seen in the lineage of...; breaks and dis-

in a more compressed field. It is comparable to forg-

junctions are not allowed for.

ing. Since black is the densest color material, it ab-

sorbs and dissipates light to a maximum and thereby

ological preoccupations become the content of one’s

changes the artificial as well as the natural light in a

investigation and then the work ends up being a re-

given room. A black shape can hold its space and

formulation of formalist strategies. If the art is so

place in relation to a larger volume and alter the mass

tightly bound and contingent upon a historical refer-

of that volume readily.

ential tradition, it will be severely limited and suscep-

Canvas is my most expedient solution for extend-

tible to obvious formal analyses. The drawing instal-

ing drawing directly to the wall. Paper is limited by its

lations do not accept a static definition, do not give

size and its strength. It is too flimsy to carry several

over easily to analyses and categorizations; they

layers of paintstick and to adhere flush to the wall.

negate traditional definitions.

Canvas comes in large rolls that I can cut in place. Af-

ter being treated with rabbit-skin glue and gesso, the

ter a sculpture has been completed. They are the result

canvas remains thin but becomes firm and can be

of trying to assess and define what surprises me in a

easily worked on the wall. Paper carries the paintstick

sculpture, what I could not understand before a work

on the surface, whereas with canvas the paintstick be-

was built. They enable me to understand different as-

comes one with the surface. Paper is always under-

pects of perception as well as the structural potential

stood as vehicle with paint applied to it. I wanted

of a given sculpture. They are distillations of the expe-

paintstick and support surface to be read as one. Any

rience of a sculptural structure. Drawing is another

kind of joint – as necessary as it might be for function-

kind of language. Often, if you want to understand

al reasons – is to me always a kind of ornament. The

something, you have either to take it apart or to apply

notion of using canvas has a flip side, in that this con-

another kind of language to it. Since I started working,

servative medium is put to the end of realizing a draw-

I have always thought that if I could draw something I

ing concept that contradicts its established and tradi-

would have a structural comprehension of it. I do not

tional use in painting. My necessities were to resolve

draw to depict, illustrate or diagram existing works.

drawing in relationship to architecture. Freed from its

The shapes in paper drawings originate in a glimpse of

rational use in painting, canvas enabled drawing to

a volume, a detail, an edge, a weight. Drawing in that

play off and against an architectural context.

sense amounts to an index of structures I have built.

I am aware that people call my black drawing in-

The drawings on paper are mostly studies made af-

I never make drawings for sculptures. Drawing is

stallations sculptural. Not only are these drawings flat

a separate activity, an ongoing concern, with its own

and flush with the wall, but they do not create any il-

concomitant and inherent problems. It is impossible,

lusion of three-dimensionality. They do, however, in-

even by analogy, to represent a spatial language. Most

volve the viewer with the specific three-dimensionali-

depictions and illustrations are deceitful.

ty of the site of their installation. The drawings make

130

If they are only formal hand-me-downs, method-

New York, 1987

108

Richard Serra, 1981 Alameda Street

131

Chronology

The numbers in parentheses, in the following text, refer to the captions, specifying the place where the work was exhibited or giving some other information concerning it.

1939 Richard Serra is born in San Francisco, at November 2, the middle of three boys; son of Tony from Mallorca, a factory worker in a candy plant, and Gladys Serra, a Jew from Odessa. Making art was part of Serra’s childhood: his mother enjoyed to paint and frequently took him to museums and provided him with art books; his father was also supportive of his son’s interest in art, he had come from a Spanish family committed to the importance of making art. His grandfather had been a woodcarver.

Museum. Makes first studio films (9) and begins linear drawings. Begins work in Cor-Ten steel: with support of Los Angeles County Museum of Art, makes ‘Skullcracker Series’ on grounds of Kaiser Steel Corporation, Fontana, California. Starts series of large, interior steel installations, begins working with structural engineers. Makes series of cut and sawed pieces. Participates in “Word Location Project” with Philip Glass at Long Beach Island, New Jersey. Collaborates with Joan Jonas on video, film and performance pieces. Makes Splash Piece: Casting (7, 8) in Jasper Johns’ studio.

1957-1961 1968 Studies at University of California at Berkeley and at Santa Barbara, graduating with a Bachelor of Arts in English Literature. Begins work in steel mills to support himself. 1961-1964 Studies at Yale University, New Haven, Connecticut. Earns B.F.A. and M.F.A. at Yale University. In last year, holds position as instructor and works with Josef Albers on his book The Interaction of Color (1963). Comes in contact with artists of the New York School: Philip Guston, Robert Rauschenberg, Ad Reinhardt and Frank Stella. 1965 Receives Yale Traveling Fellowship; spends year in Paris, when, for four months, draws in Brancusi’s studio in the Musée d’ Art Moderne. Meets Philip Glass. 1966 Hitchhikes from Athens to Istanbul. Spends year in Florence on a Fulbright grant. Presents his first one-man exhibition at Galleria La Salita, Rome (1). Student work anticipates the activity of Arte Povera. Travels to Spain and North Africa. Moves to New York. Takes part in the group exhibitions: From Arp to Artschwager I, Noah Goldowsky Gallery, New York and Drawings, Yale University Art Gallery. 1967 Begins rubber (2) and neon-tubing (3, 4) works and scatter pieces (5). Meets Carl Andre, Liza Bear, Eva Hesse, Nancy Holt, Jasper Johns, Joan Jonas, Donald Judd, Philip Leider, Bruce Nauman, Steve Reich, Robert Smithson and Michael Snow. Along with Robert Fiore, Steve Reich, and Philip Glass, supports himself by moving furniture. Participates in From Arp to Artschwager II, Noah Goldowsky Gallery, New York; Directions, Purdue University, West Lafayette, Indiana and Drawings 1967, Ithaca College Museum, Ithaca, New York. 1968-1969 Begins association with the Leo Castelli Gallery, New York. Makes series of cast and molten-lead pieces, ‘Splashings’ (6) and ‘Castings’. Exhibits lead rolls (10) and props (11) at the Solomon R. Guggenheim

132

Presents a one-man exhibition at Galerie Ricke, Cologne, West Germany. Participates in the following group shows: From Arp to Artschwager III, Noah Goldowsky Gallery, New York; Three Sculptors (with Mark di Suvero and Walter de Maria), Noah Goldowsky Gallery, New York; Programm I, Galerie Ricke, Cologne; Primary Structure, Minimal Art, Pop Art, Anti-Form, Galerie Ricke, Cologne, West Germany; Anti-Form, John Gibson Gallery, New York; Soft and Apparently Soft Sculpture, American Federation of the Arts (circulating exhibition); Kunstmarkt 6, Kunsthalle Cologne, West Germany; Nine at Castelli, Castelli Warehouse, New York, and 1968 Annual Exhibition: Contemporary American Sculpture, Whitney Museum of American Art, New York. 1969 Makes his first one-man exhibition in U.S. at Castelli Warehouse, New York (12) and also at Galleria Françoise Lambert, Milan. Takes part in: Here and Now, Washington University Gallery of Art Steinberg Hall, St. Louis, Missouri; New Media: New Methods, The Museum of Modern Art, New York (circulating exhibition); Series: Photographs, School of Visual Arts, New York; Kunst der sechziger Jahre (Art of the Sixties), Wallraf-Richartz Museum, Cologne; Soft Art, New Jersey State Museum Cultural Center, Trenton, New Jersey; Op Losse Schroeven, situaties en cryptostructuren (Square Pegs in Round Holes), Stedelijk Museum, Amsterdam (14); Sechs Kunstler (Six Artists), Galerie Ricke, Cologne; When Attitude Becomes Form, Kunsthalle Bern – traveled to: Haus Lange, Krefeld, West Germany and to Institute of Contemporary Art, London; Contemporary American Sculpture, Selection II, Whitney Museum of American Art, New York, assembled by The Howard and Jean Lipman Foundation and the Whitney Museum of American Art; No 7, Paula Cooper Gallery, New York; Anti-Illusion: Procedures/Materials, Whitney Museum of American Art, New York; Nine Young Artists, Theodoron Awards, The Solomon R. Guggenheim Museum, New York; 7 Objekte/69, Galerie Ricke, Cologne; Highlights of the 1968-1969 Art Season, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; Anti-Form, Museum of Contemporary Art, Chicago, Illinois; 557, 087, Seattle Art Museum, Seattle, Washington; The George Waterman Collection, Museum of Art, Rhode Island School of Design, Providence, Rhode

Island (15); Art by Telephone, Museum of Contemporary Art, Chicago, Illinois; Five Sculptors, University of California, Irvine, California; Verborgene Strukturen, Museum Folkwang, Essen, West Germany; and participates in other group exhibi tions at Joseph Helman Gallery, St. Louis, Missouri and Kaiser Wilhelm Museum, Krefeld, West Germany. 1970 Visits Robert Smithson and Nancy Holt during construction of Spiral Jetty (16, 17), Great Salt Lake, Utah, and helps with its layout. Travels to Japan with Joan Jonas. Installs To Encircle Base Plate Hexagram, Right Angles Inverted in Ueno Park, Tokyo, and also works in Kyoto. Receives Guggenheim Fellowship. Carries out Sawing Device: Base Plate Measure involving twelve fir trees, at Pasadena Art Museum, Pasadena, California. In the Bronx, New York, installs To Encircle Base Plate Hexagram, Right Angles Inverted in the street. Whitney annual exhibition catalogue documents the piece. Starts series of large landscape works with Pulitzer Piece: Stepped Elevation (18, 19), St. Louis and Shift, King City, Ontario, Canada. Presents several one-man exhibitions at Joseph Helman Gallery, St. Louis; University of California, San Diego; Galerie Ricke, Cologne; Pasadena Art Museum, Pasadena, California and at Ace Gallery, Los Angeles. Takes part in the group exhibitions: Programm III, Galerie Ricke, Cologne (21); Tokyo Biennale ‘70 (Between Man and Matter – 10th International Art Exhibition of Japan), Tokyo Metropolitan Art Gallery, Tokyo, traveled to Kyoto Municipal Art Museum, Aichi Prefectural Art Gallery, Nagoya, Fukuoka Prefectural Cultural House, Fukuoka; Zeichnungen Amerika nischer Kunstler (Drawings of American Artists), Galerie Ricke, Cologne; Conceptual Art/Arte Povera/Land Art, Galleria Civica d’Arte Moderna, Turin; Information, The Museum of Modern Art, New York; Identifications, Kunstverein Hanover, West Germany; 1970 Annual Exhibition, Contemporary American Sculpture, Whitney Museum of American Art, New York; Castelli at Dayton’s, Dayton’s Gallery 12, Minneapolis, Minnesota and 3-00: New Multiple Art; Whitechapel Art Gallery, London and also takes part in a group exhibition at Joseph Helman, St. Louis, Missouri. 1971 Initiates black canvas drawings. Begins working summers in Cape Breton, Nova Scotia, Canada. Wins a competition for a sculpture for the Wesleyan campus in Middletown, Connecticut with the Sight Point (26, 27, 28). Project rejected; work later installed at Stedelijk Museum, Amsterdam. Participates in the following group exhi bitions: 7e Biennale de Paris; Il Triennale India; Lalit Kala Akademi, New Delhi – exhibition organized under the auspices of the International Council of the Museum of Modern Art, New York; Sixth Guggenheim International, The Solomon R. Guggenheim Museum, New York; Body, Loeb Student Center, New York University, New York; Amerikanst Kunst (American

Painting) 1950-70, Louisiana Museum, Humlebæk, Denmark; Works for New Spaces, Walker Art Center, Minneapolis; 7 Neue Arbeiten, Galerie Ricke, Cologne; Prospect 71-Projection, Stadtische Kunsthalle, Düsseldorf, West Germany; Projects: Pier 18, The Museum of Modern Art, New York; Sonsbeek 71, Sonsbeek buiten de perken, Park Sonsbeek, Arnhem, Netherlands; Arte de sistemas, Centro de Arte y Comunicación, Museo de Arte Moderno, Buenos Aires; Works on Film (with Morris, Nauman, Sonnier), Leo Castelli Gallery, New York; Art & Technology, Los Angeles County Museum of Art, and Recent Vanguard Acquisitions, Art Gallery of Ontario, Toronto and takes part also in a group exhibition at Lo Giùdice Gallery, New York. 1972-1974 After death of Robert Smithson, completes Amarillo Ramp in Texas with Nancy Holt and Tony Shafrazi. Installs Circuit (22) at Documenta 5. Travels to Peru with Rudolph Wurlitzer. 1972 Makes one-man exhibition at Videogalerie Gerry Schum, Düsseldorf and Ace Gallery, Los Angeles. Takes part in Zeichnungen, Galerie Ricke, Cologne; Judd/Serra, Leo Castelli Gallery, New York; Diagrams & Drawings, Rijksmuseum Kröller-Müller, Otterlo, Netherlands; Spoleto Arts Festival, Spoleto, Italy, and in other group exhibitions at Irving Blum and Margo Leavin, both in Los Angeles; Castelli Graphics, New York; Galerie Ricke, Cologne and Leo Castelli Gallery, New York. 1973 Exhibits at Galerie Ricke, Cologne; Galleria Toselli, Milan (23); Castelli Graphics, New York. Presents Drawings at Ace Gallery, Los Angeles. Participates in the 1973 Biennial Exhibition, Contemporary American Art, Whitney Museum of American Art, New York; 7 Lithographen, Galerie Ricke, Cologne; 3D into 2D: Drawings for Sculpture, The New York Cultural Center; Diagrams & Drawings, Kunstmuseum Basel, Switzerland; Soft as Art, The New York Cultural Center; Options and Alternatives: Some Directions in Recent Art, Yale University Art Gallery, New Haven, Connecticut; Festival of Contemporary Arts, Oberlin, Ohio; Art in Space: Some Turning Points, The Detroit Institute of Arts; Centre National d’Art Contemporain, Paris; American Drawings 1963-1973, Whitney Museum of American Art, New York; American Drawing 1970-1973, Yale University Art Gallery, New Haven, Connecticut; Drawings, Cusack Gallery, Houston; Record as Artwork, Galleria Francoise Lambert, Milan; American Art: Third Quarter Century, Seattle Art Museum; Contemporanea, Parcheggio di Villa Borghese, Rome, and in others exhibitions at Lo Giudice Gallery, New York; Amerika-Haus, Berlin, and Leo Castelli Gallery, New York. 1974 Presents exhibitions at Ace Gallery, Los Angeles; Large Scale Drawings;

School of Visual Arts, New York and Leo Castelli Gallery, New York (30). Partakes in Some Recent American Art, National Gallery of Victoria, Melbourne, exhibition organized under the auspices of the International Council of the Museum of Modern Art, New York and traveled to Art Gallery of New South Wales, Sidney, Art Gallery of South Australia, Adelaide, Art Gallery of Western Australia, Perth, and City of Aukland Art Gallery, Aukland; Drawings, Leo Castelli Gallery, New York; Line as Language: Six Artists Draw, The Art Museum, Princeton University, Princeton, New Jersey; Videotapes: Six from Castelli, De Saisset Art Gallery, University of Santa Clara, Santa Clara, California; Interventions in Landscape, Hayden Gallery, Massachusetts Institute of Technology, Cambridge, Massachusetts; Art Now 1974, John F. Kennedy Center for the Performing Arts, Washington D.C.; Records as Artwork, Galerie Ricke, Cologne; Work on Paper, Diane Stimpson Gallery, Vancouver; Prints from Gemini, G.E.L, Walker Art Center, Minneapolis, traveled to Akron Art Institute, Ackland Art Center, University of North Carolina, Chapel Hill, The Winnipeg Art Gallery, and Denver Art Museum; 4X Minimal Art, Galerie Ricke, Cologne; Castelli at Berggruen, John Berggruen Gallery, San Francisco; Art/Voir, Centre d’Art Contemporain, Paris; In Three Dimensions, Leo Castelli Gallery, New York and Public Sculpture/ Urban Environment, The Oakland Museum, Oakland, California. 1975 Receives award from Skowhegan School of Painting and Sculpture. Films Railroad Turnbridge (32, 33), in Portland, Oregon. Plans first curve piece for Centre Georges Pompidou, Paris. (His proposal is rejected). Begins cooperation with Alexander von Berswordt-Wallrabe of Galerie m, Bochum, Germany. Presents Richard Serra: Delineator at Ace Gallery, Venice, California and also makes a one-man exhibition at Portland Center for the Visual Arts, Portland, Oregon. Takes part in Drawings, Daniel Weinberg Gallery, San Francisco; Color as Language, Museo de Arte Moderno, Bogota, exhi bition organized under the auspices of the International Council of the Museum of Modern Art, New York and traveled to Museu de Arte de São Paulo, Museu de Arte Moderna, Rio de Janeiro, Museo de Bellas Artes, Caracas and Museo de Arte Moderno, Mexico City; Fourteen Artists, The Baltimore Museum of Art; The Video Show, Serpentine Gallery, London; USA: Zeichnungen 3, Stadtisches Museum, Leverkusen, Schloss Morsbroich, Leverkusen, Germany (31); The Condition of Sculpture: A Selection of Recent Sculpture by Younger British and Foreign Artists, Hayward Gallery, London; Projected Video, Whitney Museum of American Art, New York, and Sculpture: American Directions 1945-1975, National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., traveled to Dallas Museum of Fine Arts, and New Orleans Museum of Art; Video Art, Institute of Contemporary Art, University of Pennsylvania; XIII Bienal de São Paulo, Fundação Bienal de São Paulo.

1976

1978

Shows Richard Serra: Drawings, at Ace Gallery, Los Angeles.

Exhibits Richard Serra: Works 66-77, at Kunsthalle Tübingen and at Staatliche Kunsthalle Baden-Baden (24, 25); Richard Serra: Early Works in Steel and Lead, at Ace Gallery, Venice, California, and also presents a one-man exhibition at Blum Helman Gallery, New York.

Participates in several group exhibitions, as follows: Drawing Now (29), The Museum of Modern Art, New York, traveled to Kunsthaus Zurich, Staatliche Kunsthalle Baden-Baden, Graphische Sammlung Albertina, Vienna, Sonja Henie-Niels Onstad Stiftelser, Kunstsenter Hovikodden, Norway and The Tel Aviv Museum; Scale, Fine Arts Building, New York; Survey: Part II, Sable-Castelli Gallery, Toronto; Seventy-second American Exhibition, The Art Institute of Chicago; 200 Years of American Sculpture, Whitney Museum of American Art, New York; Ideas on Paper, The Renaissance Society at the University of Chicago; Sculpture 76, Greenwich Arts Council, Greenwich, Connecticut; Rooms, Institute for Art and Urban Resources, PS 1, Long Island City, New York; Amerikanische Kunst von 1945 bis Heute, Nationalgalerie, Berlin; Amerika nische Druckgraphik aus öffenlichen Sammlungen der Bundesrepublik Deutschland, Kunsthalle Kiel, Germany; An Exhibition for the War Resisters League, Heiner Freidrich, New York; New YorkDowntown Manhattan: Soho, Berlin Festival, Akademie der Kunste, Berlin, traveled to Louisiana Museum, Humlebæk, Denmark; 20th Century American Art from Friends’ Collections, Whitney Museum of American Art, New York; A View of a Decade, Museum of Contemporary Art, Chicago; American Drawn and Matched, The Museum of Modern Art, New York; Drawings, SableCastelli Gallery, Toronto; New York: The State of Art, The New York State Museum, Albany; Drawings for Outdoor Sculpture 1946-1977, John Weber Gallery, New York, traveled to Mead Gallery, Amherst College, Amherst, Massachusetts; University of California Art Galleries, Santa Barbara; La Jolla Museum of Contemporary Art, La Jolla, California; Hayden Gallery, Massachusetts Institute of Technology, Cambridge, Massachusetts and Laguna Gloria Art Gallery, Austin, Texas; Works from the Collection of Dorothy and Herbert Vogel, The University of Michigan Museum of Art, Ann Arbor; Private Notations: Artist’s Sketchbooks II, Philadelphia College of Art; Structures for Behavior. New Sculptures by Robert Morris, David Rabinovitch, Richard Serra and George Trakasi, Art Gallery of Ontario, Toronto. 1977 His mother commits suicide, on February 14. Accepts commission for Pennsylvania Avenue project in Washington D.C. from which he will withdraw in 1978. Works at Thyssen steel mill, Henrichshutte, Hattingen, Germany, on Berlin Block for Charlie Chaplin (34, 35) for Nationalgalerie Berlin. Installs Terminal at Documenta 6. Presents one-man exhibition at Galerie Daniel Templon, Paris; Galerie m, Bochum, West Germany; Staatliche Kunsthalle Baden-Baden, and at the Stedelijk Museum Amsterdam (36, 37) and Kunsthalle Tübingen, with Richard Serra: Drawings 1971-1977. Takes part in 1977 Biennial, Whitney Museum, New York.

Takes part in Atypical Works, Julian Pretto Gallery, New York; Nauman, Serra, Shapiro, Jenney, Blum Helman Gallery, New York; Between Sculpture and Painting, Worcester Art Museum, Worcester, Massachusetts; Ace Gallery, Vancouver; Structures for Behavior, Art Gallery of Ontario, Toronto; Summer Group Show, Leo Castelli Gallery, New York; 20th Century Drawings-5 Years of Acquisitions, Whitney Museum of American Art, New York; Selections from the Permanent Collection, La Jolla Museum of Contemporary Art, La Jolla, California; Made by Sculptors, Stedelijk Museum, Amsterdam; Daniel Templon, Dix Ans, Galerie Daniel Templon, Paris; Sculpture, Richard Hines Gallery, Seattle, and Z.B. Skulptur, Städelisches Kunst institut, Frankfurt, West Germany; 73rd American Exhibition, The Art Institute of Chicago. 1979 His father dies on June 5. Is commissioned by General Services Administration to create permanent sculpture for Federal Plaza, New York. During election campaign, Germany’s CDU party criticizes installation of Terminal (1977) in Bochum (38, 39). Films Steelmill/Stahlwerk in Thyssen mill with Clara Weyergraf. Presents Richard Serra: Matrix/Berkeley 20, Matrix Gallery, University Art Museum University of California, Berkeley; Richard Serra: Sculpture, Films 1966-1978, Staatliche Kunsthalle Baden-Baden; Richard Serra: Drawings, KOH Gallery, Tokyo, traveled to Richard Hines Gallery, Seattle, and to Galerie Alfred Schelma, Düsseldorf. Participates in: Pieces to Be: Unrealized Monumental Sculpture, Rosa Esman Gallery, New York; Galleriet, Lund, Sweden; The Broadening of the Concept of Reality in the Art of the 70’s and 80’s, Museum Haus Lange, Krefeld, West Germany; 1979 Biannual Exhibition, Whitney Museum of American Art, New York (41); Drawings by Castelli Artists, Castelli Graphics, New York; Selected Sculpture from the Permanent Collection, Museum of Contemporary Art, Chicago; Great Big Drawing Show, Institute for Art & Urban Resources, PS 1, Long Island City, New York; The Minimal Tradition, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; Contemporary Sculpture: Selections from the Collection of the Museum of Modern Art, The Museum of Modern Art, New York; 73rd American Exhibition, The Art Institute of Chicago; Summer Group Show, Leo Castelli Gallery, New York; Selections from the Permanent Collection, Jolla Museum of Contemporary Art, La Jolla, California; Thirty Years of Box Construction, Sunne Savage Gallery, Boston; American Masters of the 60’s and 70’s, Brooks Memorial Art Gallery, Memphis; Gerry Schum, Stedelijk Museum, Amsterdam and Weich und Plastisch: Soft Art, Kunsthaus Zurich.

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1980 Installs St. John’s Rotary Arc (42) and T.W.U. (43) in New York; Wright’s Triangle (44) at Western Washington University, Bellingham, and landscape work at Wenkenpark, Basel, Switzerland. Presents a one-man exhibition at the Museum Boymans-van Beuningen (45), Rotterdam, and Richard Serra: Elevator 1980, at the Hudson River Museum, Yonkers, New York. Partakes in several group exhibitions: Marking Black, The Bronx Museum of the Arts, New York; Brown Invitational Exhibition, Bell Gallery, Brown University, Providence, Rhode Island; Kelly/Serra, Blum Helman Gallery, New York; Leo Castelli: A New Space, Leo Castelli Gallery, New York; From Reinhardt to Christo, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio; 91e Salon des Artistes Independants, Grand Palais, Paris; The Norman Fisher Collection at the Jacksonville Art Museum, The Jacksonville Art Museum, Jacksonville; Mel Bochner/ Richard Serra, Hayden Gallery, Massachusetts Institute of Technology, Cambridge, Massachusetts; American Sculpture: Gifts of Howard and Jean Lipman, Whitney Museum of American Art, New York; Pier + Ocean, Hayward Gallery, London, and Rijksmuseum Kröller Müller, Otterlo; Skulptur im 20. Jahrhundert, Wenkenpark, Riehen/Basel, Switzerland; The Eleventh International Sculpture Conference, Washington D.C.; 50th Anniversary Gifts, Whitney Museum of American Art, New York; Master Prints by Castelli Artists, Castelli Graphics, New York; La Biennale di Venezia. Venice; Arbeiten zwischen 1966 und 1972, Galerie Ricke, Cologne; Donald Judd, Bruce Nauman, Richard Serra: Sculpture, Richard Hines Gallery, Seattle; Selections from the Permanent Collection, La Jolla Museum of Contemporary Art, La Jolla, California; Reliefs, Westfälisches Landesmuseum für Kunst und Kultur geschichte, Münster, West Germany and Kunsthaus Zurich; Key Works from 1969, Ace Gallery, Venice, California; Donald Judd, Richard Serra: Skulpturen und Zeichnungen, Württembergischer Kunstverein, Stuttgart, West Germany; Selected Tapes, A Space, Toronto; Amalgam, Castelli Graphics, New York; American Drawing in Black and White: 1970-1980, The Brooklyn Museum, New York, and Drawings to Benefit the Foundation for Contemporary Performing Arts, Leo Castelli Gallery, New York. 1981 Installs, at Federal Plaza (New York), Tilted Arc (46), sculpture commissioned by the Federal Government. Marries Clara Weyergraf. Receives Kaiserring Award for sculpture from town of Goslar, West Germany, installs Gedenstatte. Accepts commission for landscape sculpture at Louisiana Museum, Humlebæk, Denmark for installation in 1986. Exhibits Richard Serra: Recent Drawings, Blum Helman Gallery, New York; Richard Serra: Slice, 1980, Leo Castelli Gallery, New York (47) and present others oneman exhibitions at KOH Gallery, Tokyo; Mönchehaus-Museum fur Moderne Kunst, Goslar, and at Castelli Graphics, New York.

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Takes part in the Galleriet, Lund, Sweden; 1981 Biennial Exhibition, Whitney Museum of American Art, New York; Twenty Artists: Yale School of Art 19501970, Yale University Art gallery, New Haven, Connecticut; 37th Biennial Exhibition of Contemporary American Painting,, The Corcoran Gallery of Art, Washington, D.C. (48); Seventeenth Annual Exhibition, Randolph-Macon Woman’s College, Lynchburg, Virginia; Leo Castelli Selects for Gloria Luria Gallery, Bar Harbour Island, Florida; Kounellis, Merz, Nauman, Serra,. Museum Haus Lange, Krefeld, West Germany; Westkunst, Museen der Stadt Köln, Cologne; Insights: Small Works from the Past 15 Years, New Gallery of Contemporary Art, Cleveland, Ohio; Schwarz, Städtische Kunsthalle, Düsseldorf, West Germany; Artists and Architects: Collaboration, The Architectural League, New York and Films by American Artists: One Medium Among Many, Exhibition circulated by the Arts Council of Great Britain. 1982 Installs Twain (49, 50) in St. Louis (begun in 1974). Travels to Spain and studies Mozarabic architecture. Installs sculpture in landscape near Celle, Santomato di Pistoia, Italy. Works in Bilbao, Basque country of Spain. Presents Richard Serra: Metal Wall Drawings, Lithographs, Gemini G.E.L., Los Angeles; Richard Serra: Model for St. Louis Project and Large-Scale Drawings, Leo Castelli Gallery, New York; Richard Serra: Marilyn Monroe-Greta Garbo, (A Sculpture for Museum Goers), Leo Castelli Gallery, New York; Richard Serra: Drawings and Studies, The Saint Louis Art Museum and an exhibition at Carol Taylor Art, Dallas. Participates in the Group Exhibit, Akira Ikeda Gallery, Tokyo; Surveying the Seventies: Selections from the Permanent Collection of the Whitney Museum of American Art, Whitney Museum of American Art, Fairfield County, Connecticut; Arte Povera, Antiform, Sculptures 1966-69, Centre d’Arts Plasti ques Contemporains de Bordeaux; ‘ 60-‘80: Attitudes/Concepts/Images, Stedelijk Museum, Amsterdam; Castelli and His Artists/Twenty-Five Years, exhibition organized by the Aspen Center for the Visual Arts, Aspen, Co., traveled to: La Jolla Museum of Contemporary Art, La Jolla, California, Aspen Center for the Visual Arts, Colorado, Leo Castelli Gallery, New York, Portland Center for the Visual Arts, Portland, Oregon, Laguna Art Museum, Austin, Texas; Abstract Drawings 1911-1981: Selections from the Permanent Collection, Whitney Museum of American Art, New York; Johns, Kelly, Serra: New York, Blum Helman Gallery, New York; A Century of Modern Drawing, The British Museum, London, exhibition organized under the auspices of the International Council of The Museum of Modern Art, New York; Documenta 7. Kassel, West Germany (52); Great Big Drawings. Hayden Gallery, Massachusetts Institute of Technology, Cambridge; The New York School: Four Decades, The Solomon R. Guggenheim Museum, New York; Correspondencias: 5 Arquitectos, 5 Escultores, Palacio de las Alhajas, Madrid;

Hassam and Speicher Fund Purchase Exhibition, American Academy of Arts and Letters, New York; Kunst wird Material. Nationalgalerie, Berlin; Group Exhibition. Akira Ikeda Gallery, Nagoya, Japan; Group Exhibition. Leo Castelli Gallery, New York and Group Exhibition. Margo Leavin Gallery, Los Angeles (40). 1983 Receives honorary fellowship from Bezalel Academy, Jerusalem. Travels to Japan. Installs Fassbinder (53, 54) at the Westfälisches Landesmuseum, Münster, Germany. Exhibits Richard Serra: Around the Corner, 1982, Blum Helman Gallery, New York; Richard Serra: New Sculpture, Akira Ikeda Gallery, Tokyo (55); Richard Serra: Skulpturen und Zeichnungen 1967-1983, Galerie Reinhard Onnasch, Berlin; Richard Serra. Musée Nationale d’Art Moderne, Centre Georges Pompidou, Paris, and in conjunction with the show, installs Clara-Clara (56) in Tuileries Garden; besides the one-man exhibitions at Galerie m, Bochum, and Larry Gagosian Gallery, Los Angeles. Takes part in the following group exhibitions: Monumental Drawings By Sculptors, Hilwood Art Gallery, C.W. Post Center, Long Island University, Greenvale, New York; Drawing Conclusions: A Survey of American Drawing 1958-1983, Daniel Weinberg Gallery, Los Angeles; Black & White, A Print Survey, Castelli Graphics, New York; Connections: Bridges/Ladders/ Ramps/Staircases/Tunnel, Institute of Contemporary Art, University of Pennsylvania, Philadelphia; Minimalism to Expressionism: Painting and Sculpture since 1965 from the Permanent Collection, Whitney Museum of American Art, New York; Artists Choose Artists II, CDS Gallery, New York; Monuments & Landscapes: The New Public Art. McIntosh/Drysdale, Houston; Summer Group Show, Leo Castelli Gallery, New York; 17th Biennale Antwerpen, Park Middelheim, Belgium; Black and White. Margo Leavin Gallery, Los Angeles; Daniel Weinberg Gallery, Los Angeles; Aspects of Minimalism, Flow Ace Gallery, Los Angeles; Homage To Leo Castelli, Seibu Department Stores, Tokyo; Contemporary Drawing, Delahunty Gallery, Dallas; Sculpture: The Tradition in Steel, Nassau County Museum of Fine Art, Roslyn Harbour, New York; Ars 83 Helsinki, The Art Museum of the Ateneum, Helsinki; Portfolios, Nippon Club Gallery, New York, and Works on Paper, Matthews Hamilton Gallery, Philadelphia.

Gallery, Wesleyan University, Middletown, Connecticut; American Art Since 1970, Whitney Museum of American Art, New York; (circulating exhibition); The Skowhegan Celebration Exhibition, Hirschl & Adler Galleries, New York; Drawings by Sculptors: Two Decades of Non-Objective Art in the Seagram Collection, The Montreal Museum of Fine Arts, circulating exhibition, including show at Seagram Building, New York; Selections from the Permanent Collection, Painting and Sculpture, The Museum of Modern Art, New York; Skulptur im 20. Jahrhundert, Merain-Park, Basel, Switzerland; La Biennale di Venezia, Venice; Castelli at Art Center-Sculpture at Art Center, Art Center College of Design, Pasadena, California; American Sculpture, Margo Leavin Gallery, Los Angeles; Summer Exhibition/20 Years of Collecting, Stedelijk Museum, Amsterdam; ROSC, Dublin; Madrid-Madrid, Madrid; Summer Group Show, Leo Castelli Gallery, New York; Prints and Drawings of the New York School, Fine Arts Center, University of Massachusetts at Amhearst, Massachusetts; Contemporary Paintings and Sculpture V: 1957-1984, Oil & Steel Gallery, New York; Black: Painting and Sculpture, Akira Ikeda Gallery, Nagoya, Japan; Content: A Contemporary Focus 1974-1984, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C; Drawings, Blum Helman Gallery, and Leo Castelli Gallery, both of them in New York; Wiesbadener Skulpturentage. Wiesbaden, West Germany, and Gemini G.E.L., Art and Collaboration, National Gallery of Art, Washington, D.C. He also participates in group exhibitions at Hill Gallery, Birmingham, Michigan and at Larry Gagosian, Los Angeles. 1985 Public hearing called for relocation of Tilted Arc (59) from Federal Plaza. Overwhelming majority of those testifying favor retention but, acting GSA Administrator directs regional Administrator to seek possible alternate site. Requests National Endowment for the Arts to convene panel to approve or disapprove proposed site. French government commissions sculpture for national historic site at Bourg-en-Bresse, sixteenth century cloister at Brou. Named Chevalier dans l’Ordre des Arts et des Lettres by the French Government. Clara-Clara installed at Square de Choisy, Paris. Receives commission for a sculpture for hospital in Nagoya, Japan. Installs Carnegie, a vertical sculpture in front of The Museum of Art, Carnegie Institute. Receives Carnegie Award.

1984 Installs La Palmera (57) and designs plaza at La Verneda, Barcelona. Installs permanent sculpture, Slat, La Défense, Paris. He has several one-man exhibition such as: Richard Serra: Room Installation Drawing and Drawings from Clara-Clara (58), Leo Castelli Gallery, New York; Richard Serra: Sculpture, Galerie Daniel Templon, Paris; exhibitions at Galerie Nordenhake, Malmö, and at Larry Gagosian Gallery, Los Angeles. Participates in many others group exhibitions: Large Drawings, Zikha

Presents one-man exhibitions at the Museum Haus Lange, Krefeld, Germany; Le Coin du Miroir, Dijon, France; Galleria Stein, Milan; Akira Ikeda Gallery, Tokyo; Richard Serra: Vertical Structures (Models), at Galerie Maeght Lelong, New York; Large Silk-screens, at Gemini G.E.L., Los Angeles; Richard Serra: Recent Sculpture in Europe 1977-1985, Galerie m, Bochum, West Germany and Richard Serra, Monchehausmuseum, Goslar. Participates in many group exhibitions such as: On Paper, The Greenberg Gallery, Saint Louis, Missouri; Large Drawings, exhibition circulated by Independent Curators Incorporated, New York, traveled

to Bass Museum of Art, Miami Beach, Florida; Madison Art Center, Madison, Wisconsin; Norman MacKenzie Art Gallery, Regina Saskatchewan, Canada; Anchorage Historical & Fine Arts Museum, Anchorage, Alaska; Santa Barbara Museum, Santa Barbara, California; Large Scale Drawings by Sculptors, The Renaissance Society of the University of Chicago; “Black”: Jasper Johns, Frank Stella, Richard Serra, Akira Ikeda Gallery, Tokyo; The Sculptor as Draftsman, Visual Arts Museum, New York; The Maximal Implications of the Minimal Line, Edith C. Blum Art Institute, The Bard College Center, Annandale-on Hudson, New York; Exhibition-Dialogue/Exposição-Diálogo, Centro de Arte Moderna, Fundação Calouste Gulbenkian, Lisbon; Group Exhibition, Leo Castelli Gallery, New York; Philip Johnson Exhibition, The Museum of Modern Art, New York; Chicago Sculpture International MILE, Illinois Not For Profit Organization, State Street Mall, Chicago (62); Tension: Examples in Art, the 20th Century, Leila Taghinia-Milani, New York; Summer Group Show, Marian Goodman Gallery and Leo Castelli Gallery, both of them in New York; New York 85, ARCA, Marseilles; Internationale Triennale der Zeichnung, Kunsthalle Nürnberg, Nuremberg, West Germany, traveled to: Neue Galerie der Stadt Linz, Linz, Austria, and Transformations in Sculpture: Four Decades of American and European Art, Solomon R. Guggenheim Museum, New York; Carnegie International 1985, Carnegie Museum of Art. 1986 Opens the retrospective Richard Serra, Sculpture at the Museum of Modern Art, New York. The museum acquires Circuit. Builds Olson (60) and Call Me Ishmael. Conceives and builds site-specific indoor installation Equal-Parallel: GuernicaBengasi (61) for Centro de Arte Reina Sofía, Madrid. Installs landscape piece Porten i Slugten (63) at the Louisiana Museum, Humlebæk, Denmark. Travels with Clara throughout the Peleponissos, Greece.

De Sculptura, Messepalast, Vienna, Austria; Entre la Geometria y el Gesto: North American Sculpture 1965-75, Palacio Velasquez, Madrid; Referencias, Centro de Arte Reina Sofía, Madrid; A Sculpture Show, Marian Goodman Gallery, New York; Qu’est-ce que la Sculpture Moderne?, Musée National d’Art Moderne, Centre Georges Pompidou, Paris; Summer Group Show, Leo Castelli Gallery and Maeght Lelong Gallery, both in New York; Kiefer and Serra, Saatchi Foundation, London; Monumental Drawings, Brooklyn Museum, New York; Individuals: A Select History of Contemporary Art 1945-86, Museum of Contemporary Art, Los Angeles; Leo Castelli and Castelli Graphics at Gabrielle Bryers, Gabrielle Bryers Gallery, New York; Leo Castelli at Gagosian, Gagosian Gallery, Los Angeles, and Sculpture: Richard Serra, Ellsworth Kelly, Mark Di Suvero, Michael Hall, Tony Smith, Hill Gallery, Birmingham, Michigan. 1987 Installs Berlin Junction (64) in front of Martin-Gropius-Bau, Berlin. This sculpture will be permanently installed in front of Scharoun’s Philharmonie Hall. Builds Street Levels and Spiral Sections for Documenta 8, Kassel, Germany. Brings lawsuit against the Federal Government of the United States. Lawsuit dismissed by United States District Court. The NEA Tilted Arc Site Review Advisory Panel reaches the conclusion that Tilted Arc is site specific and should remain on the Federal Plaza site. Begins series of flat steel wall props (65). Installs outdoor sculpture in the garden of the Israel Museum, Jerusalem. Fulcrum (66), 55 feet tall, 25 feet wide, 200 ton site-specific outdoor sculpture is commissioned by Rosehaugh Stanhope Developers for the London Stock Exchange, Broadgate, City of London. The Stadtische Galerie im Lenbachhaus, München (67), opens show Seven Spaces-Seven Sculptures; the museum decides to purchase the entire installation for permanent exhibition. Designs medal in honor of Edward Kennedy’s twenty-five years of service in the US. Senate.

Exhibits at Middendorf Gallery, Washington D.C. and shows Early Lead Sculptures and Lithographs, Galerie m, Bochum; New Sculpture, Leo Castelli Gallery, New York; Installation Drawing, New City, Venice, California; New Drawings, Maeght Lelong Gallery, New York; Prints, Musée de Brou, Bourgen-Bresse; Sculpture, Jean Bernier Gallery, Athens; Drawings, Louisiana Museum, Humlebæk, Denmark and Richard Serra: Major Sculpture, Hoffman Borman Gallery, Santa Monica, California; Richard Serra: Sculpture, The Museum of Modern Art, New York.

Makes the one-man exhibitions Richard Serra Graphics, Harcus Gallery, Boston, Massachusetts; Richard Serra, New Prints, Gemini, G.E.L., Los Angeles; Richard Serra: New Editions, Pace Primitive/Prints, New York; Richard Serra: Zeichnungen, Westfalisches Landesmuseum fur Kunst und Kulturgeschichte, Munster, West Germany; Richard Serra: Seven Spaces – Seven Sculptures, Lenbachhaus Stadtische Galerie, Munich; Richard Serra: Sculpture 1985-1987, Leo Castelli Gallery (68) and The Pace Gallery, New York, and exhibits also at Akira Ikeda Gallery, Tokyo.

Takes part in the Agyptische und Moderne Skupltur: Ausbruch und Dauer, Stätisches Museum Leverkusen, Schloss Morsbroich, Leverkusen, West Germany; Sculpture for Public Places: Maquettes, Models and Proposals, Marisa Del Re Gallery, New York; Public and Private: American Prints Today, Brooklyn Museum, New York; Bodenskulptur, Kunsthalle Bremen, Bremen, West Germany; Natural Forms and Forces: Abstract Images in American Sculpture, Hayden Museum, Massachusetts Institute of Technology, Cambridge, Massachusetts;

Partakes in Der Unverbrauchte Blick, Martin Gropius-Bau, Berlin, West Germany; Philip Glass/Richard Serra A Collaborative Acoustical Installation, Ohio State University; Works on Paper, Christine Burgin Gallery, New York; XXXth Anniversary, the First 15 Years 1957-1987, Leo Castelli Gallery, New York; Group Show, Galerie Daniel Templon, Paris; The Douglas Cramer Foundation Gallery, Los Olivos, California; Pop, Minimalism & Earthart: The MCA’s Permanent Collection with Selected Loans, The Museum of Contemporary Art at 333, Chicago, Illinois;

Robert Morris, Claes Oldenburg, Richard Serra, Frank Stella, Joseph Kosuth, Leo Castelli Gallery, New York; L’Époque, La Mode, La Morale, La Passion 1977-1987; Aspects de l’Art d’aujourd’hui, Musée National d’Art Moderne, Centre Georges Pompidou, Paris; Sculptor’s Drawings, Blum Helman Gallery, New York; Drawings for Sculpture, Thomas Segal Gallery, Boston, Massachusetts; Leo Castelli: A Tribute Exhibition, The Butler Institute of American Art, Youngstown, Ohio; Bourgeois, Horn, Laib, Long, Mangold, Ryman, Serra, Gallery Maeght Lelong, New York, and Galerie Catherine Issert, Paris; Sculpture of the Sixties, Margo Leavin Gallery, Los Angeles, California; Strong Statements in Black and White, James Goodman Gallery, New York; Homage to Leo Castelli: Dedicated to the Memory of Toiny Castelli, Galerie Daniel Templon, Paris; The Sonnabend Gallery, Centro d’Arte Reina Sofía, Madrid, traveled to CAPC, Musée d’Art Contemporain, Bordeaux; Gemini G.E.L.: Art and Collaboration, Los Angeles County Museum of Art, Los Angeles; Lead, Hirschl & Adler Modern, New York City; Small Survey of Minimalism, John C. Stoller Gallery, Minneapolis, Minnesota; Standing Sculpture, Museo d’Arte Contemporaneo, Castello di Rivoli, Turin, and The Great Drawing Show 1587-1987, Michael Kohn Gallery, Los Angeles. He also participates in an exhibition at The Douglas Cramer Foundation Gallery, Los Olivos, California. 1988 Files an appeal of the District Court ruling with the United States Court of Appeals for the Second Circuit. The Circuit Court of Appeals affirms the District Court ruling to dismiss the suit which was to prevent government from destroying Tilted Arc. Installs 50 ton forged round One (70) in the sculpture park of the Rijksmuseum Kröller-Müller, Otterlo, The Netherlands. Installs Maillart Extended (two part post and lintel piece) (71, 72) at the opposite ends of pedestrian passage of Grandfey Viaduct, bridge between Fribourg and Bern, Switzerland. Bridge was restored by Maillart in 1924-26. Installs Elevations for Mies in the garden of the Mies Van der Rohe villa, Haus Esters, Museen der Stadt Krefeld, Germany. Presents Zeichnungsinstallationen, Kunsthalle, Basel (69); Richard Serra, New Prints, Gemini, G.E.L., Los Angeles; New Graphics, Galerie Littmann, Basel; Richard Serra; Lithographien und handuberzeichnete Siebdrucke, Neuer Berliner Kunstverein, Berlin; Richard Serra: 10 Sculptures for the van Abbe, Stedelijk van Abbemuseum, Eindhoven, The Netherlands (73); Neue Arbeiten. 6 Skulpturen, 3 Ziechnungen, Galerie m, Bochum; Richard Serra: Recent Works, Galerie Nordenhake, Stockholm; Das druckgraphische Werk, Wilhelm-Hack Museum, Ludwigshafen am Rhein, traveled to: Ulmer Museum, Ulm; Graphik-Sammlung ETH Zurich, 1989; Neue Galerie der Stadt Linz, Austria, 1990; Kunstmuseum Düsseldorf, 1990; Frankfurter Kunstverein, 1990; Malmö Konsthall, 1990; Provincial Museum Hasselt, Belgium, 1990. Participates in the following group exhibitions: Major Sculpture: Heizer,

Andre, Di Suvero, Serra, Shapiro, Larry Gagosian Gallery, New York; The Print: 14 Prints of the 80’s, Jack Tilton Gallery, New York; Leo Castelli Gallery’s XXXth Anniversary Exhibition, Akira Ikeda Gallery, Tokyo; Works on Paper: Paintings and Prints, B. R. Kornblatt Gallery, New York; Acquisitions Recentes, Galerie Daniel Templon, Paris; Drawing, Painting By Sculptors, Hill Gallery, Birmingham, Michigan; Gordon Matta Clark and Friends, Galerie Lelong, New York; John Chamberlain, Donald Judd, Richard Serra, Joel Shapiro, Lawrence Oliver Gallery, Philadelphia, Pennsylvania; Jannis Kounellis/Richard Serra/Antoni Tàpies, Galerie Jean Bernier, Athens; Contemporary Abstract Sculpture, Carl Sclosberg Fine Arts, Sherman Oaks, California; Michael Heizer/Richard Serra/ Robert Smithson, Tony Shafrazi Gallery, New York; Made in the Sixties: Paintings and Sculpture from the Permanent Collection of the Whitney Museum of American Art, Whitney Museum of American Art Downtown at Federal Reserve Plaza, New York; Group Sculpture Show, Donald Young Gallery, Chicago, Illinois; 1988: The World of Art Today, Milwaukee Art Museum, Wilwaukee, Wisconsin; Castelli Graphics 1969-1988: An Exhibition of Selected Works in Honor of Toiny Castelli, Castelli Graphics, New York; In Memory of Toiny Castelli, James Mayor Gallery, London; Merce Cunningham Dance Company Benefit Exhibition and Art Sale, Blum Helman Gallery, New York; Drawings 1973-1987, Laurie Rubin Gallery; Australian Biannual, Sidney, Australia; 50 jaar Rijksmuseum Kröller-Müller, Rijksmuseum, Kröller-Müller, Otterlo, The Netherlands; Zeitlos, Hamburger Bahnhoff, Berlin; Positions of Present Day Art: Merz, Stella, Kounellis, Paik, Serra, Nationalgalerie, Berlin; Group Exhibition, Burnett Miller Gallery, Los Angeles; Group Sculpture, The Pace Gallery, New York; Objects, Lorence Monk Gallery, New York; Colección Leo Castelli, Foundation Juan March, Madrid; Last Show: Leo Castelli 142 Greene Street, Leo Castelli Gallery, New York; La Colore Seule, L’Experience du Monochrome, Musée St. Piere Art Contemporain, Lyon; Black and White, Marisa Del Re Gallery, New York City; Bruce Nauman, Richard Serra; Sculpture and Drawing, Leo Castelli Gallery, New York (74); In the Making; Drawings by Sculptors, Sculpture Center, New York; Exhibition for the benefit of the Foundation for Contemporary Performance Arts, Leo Castelli Gallery and Brooke Alexander Gallery, New York; Group Sculpture Show, Marian Goodman Gallery, New York; Academia, Bonnefantenmuseum, Maastricht, The Netherlands; Recent Acquisitions, The Museum of Modern Art, New York and Three Decades: The Oliver Hoffmann Collection, The Museum of Contemporary Art, Chicago. 1989 Tilted Arc (75) is destroyed by the United States Government on March 15. Accepts request from French Government to propose a project for a plaza in front of the Romanesque church in Chagny, Burgundy. Accepts commission from Yale University Art Gallery, New Haven, to build Stacks (76), a site-specific installation for Sculpture Hall. Installs Axis, open vertical, site-specific

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construction juxtaposed to the Philip Johnson building of the Museen der Stadt Bielefeld, Germany. Invited by the Listasafn ASI, Reyjkavik, Iceland, and the Sculptors’ Union of Iceland to build site-specific landscape work on island in Reykjavik harbor. Installs Trunk in St. Gallen, Switzerland. Circuit III installed in 38 foot square room; 4 plates, each 12’x 25’. The work is part of Situation Kunst, RuhrUniversity Bochum, Germany. Begins to work with Min Tanaka at Opera Comique, Paris on dance performance to open September 1990 in conjunction with the festival d’automne. Installs Standing Stones, a site-specific work consisting of six granite cubes at the Des Moines Art Center. Exhibits Richard Serra Graphik, Galerie Cora Holzl, Düsseldorf; Richard Serra: Gravures Recentes, Galerie Lelong. Paris; Richard Serra: New Paintstick/Silkscreen Prints, John C. Stoller & Co., Minneapolis; Weights and Measures, Leo Castelli Gallery, New York; Richard Serra Sculpture, Pace Gallery, New York, and at Donald Young Gallery, Chicago. Takes part in The 60’s Revisited, New Concepts/New Materials, Leo Castelli Gallery, New York; Works on Paper, Paula Cooper Gallery, New York; The Linear Image: American Master Work on Paper, Marisa del Re Gallery, New York; Sculpture International, Chicago, Illinois; Exposition Inaugurale, Fondation Daniel Templon, Musée Temporaire; Art in Place: Fifteen Years of Acquisitions, The Whitney Museum of American Art, New York; The Innovators/Entering the Sculpture, ACE Gallery, Los Angeles; Contemporary Art from the Chase Manhattan Bank Collection, The Yokohama Museum of Art, Japan; A Decade of American Drawing: 1980-1989, Daniel Weinberg Gallery, Los Angeles; Dei Emaginare Sammlung, Kunstverein, Braunchweig, West Germany; I Triennal de Bijuix Joan Miró Fundación Joan Miró, Barcelona; Image World: Art and Media Culture, The Whitney Museum of American Art, New York; Einleuchten Will, Vorstel und Simul in HH, Deichtorhallen, Hamburg, West Germany; Sculpture, Fred Hoffmann Gallery, Santa Monica, California; Aus Meiner Sicht, Eine Ausstellung von Rolf Ricke, Kolnischer Kunstverein, Koln and Geometric Abstraction and Minimalism in America, The Solomon R. Guggenheim Museum, New York. 1990 Installs Stacks at Yale University Museum. Asked to propose large scale site-specific landscape for Zeewolde, Holland. Installs Hours of the Day (77) for show at Kunsthaus Zürich, and Threats of Hell at CAPC Musée d’Art Contemporain in Bordeaux. Finishes Afangar (79), a large site-specific work on Videy Island, Reykjavik, Iceland. Institutes award for promising young Icelandic sculptors with commission fee. Accepts commission to build site-specific landscape work for Storm King Art Center, Mountainville, New York. Shows Richard Serra: Tekeningen, Bonnefantenmuseum; Maastricht, The Netherlands; Richard Serra – vier neue Zeichnungen/Four New Drawings, Galerie m, Bochum and Drawings, Galerie Yvon Lambert, Paris (78).

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Takes part in the following group exhibitions: The Sixties Revisited, New Concepts/New Materials, Leo Castelli Gallery, New York; Prints and Drawings by Contemporary Masters, Tavelli Gallery, Aspen, Colorado; Carl Andre, Donald Judd, Richard Serra, Galerie Pierre Huber, Geneva; Radikal auf Papier, Aargauer Kunsthaus, Aarau, West Germany; Concept Art, Minimal Art, Arte Povera, Land Art, Sammlung Marzona, Kunsthalle Bielefeld, Bielefeld; The New Sculpture 1965-75: Between Geometry and Gesture, The Whitney Museum of American Art, New York, traveled to The Museum of Contemporary Art, Los Angeles; Situation Kunst (für Max Imdahl), Schlossepark, “Haus Weitmar” Bochum, West Germany; Group Show, Akira Ikeda Gallery, Tokyo; American Masters of the Sixties, Shafrazi Gallery, New York; Two Decades of American Art, Nassua County Museum of Art, Roslyn Harbor, New York; Presencias DOS Mil, Minimal Art, Theospacio, Madrid; Sculpture,. Daniel Weinberg Gallery, Los Angeles, California; Sculpture and Painting: Large Scale Work by Gallery Artists, Pace Gallery, New York; Pharmakon ‘90, Nippon Convention Center, Tokyo, Japan; The Unique Print/70’s into 90’s, Museum of Fine Arts, Boston, Massachusetts; Sculpture and Drawings, Rosa Esman Gallery, New York; Amerika nische Videos aus den Jahren 1965-75: The Castelli/Sonnabend Tapes and Films, A Selection, Kunstlerhaus Stuttgart; NEONstrücke, Sprengel Museum Hannover, Hannover, Germany; Kunstminen, Kunstmuseum Düsseldorf, Düsseldorf, Germany; The Transparent Thread: Asian Philosophy in Recent American Art, Hoffstra Museum, Hoffstra University, Hempstead, New York; New Paintings, Warsh Rankin Fine Art Limited, New York; Leo Castelli: Post Pop Artists, Nadia Bassanese Studio d’arte, Triest, Italy; Max Beckmann, Stadtische Galerie im Stadelschen Kunstinstitut, Frankfurt am Main, Germany; Minimalism and PostMinimalism, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; 7 Objects/69/90, Fine Arts Center, University Gallery, University of Massachusetts at Amhearst, Amhearst, Massachusetts; Hyperbate: Serra, Lawler, Graham, Godard, École supérieure d’art visuel, Geneva, Switzerland, and Beyond The Frame, RubinSpangle, New York. 1991 Receives Wilhelm-Lehmbruck Award for sculpture in Duisburg, Germany. Named Officier de l’Ordre des Arts et des Lettres by the French Minister of Culture. Accepts commission for the “Hall of Witness” of the U.S. Holocaust Memorial Museum in Washington D.C. Proposes seven plate vertical structure for Kunstsammlung Nordrhein-Westfalen in Düsseldorf. Shaft, permanently installed at Museet for Samtidkunst, The Museum of Contemporary Art, Blankplassen, Oslo, Norway. Completes Schunnemonk Fork at Storm King Art Center in Mountainville, New York. Installs Octagon for St. Eloi (81) in front of Église St. Martin in Chagny, France. Forges two 55 ton rounds with Finkl Steel in Chicago. Installs Two Forged Rounds for Buster Keaton (82) at Gagosian Gallery in New York. Cooperates with German photographer, Dirk Reinartz on a book about Afangar (80), sculpture completed in Iceland in 1990. Book published in Germany by Gerhard Steidl.

Exhibits Richard Serra Drei Zeichungen, Stadtisches Kunstinstitut, Frankfurt am Main; Richard Serra, Malmo Konsthall, Malmö Sweden; Richard Serra, New Editions Published by Gemini G.E.L, Paintsticks and Etchings 1991, Gemini G.E.L at Joni Moisant Weyl, New York; Richard Serra Sculpture and Drawings, Gagosian Gallery, New York, and Richard Serra: The Afangar Icelandic Series, The Museum of Modern Art, New York. Participates in Grands Formats: Photographs, Prints, Multiples, Galerie Coppens, Brussels; Olga Rozanova, Richard Serra, Genève Musée d’Art et d’Histoire, Geneva; Not on Canvas, AsherFaure Gallery, Los Angeles; Sculpture, The Pace Gallery, New York; The Body as Site, Art Films at the School of Visual Arts, School of Visual Arts, New York; Artists’ Sketchbooks, Matthew Marks Gallery, New York; Selections from the Permanent Collection, Museum of Contemporary Art (California Plaza Building), Los Angeles; Summer 1991. The Pace Gallery, New York; Schwarzweiss in der Fläche – Farbe im Raum. Darmstädter Sezession, Darmstadt, Germany; Chamberlain, Judd, Martin, Mangold, Ryman and Serra, The Pace Gallery, New York; L’Espai i la Idea, Fundación “la Caixa” Centre Cultural, Barcelona; A View from the 60’s: Selections from the Leo Castelli Collection and the Michael and Ileana Sonnabend Collection, Guild Hall, East Hampton, New York.; Height x Length x Width: Contemporary Sculpture from the Weatherspoon Collection, Weatherspoon Art Gallery, The University of North Carolina at Greensboro; Minimalism and Post-Minimalism: Drawing Distinctions and Selections from the Elaine e Werner Dannheisser Collection: Painting and Sculpture from the 80’s and 90’s, The Parrish Art Museum, Southampton, New York; Group Exhibition, Donald Young Gallery, Seattle, Washington; Power: Its Myths and Mores in American Art, 1961-1991,. Indianapolis Museum of Art, Indianapolis, Indiana, travels to Akron Art Museum, Akron Ohio (1992), and the Virginia Museum of Fine Arts, Richmond, Virginia(1992); Jasper Johns, Ellsworth Kelly, Roy Lichtenstein, Richard Serra: Works Loaned by the Artists in Honor of Neil Rudenstine. Fogg, Art Museum, Harvard University Art Museums, Cambridge, Massachusetts; 1991 Carnegie International, The Carnegie Museum of Art, Pittsburgh, Pennsylvania; Schwerelos (Weightless), Exhibition Berlinische Galerie, Grosse Orangerie, Schloss Scharlottenburg, Berlin; A Passion for Art, Tony Shafrazi Gallery, New York.; Chamberlain, Harris, Matta-Clark, Oppenheim, Serra, Smithson, Weiner, Horace Solomon Gallery, New York and Dine, Irwin, Judd, Morley, Oldenburg, Schnabel, Serra, Pace Gallery, New York. 1992 Exhibits Weight and Measure (83), site-specific work consisting of two forged blocks at the DuVeen galleries of the Tate Gallery, London, Running Arcs for John Cage (85) at Kunstsammlung NordrheinWestfalen in Düsseldorf, The Drowned and the Saved (84) at synagogue of Stommeln, Germany. Exhibits installation drawings at Serpentine Gallery, London. T.W.U. purchased by the City of Hamburg. Installs permanent casting piece, Gutter Splash, Two Corner Cast at DePont

Stichting Foundation in Tilburg, Torque on the campus of Saarbrucken University, Germany; Greenpoint on the campus of the University of Nebraska in Lincoln, and Intersection (86) in Theaterplatz, Basel. A citizens’ initiative sponsors the acquisition of the sculpture. Begins work on a landscape piece to be located on six acres of a valley at the Oliver Ranch in Geyserville, California. Receives award given by the Sculpture Center, New York for Distinction in Sculpture. Accepts invitation to be member of Academie Universelle des Cultures, founded by French President Mitterrand. Presents Richard Serra, Retrospective, Museo Nacional Reina Sofía, Madrid; Richard Serra: Graphik aus den Jahren 1989 bis 1992, Saarlandmuseum, Saarbrücken, Germany; Richard Serra: Drawings and Etchings from Iceland, Matthew Marks Gallery, New York; Richard Serra: Deadweight Series, 2-part vertical drawings, Pace Gallery, New York, and Richard Serra: ten prints, Susan Sheehan Gallery, New York. Partakes in Jasper Johns, Richard Serra, and Willem de Kooning: Works Loaned by the Artists in Honor of Neil and Angelica Rudenstine, Arthur M. Sackler Museum, The Harvard University Art Museums, Cambridge, Massachusetts; Donald Judd, Sol Lewitt, Robert Mangold, Richard Serra, Galerie de l’Ancien Collège École Municipale d’Arts Plastiques, Paris; Yvon Lambert Collectionne, Musée d’art moderne Villeneuve d’Ascq, Paris; The Eighties in the Collection of the “la Caixa” Foundation, Estación de Plaza de Armas, Seville, Spain; Nauman Oppenheim Serra, Early Works 1968-71, Blum Helman Warehouse, New York; Schwerpunkt Skulptur, Krefelder Kunstmuseum, Krefeld, Germany; Exposition Sentimentale, Foundation Chateau de Jau, Perpignon, and Musée de Collioure, Céret, France; TransForm; Bild Object Skulptur im 20 Jahrhundert, Kunstmuseum Basel, Kunsthalle Basel, Basel, Switzerland; Tropismes, Colleccio d’Art Contemporani Fundación “la Caixa”, Centre Cultural Tecla Sala del’Hospitalet, Barcelona, Spain; De Opening, DePont Stichting voor hedendaagse kunst, Tilburg, Holland (87); Both Art and Life: Gemini at 25, Newport Harbor Art Museum, Newport Beach, California; Schyls Donation, The Schyl Collection, Malmö Konsthall, Malmö, Sweden; Selections from Sandler-O’Reilly and Fred Hoffman Galleries, Sandler O’Reilly-Fred Hoffman Galleries, In, Beverly Hills and Exposition – face à face 1, Autour de la collection Sybil AlbersBarrier, Chateau de Mouans-Sartoux, Espace de l’Art Concret, Mouans-Sartoux, France. 1993 Elected a Fellow in the American Academy of Arts and Sciences. Exhibits Intersection II (89) at Gagosian Gallery, work acquired by the Museum of Modern Art. Installs Gravity in the stairwell of the U.S. Holocaust Memorial Museum in Washington D.C. Completes two large scale landscape pieces: Snake Eyes and Boxcars (88) in Geyserville, California and Elevations for L’Allee de la Mormaire in Montfort l’Amaury, France. Conceives Serpentine.

Makes the one-man exhibitions: Richard Serra: Selections from the Permanent Collection, Solomon R. Guggenheim Museum, New York; Richard Serra: Eight Drawings, Daniel Weinberg Gallery, Los Angeles, and Richard Serra: Wall to Wall, Benesse House, Naoshima Contemporary Art Museum, Benesse Island, Japan. Takes part in the following group exhibitions: Gravity and Grace: The Changing Condition of Sculpture 19651975, Hayward Gallery, London; The Tradition of Geometric Abstraction in American Art 1930-1990, The Whitney Museum of American Art, New York.; Out of Sight – Out of Mind, Lisson Gallery, London; Serra/Kounellis, Akira Ikeda Gallery, New York.; From Rodin to Serra, Galerie Saqqârah, Gstaad; Amerikanische Kunst im 20.Jahrhundert (Malerei und Plastik 1913-1993), Martin Gropius Bau, Berlin, travels to Royal Academie of the Arts, London; The Second Dimension: Twentieth Century Sculptor’s Drawings, The Brooklyn Museum, Brooklyn, New York; British and American Sculpture, Leo Castelli Gallery, New York; Singular Dimensions in Painting, Solomon R. Guggenheim Museum, New York; Sculpture, Leo Castelli Gallery, New York; Yale Collects Yale, Yale University Art Museum, New Haven; Drawing Rooms, Modern Art Museum of Fort Worth, Texas; Postminimal selections from the Collection, IVAM Centre Julio Gonzalez, Valencia; Differentes Natures; Visions de l’Art Contemporain, Galerie Art 4 et Galerie de l’Esplanade, La Défense, Paris; New York on Paper, Galerie Beyeler, Basel, Switzerland; Maximal Minimalism: Selected Works from the Sol Lewitt Collection, The Berkshire Museum, Pittsfield, Massachusetts and Beyond Boundaries – Art of the 60’s and 70’s, The San Francisco Museum of Modern Art, San Francisco. 1994 Completes Forged Narrows in Woodside, California for Mimi and Peter Haas. Receives together with Robert Wilson an Honorary Doctorate of Fine Art from California College of Arts and Crafts. Awarded with Praemium Imperiale in Tokyo by Japan Art Association. President Clinton receives the 1994 recipients of the Praemium Imperiale at the White House. Invited to participate in competition for the design of “Memorial to the Murdered Jews of Europe” in Berlin. Hours of the Day permanently installed in Bonnefantenmuseum, Maastricht, Holland. Presents model for a vertical sculpture for the Plateau de Kirchberg in Luxembourg. Fabricates Serpentine (91, 92) with Dillinger Huttenwerke, Dillenger Germany. Exhibits lead props at the National Gallery of Contemporary Art, Zacheta, Warsaw, Poland. Visits the sites of concentration camps of Auschwitz and Birkenau with Clara. Shows Richard Serra – Props, WilhelmLehmbruck-Museum, Duisburg, Germany, exhibition traveled to National Gallery of Contemporary Art – Zacheta, Warsaw, Poland; Richard Serra: Drawings and Prints, The National Museum of Art, Osaka; Richard Serra: Weight and Measure Drawings, The Drawing Center, New York, exhibition traveled to: Saint Louis Art Museum, St. Louis, The Baltimore Museum of Art, Baltimore and The Gulbenkian

Foundation, Lisbon, Portugal; and Richard Serra: Cape Breton Drawings, Gagosian Gallery, New York. Takes part in Sculptor’s Maquettes, (Calder, Dine, Dubuffet, Moore, Nevelson, Oldenburg, Serra, Shapiro). Pace Wildenstein; Sculpture, Blum Helman, New York; Group Show, Jamileh Weber Galerie, Zurich; Imprimatur, Galerie Graff, Galerie de l’Uqam, Saidye Bronfman Centre for the Arts; 1969, Jablonka Galerie, Koln; After and Before, The Rennaissance Society at The University of Chicago, Chicago; 30 Years – Art in the Present Tense: The Aldrich’s Curitorial History 1964-1994, The Aldrich Museum of contemporary Art, Ridgefield, Connecticut; The Tradition of the New: Postwar Masterpieces from the Guggenheim Collection, Solomon R. Guggenheim Museum, New York; Drawings, Galerie Marc Blondeau, Paris; “Meme si c’est la nuit” CAPC Musée d’art contemporain, Bordeaux; Summer Exhibition, Donald Young Gallery, Seattle; Prints of Darkness, Fogg Art Museum, Cambridge, Massachusetts; Little House on the Prairie, Marc Jancou Gallery, London; Sculptures & Reliefs, Akira Ikeda Gallery, Nagoya, and Arca de Noe/Noah’s Ark. Fundação de Serralves, Porto, Portugal. 1995 Elected member of American Academy of Arts and Letters. Participates with the sculpture Primo Levi in Whitney Biennial. Installs for John and Frances Bowes in Sonoma, California, No Problem for Eli Broad in Los Angeles, California. Builds first series of lead models for Torqued Ellipses (94, 95). Begins to work with engineer, Rick Smith from Frank Gehry’s office on catia program for elliptical structures. Visits steelmills and shipyards in Korea to research possibility of building elliptical sculptures. Gutter Corner Splash: Late Shift, donated by Jasper Johns, permanently installed in the San Francisco Museum of Modern Art. Appointed Honorary Academician of the Royal Academy of Arts in London. Travels to Mexico City and Monterrey, Mexico. Visits Barragan’s home.

Masters, The Museum of Fine Arts, Houston, exhibition traveled to Boston Museum of Fine Arts; New Works on Paper: Sol Lewitt, Robert Mangold, Martin Puryear, Richard Serra, Donald Young Gallery, Seattle and Contemporary Drawing: Exploring the Territory. Aspen Art Museum, Aspen, Colorado. 1996 Installs Exchange (100, 101), a vertical sculpture, consisting of seven, 70 foot high plates at the Plateau de Kirchberg in Luxembourg. Elected member Akademie der Kunste, Berlin. Builds Sea Level, a work conceived in 1988 for the city of Zeewolde, Holland. Sea Level, made of concrete, consists of two elements, rising up to 10 feet, and spanning a distance of altogether 1,650 feet. Fabricated first Torqued Ellipse at Beth Ship, Sparrows Point, Maryland. Installs Pink Flamingos for Connie Caplan in Baltimore, Maryland. Fabricates Snake, a sculpture commissioned for the Guggenheim, Bilbao with Dillinger Huttenwerke, Dillingen, Germany. Forges the six blocks for 58 x 64 x 70 (102) at Finkl Steel in Chicago. The work was conceived for and installed at Gagosian Gallery, New York. Installs permanent lead splash Seeing is Believing at Kunsthalle Hamburg, Germany. Installs black canvas drawing, Ike and Tina (97, 98, 99) at Matthew Marks Gallery, New York. Installs Missouri Flats for Donald Bryant in St. Louis, Missouri. Invited to participate in Millennium Bridge Competition. Works on the competition proposal for a footbridge across the Thames from St. Paul’s to the new Tate in London with architect Frank Gehry and German engineer Jorge Schlaich. Installs Crottorf Elevations for Hermann Hatzfeld, in Crottrof, Germany. Invited to a dinner honoring Senator Fulbright at the White House. Installs Dialogue with Schlaun at Schlaun’s Ruschhaus in Nienberge, Munster, Germany.

Shows Richard Serra: 5 Skulpturen/ Sculptures 1994/5, Galerie m, Bochum, Germany; Richard Serra: To Whom it May Concern. Matthew Marks Gallery (96), New York, and Richard Serra: Selected Drawings. Marc Blondeau, Paris.

Exhibits Richard Serra: Weight and Measure Etchings and Ike and Tina: A Drawing Installation, Matthew Marks Gallery, New York (93), traveled to John Berggruen Gallery, San Francisco; Richard Serra Drawings, Galerie Nieves Fernandez, Madrid; Richard Serra: Weight and Measure Etchings, John Berggruen Gallery, San Francisco and Richard Serra: Prints. International Biannial of Easel Graphik, Kaliningrad-Konigsberg, Russia.

Participates in the group exhibitions: XXV Years, John Berggruen Gallery, San Francisco; 1995 Yamantaka Donation, An Exhibition to Benefit Tibet House, New York, Gagosian Gallery, New York; Attitudes/Sculptures, 1963-1972, CAPC Musée d’art contemporain, Bordeaux; 1995 Biennial Exhibition, Whitney Museum of American Art, New York; Gravuras por Escultores (Alexander Calder, Eduardo Chillida, Richard Serra), Gabinete de Arte Raquel Arnaud, São Paulo, Brazil; Essence and Persuasion: The Power of Black and White, Anderson Gallery, Buffalo; Works from the Solomon R. Guggenheim Museum’s Panza Collection, Center for Curatorial Studies, Bard College, Annondale-on-Hudson; Works on Paper, Matthew Marks Gallery, New York; Object and Image, Newport Harbor Art Museum, Newport Beach, California; Art Works: The PaineWebber Collection of Contemporary

Partakes in Drawings By Sculptors, C. Grimaldis Gallery, Baltimore; Epitaphs, Edward Thorp Gallery, New York; Leo Castelli: An Exhibition in Honor of His Gallery and Artists, Gagosian Gallery, Los Angeles; Cultural Economies: Histories from the Alternative Arts Movement, NYC, The Drawing Center, New York City; Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline, Solomon R. Guggenheim Museum, New York; Drawings by Sculptors, William Holland Drury Gallery, Marlboro College, Marlboro Vermont; Monument et Modernité États des lieux: commandes publiques en France, 1990 – 1996, Delegation aux arts plastiques, Musée du Luxenbourg, Paris; Thinking Print: Books to Billboards, 1980-95, The Museum of Modern Art, New York; A Century of American Drawings, (from the Collection), The Museum of Modern Art, New York; Picasso:

A Contemporary Dialogue, Galerie Thaddaeus Ropac, Salzburg; Summer Group Show, Leo Castelli Gallery, New York; Zeichen – Raume, Museen Haus Lange und Haus Esters, Krefeld, Germany; Hollaendisches Bad (Etching. The Ren naissance of a Medium), Kunsthaus Hamburg, Hamburg; Untitled, Galeria Elvira Gonzalez, Madrid; Masters of American Sculpture: Alexander Calder, Mark Di Suvero, Richard Serra, David Smith, Gagosian Gallery, and {Open Secrets} Seventy Pictures on Paper. 1815 to the Present, Matthew Marks Gallery, New York. 1997 Travels to Rio de Janeiro at the invitation of Centro de Arte Hélio Oiticica. Plans show of installation drawings for the Center for November, 1997. Meets mayor of Rio, Luiz Paulo Fernandez Conde, to discuss possibility of building a work for the city. Meets with architect Oscar Niemeyer in Rio. Installs Snake (103) at the Guggenheim Bilbao. Visits Basque sculptor, Jorge Oteiza and meets Basque architect Rafael Moneo. Installs three Torqued Ellipses (104, 105) at DIA Center for the Arts in New York. Works on concept for a show at the Temporary Contempo rary in Los Angeles for fall of 1998. Accepts commission for a large landscape work for the Schurenbachhalde (slag-heap) in Gelsenkirchen, Ruhrgebiet, Germany as well as a landscape commission for the Staff Stiftung in Lemgo, Germany. Installs forged round for Virginia and Bagley Wright in Seattle. Presents the one-man exhibition Richard Serra: Drawings, Gagosian Gallery, New York. Participates in the group exhibitions: Rooms With a View – Environments for Video, Solomon Guggenheim Museum, New York; 4th Biennale de Lyon, Halle Tony Garnier, Lyon; Overholland in het Kröller-Müller Museum, Kröller-Müller Museum, Otterlo, The Netherlands, and Skulptur Projekte in Munster, City of Munster, Germany. He lives and works in New York City and Cape Breton, Nova Scotia, Canada.

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Bibliografia selecionada Selected bibliography

Declarações, Escritos, Entrevistas e Cartas do Artista por ordem cronológica de publicação Statements, Writings, Interviews, Letters by the Artist arranged chronologically by publication date “Play it Again, Sam”. Arts Magazine (Nova York), vol. 44, no 4 (fevereiro 1970), pp. 2427. Reimpresso em Richard Serra: Inter views, Etc. 1970-1980. Yonkers: The Hudson River Museum, 1980. Traduzido e reimpres so em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “The Artist and Politics: A Symposium”. Artforum (Nova York), vol. 9, no 1 (setem bro 1970), pp. 35-39. [declaração] Art Now: New York (Nova York), vol. 3, no 3 (setembro 1971). “Statements”. Artforum (Nova York), vol. 10, no 1 (setembro 1971), p. 64. Jonas, Joan and Richard Serra. “Paul Revere”. Artforum (Nova York), vol. 10, no 1 (setembro 1971), pp. 65-67. [documento] “Verb List Compilation 196768”. Avalanche (Nova York), no 2 (Inverno 1971), pp. 20-21. Reimpresso em Müller, Gregoire and Gianfranco Gorgoni, The New Avant Garde: Issues for Art of the Sev enties. Nova York: Praeger Publishers, 1972 e Richard Serra: Interviews, Etc. 1970-1980. Yonkers: The Hudson River Museum, 1980. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entre tiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “Proposal for Los Angeles County Muse um in Conjunction with Kaiser Steel” [de claração 1969]. Art & Technology: A Report on the Art and Technology Program of the Los Angeles County Museum of Art 19671971. Los Angeles County Museum of Art, Los Angeles. Nova York: The Viking Press, 1971. p. 298. “Skullcracker Stacking Series” [declaração 1969]. Art & Technology: A Report on the Art and Technology Program of the Los Angeles County Museum of Art 1967-1971. Los Angeles County Museum of Art, Los Angeles. Nova York: The Viking Press, 1971, pp. 299-300. [carta ao editor em resposta a Robert Pincus-Witten. “New York” (resenha de ex posição), Artforum (Nova York), vol. 6, no 8 (abril 1968), p.65]. Artforum (Nova York), vol. 10, no 7 (março 1972). “Richard Serra: Shift”. Arts Magazine (Nova York), vol. 47, no 6 (abril 1973), pp. 49-55. Reimpresso em Richard Serra: Interviews, Etc. 1970-1980. Yonkers: The Hudson River Museum, 1980. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990.

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“Document: Spin Out ‘72-73 for Bob Smithson” [entrevista com Liza Bear]. Avalanche (Nova York), no 8 (Verão/Outo no 1973), pp. 14-15. Reimpresso em Richard Serra: Interviews, Etc. 1970-1980. Yonkers: The Hudson River Museum, 1980.Traduzido e reimpresso em Richard Serra, Inter views, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “Prisoner’s Dilemma” [entrevista com Liza Bear]. Avalanche (Nova York), no 9 (maiojunho 1974), pp. 26-28. Reimpresso em Richard Serra: Interviews, Etc. 1970-1980. Yonkers: The Hudson River Museum, 1980. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “Text: Television Delivers People.” Art-Rite (Nova York), no 7 (Outono 1974), p. 5. “Richard Serra: Sight Point ‘71-75/Delin eator ‘74-76” [entrevista radiofônica com Liza Bear]. Art in America (Nova York), vol. 64, no 3 (maio-junho 1976), pp. 82-86. Reimpresso em Richard Serra: Interviews, Etc. 1970-1980. Yonkers: The Hudson River Museum, 1980. Traduzido e reeditado como “Richard Serra: Faire l’experience de la sculpture.” Art Press (Paris), no 6 (abril 1977), pp. 9-11, e em Richard Serra, Inter views, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “About Drawing” [entrevista com Lizzie Borden]. Richard Serra: Tekeningen/Draw ings 1971-1977. Amsterdã: Stedelijk Muse um, 1977. Reimpresso em Richard Serra, Arbeiten 66-77/Works 66-77. Kunsthalle Tübingen and Kunsthalle Baden-Baden, 1978 e Richard Serra: Interviews, Etc. 19701980. Yonkers: The Hudson River Museum, 1980. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “Skulptur als Platz” [entrevista com Friedrich Teja Bach, 1975, 1976]. Das Kunst werk (Baden-Baden), vol. 31, no 1 (feverei ro 1978), pp. 3-14. Entrevista 1975, reim pressa em Richard Serra: Interviews, Etc. 1970-1980. Yonkers: The Hudson River Museum, 1980. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 197089. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “The Films of Richard Serra: An Interview” [entrevista com Annette Michelson e Clara Weyergraf ]. October (Cambridge, Mass.), no 10 (Outono 1979), pp. 68-104. Reim presso em Richard Serra: Interviews, Etc. 1970-1980. Yonkers: The Hudson River Museum, 1980. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990.

“Rigging” [baseado na entrevista com Gerard Hovagimyan]. Cover (Nova York), vol. 2, no 1 (janeiro 1980), p. 41. Editado e reimpresso em Richard Serra: Interviews, Etc. 1970-1980. Yonkers: The Hudson River Museum, 1980. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “An Opinionated Museum Goer” [entrevis ta com Brenda Richardson]. Federal Design Matters, Design Arts Program (Washington, D.C.: Primavera 1980). Tra duzido e reimpresso em Richard Serra, Inter views, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “St. John’s Rotary Arc.” Artforum (Nova York), vol. 19, no 1 (setembro 1980), pp. 52-55. Reimpresso em Richard Serra: Inter views, Etc. 1970-1980. Yonkers: The Hudson River Museum, 1980. Traduzido e reimpres so em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Daniel Lelong, editor. Paris: Galerie Lelong, 1990. “Richard Serra’s Urban Sculpture” [entre vista com Douglas Crimp]. Arts Magazine (Nova York), vol. 55, no 3 (novembro 1980), pp. 118-23. Reimpresso em Richard Serra: Interviews, Etc. 1970-1980. Yonkers: The Hudson River Museum, 1980. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szee mann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Daniel Lelong, editor. Paris: Galerie Lelong, 1990. [entrevista com Liza Bear, 1976]. Richard Serra: Interviews Etc. 1970-1980. Yonkers: Hudson River Museum, 1980. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szee mann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “Entretien avec Richard Serra” [entrevista com Bernard Lamarche-Vadel]. Artistes (Paris), no 7 (janeiro-fevereiro 1981), pp. 24-29. Ed. por Clara Weyergraf e reimpres so em Richard Serra: Interviews, Etc. 19701980. Yonkers: The Hudson River Museum, 1980. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “Portraits” [palestra com Kathy Acker, Joseph Kosuth, Lawrence Weiner, Sandro Chia, Philip Glass, Barbara Kruger, David Salle]. Artforum (Nova York), vol. 20, no 9 (maio 1982), pp. 58-69. “Escultura para Callao”. Correspondencias: 5 Architectos, 5 Escultores. Madri: Palacio de las Alhajas, 1982. “Notes from Sight Point Road.” Perspecta (Cambridge, Mass. e Londres), vol. 19 (1982), pp. 172-81. Editado e ampliado em “Extended Notes From Sight Point Road.” Impresso em 1985 em Richard Serra:

Recent Sculpture in Europe 1977-85. Bochum: galerie m. 1985. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szee mann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. [declaração] Richard Serra at Gemini, 1980-1981. Los Angeles: Gemini G.E.L., 1982. “Interview”[entrevista com Peter Eisenman]. Skyline (Nova York), abril 1983, pp. 14-17. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “Entretien avec Richard Serra” [entrevista com Alfred Pacquement]. Richard Serra. Paris: Musée National d’Art Moderne, Centre Georges Pompidou, 1983. Reim presso em Richard Serra: Écrits et Entre tiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. Traduzido e reimpres so em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990. “Answers to Zone Questionaire”. Zone 1/2, Nova York: Urzone Press, abril 1986. Tradu zido e reimpresso em Richard Serra, Inter views, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “Notes on Drawing”. Richard Serra. Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster. Stuttgart: Verlag Gerd Hatje, 1987; Nova York: Rizzoli International, 1988 (edição inglesa). Reimpresso em Richard Serra, Drawings Zeichnungen 1969-1990. Ed. por Hans Janssen. Catalogue Raisonné. Bonne fantenmuseum, Maastricht. Berna: Bente li Verlag, 1990. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 197089. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. Edita do e reimpresso em Carnegie Interna tional 1991, The Carnegie Museum of Art, Pittsburgh. Nova York: Rizzoli Interna tional, 1991, vol. 1, p. 124 e Richard Serra: Installation Drawings. The Serpentine Gallery, Londres. Düsseldorf: Richter Verlag, 1992. “Street Level and Spiral Sections”. Catá logo para Documenta 8, Kassel: D+V Paul Dierichs GmbH and Company. KG, 1987. Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “On the Bridge” [entrevista com Harald Szeemann]. Richard Serra, Maillart Extend ed. Berna: Benteli Verlag, 1989. Reimpres so em Richard Serra, Interviews, Schriften, 1970-89, Berna: Benteli Verlag, 1990. “Interview Richard Serra and Robert C. Morgan”. Flash Art News (Milão), Flash Art Supplement no 144 (janeiro-fevereiro 1989). Traduzido e reimpresso em Richard Serra,

Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. [carta ao editor em resposta a Michael Brenson “The Messy Saga of Tilted Arc Is Far from Over”. abril 2, 1989]. The New York Times, abril 28, 1989, p. 5. “Interview Richard Serra & Thomas Beller”. Splash (Nova York, abril 1989). Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. “Tilted Arc Destroyed,” Art in America (Nova York, maio 1989). Reimpresso em Nova Law Review (Fort Lauderdale, Flóri da), vol. 14, no 2 (Primavera 1990), pp. 385-405. Traduzido e reeditado como “Der Abriss,” Art (Hamburgo, agosto, 1989) e em Richard Serra, Interviews, Schriften, 197089. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990 e como “Tilted Arc Destruído” Novos Estudos (São Paulo, Brasil), vol. 26 (março 1990) pp. 141-158. “Censorship in America” [texto lido no The Des Moines Art Center, outubro 1989]. Des Moines Sunday Register (outubro 29, 1989). Traduzido e reimpresso em Richard Serra, Interviews, Schriften, 1970-89. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990 (em alemão) e Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. Editado e reimpresso como “Art and Censorship”, in Nova Law Review (Fort Lauderdale, Flóri da), vol. 14, no 2 (Primavera 1990), pp. 323332 e Critical Inquiry (Chicago, Illinois), Primavera 1991, vol. 17, no 3, pp. 574-482. Also Ethics and the Arts. Ed. por David E. W. Fenner. Nova York e Londres: Garland Publishing, Inc. 1995, pp.29-40. “The Yale Lecture, January 1990” [texto lido na Yale University, fevereiro 1990]. Kunst & Museum Journaal (Amsterdã), vol. 1, no 6 (1990). Extraído de Art in Theory 1900-1990. Ed. por Charles Harrison e Paul Woods. Oxford UK e Cambridge USA: Blackwell Publishers, 1992. pp. 1124-27. Discurso por ocasião da entrega do Prê mio Wilhelm Lehmbruck of the City of Duisburg, janeiro 1991. Impresso em Richard Serra Props. The Wilhelm Lehm bruck Museum, Duisburg. Düssel dorf: Richter Verlag, 1992. pp. 22-27.

“Richard Serra: An Interview by Mark Rosanthal”. Richard Serra: Drawings and Etchings from Iceland. Nova York: Matthew Marks Gallery, 1992. [declaração] Richard Serra: Afangar Ice landic Series, 1988-1992. Los Angeles: Gemini GEL, 1992. [entrevista com Lynne Cooke]. Impresso em Richard Serra: Installation Drawings. The Serpentine Gallery, Londres. Düssel dorf: Richter Verlag, 1992. [entrevista com Nicholas Serota e David Sylvester]. Impresso no catálogo da expo sição Richard Serra Weight and Measure 1992. Tate Gallery, Londres. Düsseldorf: Richter Verlag, 1992. “Serra Interview, Richard Serra talks to Patricia Bickers.” Art Monthly, vol. 161, novembro 1992. [entrevista com David Seidner]. Bomb Magazine (Nova York), Inverno 1992. [texto lido na Tate Gallery, Londres, 1o outubro, 1992]. The Art Newspaper (Lon dres), vol. 3, no 23 (dezembro 1992). pp. 22-23. [entrevista com Barbaralee Diamond stein]. Barbaralee Diamondstein Inside the Art World (Nova York: Rizzoli interna tional), 1994. “Happy Birthday Jorge Oteiza”. El Diario Vasco (San Sebastian), Supplemento Espe cial (21 outubro, 1993). “Richard Serra: Schlusselerlebnis in der Werft” [entrevista com Victor Weber]. Basler Zeitung (Basel), (19 janeiro, 1994), p. 23. [discurso lido no Memorial Donald Judd, Nova York, maio 1994]. Artforum (Nova York), Verão 1994. “Cy Twombly: An Artist’s Artist.” [debate com Kirk Varnedoe, Francesco Clemente, Brice Marden, na retrospectiva de Twombly no Museum of Modern Art, New York,4 outubro, 1994]. Editado e publicado em res 28 anthropology and aesthetics, (The Getty Center for the History of Art and the Humanities), Outono 1995, pp. 161-179. [entrevista com Vincent Katz]. “To Whom it May Concern” Flash Art. [entrevista com Martin Schwander]. “Inter section II”, (fevereiro 1995). ”Impromptu, February 1968” [texto para o catálogo de Joan Jonas], Stedelijk, 1994.

Catálogos de Exposições Individuais e Monografias por ordem cronológica One-man exhibition Catalogues and Monographs arranged chronologically Richard Serra. Pasadena: Pasadena Art Museum, 1970. Richard Serra: Tekeningen/Drawings 19711977. Amsterdã: Stedelijk Museum, 1977 (entrevista com Lizzie Borden). Richard Serra: Arbeiten 66-77/Works 66-77. Tübingen: Kunsthalle Tübingen, 1978 (textos de Clara Weyergraf, Max Imdahl e B.H.D. Buchloh; entrevista com Lizzie Borden). Richard Serra: Interviews, Etc. 1970-1980. Yonkers: The Hudson River Museum, 1980. Publicado por ocasião da exposição Richard Serra: Elevator. Traduzido e reim presso em Richard Serra, Interviews, Schriften, 1970-89, Berna: Benteli Verlag, 1990 e Richard Serra: Écrits et Entretiens 1970-89, Paris: Galerie Lelong, 1990. “Terminal” von Richard Serra. Eine Doku mentation in Kapiteln. Bochum: galerie m, 1980. Richard Serra (Träger des Kaiserringpreises der Stadt Goslar 1981). Goslar: Mönche hausmuseum, 1981. Richard Serra. Paris: Musée National d’Art Moderne, Centre Georges Pompidou, 1983 (textos de Yve-Alain Bois e Rosalind E. Krauss; entrevista com Alfred Pacquement). Richard Serra: New Sculpture. Tóquio: Akira Ikeda Gallery, 1983 (texto de Maki Kuwayama). Richard Serra: Recent Sculpture in Europe 1977-1985. Bochum: galerie m, 1985 (texto de Richard Serra). Richard Serra. Tóquio: Akira Ikeda Gallery, 1985. Richard Serra. Goslar: Mönche h aus museum, 1985 (texto de Marianne Stocke brand). Richard Serra: Sculpture. Ed. por Laura Rosenstock. Nova York: The Museum of Modern Art, 1986 (textos de Douglas Crimp e Rosalind E. Krauss). Public Art, Public Controversy: The Tilted Arc on Trial. Nova York: American Counsel on the Arts, 1987.

“A Conversation with Richard Serra and Alan Colquhoun” [entrevista com Alan Colquhoun, Lynne Cooke e Marc Francis]. Carnegie International 1991, The Carnegie Museum of Art, Pittsburgh (Rizzoli: Nova York), vol. 1, 1991, pp. 23-34.

[entrevista com Patricia Bickers], Royal Society of British Sculptors”. [declaração] Dogon Sculpture, Helene Leloup. Amez Editions d’Art, 1994. Also Lobi – Museum for African Art catalogue.

Richard Serra at Gemini 1983-1987. Los Angeles: Gemini GEL, 1988.

“A Conversation with Sculptor Richard Serra” [entrevista com M. A. Greenstein]. Artweek (Los Angeles), vol. 22, no 14, (11, abril, 1991), p. 20.

Hommage to Dominique Bozo. Centre Georges Pompidou et La Reunion des Musées Nationaux.

Richard Serra: Neue Skulpturen in Europa 1986-1988. Bochum: galerie m, 1988 (texto de Richard Serra).

[entrevista com Enrico Lunghi (setembro 1996)]. Publicado em RS Exchange Luxem bourg. Musée Nationale D’Histoire et D’Art, 1996.

Richard Serra’s Tilted Arc. Ed. por Clara Weyergraf e Martha Buskirk. Eindhoven: Stedelijk Van Abbemuseum, 1988.

[declaração] Richard Serra: The Drowned and the Saved. Pulheim: Synagogue Stommeln, 1992.

Richard Serra: Sculpture 1985-1987. Nova York: Leo Castelli Gallery/The Pace Gallery, 1987.

Das druckgraphische Werk, Prints – a cat alogue Raisonné, 1972-1988. Bochum:

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galerie m, 1988 (texto de Richard HoppeSailer). Richard Serra. 10 Sculptures for the Van Abbe. Eindhoven: Stedelijk Van Abbe museum, 1988. Richard Serra. Ed. por Ernst-Gerhard Güse. Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster. Stuttgart: Verlag Gerd Hatje, 1987; Nova York: Rizzoli International, 1988 (textos de Jean-Christophe Ammann, Yve-Alain Bois, Douglas Crimp, Ernst-Gerhard Güse, Armin Zweite, a versão em inglês inclui texto de Richard Serra). Richard Serra Sculpture 1987-1989. Nova York: The Pace Gallery, 1989 (texto de Richard Serra). Richard Serra: “Maillart Extended”. Berna: Benteli Verlag, 1989 (entrevista com Harald Szeemann). Richard Serra. Zürich: Kunsthaus Zürich, 1990 (textos de Harald Szeemann e Stefan Germer). Richard Serra, Drawings Zeichnungen 196990. Catalogue Raisonné. Bonnefanten museum, Maastricht. Ed. por Hans Janssen. Berna: Benteli Verlag, 1990 (textos de YveAlain Bois e Richard Serra). Richard Serra, Interviews, Schriften, 197089. Ed. por Harald Szeemann. Berna: Benteli Verlag, 1990. Richard Serra: Écrits et Entretiens 1970-89. Ed. por Daniel Lelong. Paris: Galerie Lelong, 1990. Richard Serra: Axis Dokumentation. Kunst halle Bielefeld, 1990 (inclui con fe rência ministrada por Serra em Bielefeld, 1989). The Destruction of Tilted Arc: Documents. Ed. por Clara Weyergraf e Martha Buskirk. Cambridge, Mass. e Londres: The MIT Press, 1991. Richard Serra: “Octagon for Saint Eloi”. Paris: Déléguéaux Arts Plastiques au Ministère de la Culture et la Communica tion, 1991. Afangar. Richard Serra, drawings, Dirk Reinartz, photographs. Gottingen: Steidl Verlag e Zurich: Parkett Publishers, 1991. Richard Serra: Drawings and Etchings from Iceland. Nova York: Matthew Marks Gallery, 1992 (entrevista com Mark Rosenthal). Richard Serra: “Running Arcs, for John Cage”. Kunstsammlung Nordrhein-West falen. Düsseldorf: Richter Verlag, 1992 (texto de Armin Zweite). Richard Serra Deadweight Series. Nova York: The Pace Gallery, 1992. Richard Serra Gravures. Céret: Musée d’Art Moderne de Céret, 1992 (texto de Chris tine Buci Glucksmann). Richard Serra: “Weight and Measure”. The Tate Gallery, Londres. Düsseldorf: Richter Verlag, 1992 (entrevista com David Sylves ter e Nicholas Serota).

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Richard Serra: Installation Drawings. The Serpentine Gallery, Londres. Düsseldorf: Richter Verlag, 1992 (entrevista com Lynne Cooke, texto de Richard Serra). Richard Serra. Madri: Museo Nacional Reina Sofía, 1992 (textos de Richard Serra, Yve-Alain Bois e Stefan Germer).

Catálogos de Exposições Coletivas por ordem cronológica Group Exhibition Catalogues arranged chronologically

Structures for Behavior: New Sculptures by Robert Morris, David Rabinowitch, Richard Serra and George Trakas. Toronto: Art Gallery of Ontario, 1976 (introdução de Roald Nasgaard).

Soft Art. Trenton: New Jersey State Muse um Cultural Center, 1969.

Documenta 77 Skulptur Ausstellung in Munster. Munster: Landschaftsverband Westfalen-Lippe und Stadt Münster, 1977 (2 volumes).

When Attitude Becomes Form. Ed. por Harald Szeemann. Berna: Kunsthalle Bern, 1969.

Freunde der Deutschen Kinemathek. Ber lim: Freunde der Deutschen Kinemathek, 1977.

Richard Serra: Afangar Icelandic Series. Los Angeles: Gemini G.E.L. 1992.

Anti-Illusion: Procedures/Materials. Whitney Museum of American Art, Nova York, 1969. Ensaios de James Monte e Marcia Tucker.

Structures for Behavior. Toronto: Art Gallery of Ontario, 1978 (declaração de Richard Serra).

Richard Serra, Alfred Pacquement. Paris: Jalons. Collections du Musée Nation al d’Art Moderne et du Centre de Creation Industrielle, 1993.

Tokyo Biennale 1970: Between Man and Matter. Tóquio: The Mainichi News pa pers, Japan International Art Promotion Association, 1970.

73rd American Exhibition. Chicago: The Art Institute of Chicago, 1978.

Torque: Dokumentation zu der Grosse skulptur auf der Universitat des Saarlandes. Editado por Uwe Loebens. Institut fur aktuelle Kunst. Saarbrucken: St. Johann Verlag. 1993.

Art & Technology: A Report on the Art and Technology Program of the Los Angeles County Museum of Art 1967-1971. Los Angeles County Museum of Art, Los Angeles. Nova York: The Viking Press, 1971. Ensaio de Gail R. Scott (inclui “Proposal for Los Angeles County Museum in Con junction with Kaiser Steel” e “Skullcracker Stacking Series”).

Richard Serra: “The Drowned and the Saved”. Pulheim: Synagoge Stommeln 1992, e Nova York: Matthew Marks Gallery, 1992 (declaração de Richard Serra, a ver são em inglês inclui texto de Stefan Germer).

Richard Serra Props. The Wilhelm Lehmbruck Museum, Duisburg. Düssel dorf: Richter Verlag, 1994. (Discurso de Richard Serra na entrega do Lehmbruck Award, texto de Rosalind E. Krauss). Richard Serra. Narodowa Galeria Sztuki Wspotczenej Zacheta. Warsaw, 1994 (texto de Rosalind E. Krauss). Richard Serra: Nova Scotia Drawings. Nova York: Gagosian Gallery, 1994 (texto de Michael Brenson). Richard Serra: Weight and Measure Drawings. Nova York: The Drawing Center, 1994 (textos de Dave Hickey e Richard Shiff ). Richard Serra: Drawings and Prints. Osaka: The National Museum of Art, 1994. Terminal. Richard Serra, Der Leibhafte Raum. Karen van den Berg. Kunst Ort Ruhrgebiet (Witten/Herdecke: edition tertium, 1995) Richard Serra, Exchange Luxembourg. Musée Nationale D’Histoire et D’Art, 1996 (texto de Lucien Kayser, entrevista com Enrico Lunghi). Richard Serra Intersection Basel. Ed. por Martin Schwander, 1996: Richter Verlag (textos de Gottfried Boehm, Martha Buskirk, Martin Schwander e Richard Serra; entrevista com Martin Schwander). La Mormaire. Richard Serra, Dirk Reinartz. Ed. por Alexander von Berswordt, 1997, Düsseldorf: Richter Verlag (texto de Stefan Germer).

Documenta 5. Kassel: D+V Paul Dierichs GmbH and Company, 1972. Diagrams and Drawings. Otterlo: Rijks museum Kröller-Müller, 1972. 3D into 2D, Drawings for Sculpture. Nova York: The New York Cultural Center, 1973. American Drawings 1963-1973. Nova York: Whitney Museum of American Art, 1973. Contemporanea. Roma: Incontri Interna zionali d’Arte, 1973. Castelli-Sonnabend Videotapes and Films. Nova York: Castelli-Sonnabend Tapes and Films, Inc., 1974. Line as Language: Six Artists Draw. Princeton: The Art Museum, Princeton University, 1974 (texto de Rosalind E. Krauss).

Z. B. Skulptur. Frankfurt: Städelisches Kunst institut, 1978. Made by Sculptors/door beeldhouwers gemaaky. Amsterdã: Stedelijk Museum, 1978. Gerry Schum. Amsterdã: Stedelijk Museum, 1980. Mel Bochner/Richard Serra. Cambridge: Hayden Gallery, Massachusetts Institute of Technology, 1980 (introdução de Kathy Halbreich). Skulptur im 20. Jahrhundert, Abbildung steil der Auftragswerke. Basel: Wenkenpark Riehen, 1980. Pier + Ocean, Construction in the Art of the Seventies. Londres: Hayward Gallery, 1980. Reliefs: Formprobleme zwischen Malerei und Skulptur im 20. Jahrhundert. Ed. por Ernst Gerhard Güse. Münster: West fälisches Landesmuseum für Kunst und Kulturgeschichte e Berna: Benteli Verlag, 1980. The 37th Biennial Exhibition of Contem porary American Painting. Washington: The Corcoran Gallery of Art, 1981. Kounnellis, Merz, Nauman, Serra. Krefeld: Museum Haus Lange, 1981.

USA: Zeichnungen 3. Leverkusen: Städtis ches Museum Leverkusen, 1975.

Westkunst. Museen der Stadt Köln. Colônia: DuMont Buchverlag, 1981.

Video Art. Filadélfia: Institute of Contem porary Art, University of Pennsylvania, 1975.

Schwartz. Düsseldorf: Stadtischen Kunst halle Düsseldorf, 1981.

XIII Bienal de São Paulo. São Paulo: Fun dação Bienal de São Paulo, 1975.

1981 Biennial Exhibition. Nova York: The Whitney Museum of American Art, 1981.

The Condition of Sculpture. Londres: The Arts Council of Great Britain, 1975.

Collaboration: Artists and Architects. Nova York: Whitney Museum of American Art, 1981.

Zeichnung heute – Drawing Now. Zurich: Kunsthaus Zürich, 1976 (texto de Bernice Rose).

Arte Povera, Antiform, Sculptures 1966-69. Bordeaux: Centre d’Arts Plastiques Con temporains de Bordeaux, 1982.

Seventy-Second American Exhibition. Chi cago: The Art Institute of Chicago, 1976.

‘60-‘80: Attitudes/Concepts/Images. Amsterdã: Stedelijk, 1982.

200 Years of American Sculpture. Nova York: The Whitney Museum of American Art, 1976.

Correspondencias: 5 Architectos, 5 Escul tores. Palacio de las Alhajas, Madri, 1982.

Private Notations: Artist’s Sketchbooks II. Filadélfia: Philadelphia College of Art, 1976.

Documenta 7. Kassel: D+V Paul Dierichs GmbH and Company. KG, 1982.

Kunst wird Material. Berlim: National galerie Berlin Staatliche Museen Preussischer Kulturbesitz, 1982. Prints by Contemporary Sculptors. New Haven: Yale University Art Gallery, 1982. Monumental Drawings By Sculptors. Green vale: Hillwood Art Gallery, Long Island University, 1983. Connections: Bridges/Ladders/Ramps/Stair cases/Tunnels. Filadélfia: Institute of Con temporary Art, University of Pennsylvania, 1983. Kunst und Video; Bettina Gruber & Maria Vedder. Colônia: DuMont Buchverlag, 1983. ARS 83. Helsinki: The Art Museum of Atheneum, 1983. Sculpture: The Tradition in Steel. Roslyn Harbor: The Nassau County Museum of Art, 1983. American Art Since 1970. Nova York: The Whitney Museum of American Art, 1984. Skulptur im 20. Jahrhundert. Basel: Steiner und Companie, 1984. Wiesbadener Skulpturentage. Wiesbaden: Landeschafuptstadt Weisbaden, 1984. Gemini G.E.L.: Art and Collaboration. Ed. por Ruth E. Fine. Washington D.C.: National Gallery of Art e Nova York: Abbe ville Press, 1984. Black: Jasper Johns, Frank Stella, Richard Serra. Tóquio: Akira Ikeda Gallery, 1985. Mile 4: Chicago Sculpture International. Chicago: Chicago Sculpture International, 1985. Carnegie International 1985. Pittsburgh: Carnegie Museum of Art, 1985. Transformations in Sculpture: Four decades of American and European Art. Nova York: Solomon Guggenheim Museum, 1985. Process und Konstruction 1985 in Munchen. Lotz: Archives of Contemporary Art, 1985. Agyptische und Moderne Skulpturen. Leverkusen: Städtisches Museum Leverkusen, 1986. Sculpture for Public Places. Nova York: Marisa del Re Inc., 1986. Public and Private: American Prints Today. Nova York: The Brooklyn Museum, 1986. Natural Forms and Forces. Cambridge: Hayden Gallery, Massachusetts Institute of Technology, 1986. De Sculptura. Viena: Wien Festwochen, 1986. Entre la Geometria y el Gesto. Madri: Ministerio de Cultura, 1986. Referencias: Un Encuentro Artistico en el Tiempo. Madri: Centro de Arte Reina Sofía, 1986. Qu’est- ce que la Sculpture Moderne? Paris: Centre Georges Pompidou, 1986.

Individuals: A Select History of Contem porary Art. Los Angeles: The Museum of Contemporary Art e Nova York: Abbeville Press, 1986. Monumental Drawings. Nova York: The Brooklyn Museum, 1986. Fundació Pilar i Joan Miró. Barcelona: Fundació Pilar i Joan Miró, 1986. Art in the Environment. Boca Raton: Boca Raton Museum of Art, 1986. Skulptur Sein. Düsseldorf: Städtische Kunsthalle Düsseldorf, 1986. Der Unverbrauchte Blick. Berlim: Martin Gropius-Bau, 1987. Pink Noise, Three Conversations Concern ing a Collaborative Acoustic Installation. Columbus: Wexner Center for the Visual Arts, The Ohio State University Gallery of Fine Art, 1987. L’Époque, La Mode, La Morale, La Passion: aspects de l’Art d’Aujourd’Hui. Paris: Centre Georges Pompidou, Musée Natio nale de l’Art Moderne, 1987. Documenta 8. Kassel: D+V Paul Dierichs GmbH and Company. KG, 1987. Skulptur Projekte in Münster. Colônia: DuMont Buchverlag, 1987. Leo Castelli y sus Artistas, XXX Anos de Promoción de Arte Contemporáneo. Cida de do México: Centro Cultural Arte Con temporáneo, 1987. Standing Sculpture. Turim: Castello di Rivoli, 1988. Barcelona Spaces and Sculpture (19821986). Barcelona: Ajuntament de Barcelo na, 1987. Zeitlos, Hamburger Bahnhof in Berlin. Berlim: Werkstatt Berlin, 1988. 1988 Australian Biennale, From the Southern Cross, A View of World Art, 194088. Sydney: The Australian Bicentenial Authority, 1988. Position Heutiger Kunst. Berlim: Staatliche Museen Preussischer Kulturbesitz, 1988. La Couleur Seule. Lyon: Musée d’Art Con temporain, 1988. Einleuchten Will, Vorstel und Simul in HH. Hamburgo: Deichtorhallen Hamburg, 1989. Immaterial Objects. Nova York: Whitney Museum of American Art, 1989. Sculpture Chicago. Chicago: Sculpture Chicago, 1989. I Triennal de Dibuix Joan Miro. Barcelona: Fundació Pilar i Joan Miró, 1989. Minimalism. Liverpool: The Tate Gallery Liverpool, 1989. Concept Art, Minimal, Arte Povera, Land Art. Bielefeld: Kunsthalle Bielefeld, 1990. The New Sculpture 1965-75: Between Geometry and Gesture. Nova York: The Whitney Museum of American Art, 1990.

Pharmakon ‘90 Contemporary Art Exhi bition. Tóquio: Akira Ikeda Gallery, 1990.

Artigos e Ensaios por ordem alfabética

NEON-Stücke. Hannover: Sprengel Museum, 1990 (texto de Dietmar Elger).

Articles and Essays arranged alphabetically by author

Image World. Nova York: Whitney Museum of American Art, 1990. Artists’ Sketchbooks. Nova York: Matthew Marks Gallery, 1991. Carnegie International 1991. Pittsburgh: Carnegie Museum of Art, 1991 (texto de Richard Serra, entrevista com Alan Colquhoun e Lynne Cooke). La Sculpture Contemporaine après 1970. Fondation Daniel Templon. Paris: Fréjus, 1991. Power: Its Myths and Mores in American Art. Indianápolis: Indianapolis Museum of Art, 1991. Transform: Bild Objekt Skulptur im 20. Jahrhundert. Basel: Kunsthalle und Kunst museum Basel, 1992. de Opening. Tilburg: DePont stichting voor hedendaagse kunst, 1992. Tropismes: Collecio d’Art Contemporani Fundació “la Caixa”. Madri: Fundació La Caixa, 1992. Schwerpunkt Skulptur. Krefeld: Krefelder Kunstmuseum, 1992. Exposition Sentimentale. Fondation Cha teau de Jau, Musée de Collioure; Bor deaux: CAPC, 1992. Amerikanische Kunst im 20. Jahrhundert. Berlim: Martin Gropius Bau e Londres: Royal Academy of the Arts, 1993. Yale Collects Yale. New Haven: Yale University Art Gallery, 1993. Differentes Natures: Visions de l’Art Con temporain. Paris: Ministère de la Culture et de la Francophonie, Delegation aux Artes Plastiques, 1993. Master Drawings 1907-1993. Nova York: Janie C. Lee Gallery, 1993. Arca de Noé (obras do acervo do CAPC Musée Bordeau and the FrancAcquitaine) Fundação de Serralves, Porto, Portugal, 1994. Drawing Rooms. Modern Art Museum of Fort Worth, Fort Worth, Texas, 1994. Abstraction in the 20th Century: Total Risk, Freedom, Discipline. Nova York: Solomon Guggenheim Museum, 1996.

Amaya, Mario. “Toronto: Serra’s Visit and After,” Art in America (Nova York), vol. 59, no 3 (maio-junho 1971), pp. 122-23. Baker, Kenneth. “Shift,” Studio Interna tional (Londres), vol. 186, no 959 (outubro 1973), p. 155. ___ . “Vector of Viewer Response,” Art forum (Nova York: setembro 1986). Becker, Wolfgang. “Richard Serra,” Das Kunstwerk (Baden-Baden), vol. 25, no 2 (março 1972), pp. 24-29. Blake, Casey Nelson. “An Athmosphere of Effontry, Richard Serra – Tilted Arc and the Crisis of Public Art”, The Power of Culture. Ed. por Richard Wightman Fox e T. J. Jackson Lears. (Chicago: The University of Chicago Press), 1993. Boehm, Gottfried. “Within the Field of Gravity.” Richard Serra: Intersection, Basel. Düsseldorf: Richter Verlag, 1996. Bois, Yve-Alain. “The Meteorite in the Garden,” Art in America (Nova York), vol. 72, no 6 (Verão 1984), pp. 108-113. ___ . “A Picturesque Stroll around ClaraClara,” Richard Serra. Paris: Musée Nation al d’Art Moderne, Centre Georges Pom pidou, 1983. Traduzido por John Shepley e reimpresso em October (Cambridge, Mass.), no 29 (Verão 1984), pp. 32-62 e Richard Serra. Ed. por Ernst-Gerhard Güse. West fälisches Landesmuseum für Kunst und Kulturgeschichte, Munster. Stuttgart: Verlag Gerd Hatje, 1987; e Nova York: Rizzoli International, 1988. Traduzido e reimpresso em Richard Serra. Madri: Museo Nacional Reina Sofía, 1992. ___ . “Descriptions, Situations and Echoes: On Richard Serra’s Drawings,” Richard Serra, Drawings Zeichnungen 1969-1990. Ed. por Hans Janssen. Catalogue Raisonné. Bonnefantenmuseum, Maastricht. Berna: Benteli Verlag, 1990. Brenson, Michael. “Drawing Basics” Richard Serra: Nova Scotia Drawings. Nova York: Gagosian Gallery, 1994. Buchloh, B.H.D. “Vandalismus von oben, Richard Serra’s ‘Tilted Arc’ in New York,” Unerwunschte Monumente. Ed. por Walter Grasskamp (Munich: Verlag Silke Schreiber, 1989). ___ . “Process Sculpture and Film in Richard Serra’s Work,” Richard Serra: Arbeiten 66-77/Works 66-77. Tübingen: Kunsthalle Tübingen, 1978. Cornwell, Regina. “Three by Serra,” Art forum (Nova York), vol. 18, no 4 (dezembro 1979), pp. 28-32. Crimp, Douglas. “Richard Serra: Sculpture Exceeded,” October (Cambridge, Mass.), no 18. (Outono 1981), pp. 67-78. Tradução de “Richard Serra: Le Depassement de la sculpture,” Artistes (Paris), no 7 (janeirofevereiro 1981), pp. 30-37.

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___ . “Serra’s Public Sculpture: Redefining Site Specificity,” Richard Serra: Sculpture. Ed. por Laura Rosenstock. Nova York: The Museum of Modern Art, 1986. Reimpresso em Richard Serra. Ed. por Ernst-Gerhard Güse. Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Munster. Stuttgart: Verlag Gerd Hatje, 1987; e Nova York: Rizzoli International, 1988.

___ . “Sense and Sensibility: Reflection on Post 60s Sculpture,” Artforum (Nova York), vol. 12 no 3 (novembro 1973), pp. 43-53.

Dippel, Rini. “Richard Serra,” Museum journaal (Amsterdã), series 21, no 4 (agos to 1976), pp. 161-166.

___ . “Richard Serra: A Translation,” The Originality of the Avant-Garde and Other Myths. Cambridge, Mass. e Londres: The MIT Press, 1985. (Traduzido para o norueguês e reimpresso: “Richard Serra – En översättning,” Konst Magasinet (Malmö) no 11 (abril 1991), pp. 8-16.

Elger, Dietmar. “Neon Stücke,” Hannover: Spregel Museum. 1990. Germer, Stefan. “Die Arbeit der Sinne, Uberlegungen zu Richard Serra,” Richard Serra. Zurich: Kunsthaus Zurich, 1990. ___ _ . “Capital Follies,” Artforum (Nova York), vol. 17, no 1 (setembro 1978), pp. 66-67. ___ . “The Drowned and the Saved,” [texto lido na Synagogue Stommeln opening, Pulheim, 1992]. Reimpresso em Richard Serra, The Drowned and the Saved. Nova York: Matthew Marks Gallery, 1992. Glueck, Grace. “Serra’s Work Stirs Down town Protest,” The New York Times, setem bro 25, 1981. Güse, Ernst-Gerhard. “Fassbinder and the Artist’s Existence,” Richard Serra. Ed. por Ernst-Gerhard Güse. Westfälisches Landes museum für Kunst und Kulturgeschichte, Munster. Stuttgart: Verlag Gerd Hatje, 1987; e Nova York: Rizzoli International, 1988. Hahn, Otto. “Richard Serra,” Art Press (Paris), vol. 9 (fevereiro 1974), pp.10-11. Hickey, Dave. “Serra’s Paralells of Gravity and Architecture.” Richard Serra: Weight and Measure Drawings. Nova York: The Drawing Center, 1994. Hoppe-Sailer, Richard Druckprozess zu den graphischen Arbeiten Richard Serra. Das druckgraphische Werk, Prints – a Cata logue Raisonné, 1972-1988. Bochum: galerie m, 1988. Imdahl, Max. “Serra’s ‘Right Angle Prop’ and ‘Tot’: Concrete Art and Paradigm,” Richard Serra: Arbeiten 66-77/Works 66-77. Tübingen: Kunsthalle Tübingen, 1978.

___ . “Richard Serra/Sculpture.” Richard Serra: Sculpture. Ed. por Laura Rosenstock. Nova York: The Museum of Modern Art, 1986. Kuspit, Donald B. “Richard Serra’s City Piece,” Arts Magazine (Nova York), vol. 49, no 5 (janeiro 1975), pp. 48- 51. ___ . “Richard Serra: Utopian Con struc tivist,” Arts Magazine (Nova York), vol. 55 no 3 (novembro 1980), pp. 124-129. Leider, Philip. “New York : Richard Serra” [resenha: Castelli Warehouse], Artforum (Nova York), vol. 8, no 6 (fevereiro 1970), pp. 68-69. Reimpresso em The New Sculp ture 1965-75: Between Geometry and Ges ture. Nova York: The Whitney Museum of American Art, 1990. Meyer, Franz. “Richard Serra’s ‘The Hours of the Day’ im Kunsthaus Zurich,” Werk Bauen + Wohnen (St. Gallen) no 9 (setem bro, 1990). Monk, Philip. “Structures for Behavior,” Art News, pp. 21-27. Morris, Robert. “The Present Tense of Space,” Art in America (Nova York), janeiro-fevereiro 1978. Müller, Gregoire. “The Scale of Man,” Arts Magazine (Nova York), vol. 44, no 7 (maio 1970), pp. 42-43. Müller, Gregoire, e Gorgoni, Gianfranco. The New Avant-Garde: Issues for the Art of the Seventies, Nova York, Washington, e Londres: Preager Publishers. 1972. [inclui “Verb List Compilation 1967-68”]

Kozloff, Max. “9 in a Warehouse: An Attack on the Status of the Object,” Artforum (Nova York) vol. 7, no 6 (fevereiro 1969), pp. 38-42. Reimpresso em The New Sculpture 1965-75: Between Geometry and Gesture. Nova York: The Whitney Museum of American Art, 1990.

Parent, Beatrice. “Le Neon dans l’art con temporain,” Chroniques de l’art vivant (Paris), no 20 (maio 1971), pp. 4-6.

Krauss, Rosalind E. “Richard Serra: Sculp ture Redrawn,” Artforum (Nova York) vol. 10, no 9 (maio 1972), pp. 38-43. Reim presso em The New Sculpture 1965-75: Between Geometry and Gesture. Nova York: The Whitney Museum of American Art, 1990.

Pincus-Witten, Robert. “Richard Serra: Slow Information,” Artforum (Nova York), vol. 8, no 1 (setembro 1969), pp. 34-39. Reimpresso em Pincus-Witten, Postmini malism. Nova York: Out of London Press, 1977 e em The New Sculpture 1965-75: Between Geometry and Gesture. Nova York: The Whitney Museum of American Art, 1990.

___ . Passages in Modern Sculpture, Nova York: The Viking Press, 1977. ___ . “A View of Modernism,” Artforum (Nova York) vol. 11, no 1 (setembro 1972), pp. 48-51.

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___ . “Abaisser, entendre, contracter, com primer, tourner: regarder l’oeuvre de Richard Serra.” Richard Serra. Paris: Musée National d’Art Moderne, Centre Georges Pompidou, 1983.

Pierre, Jose. “Les Grandes Vacances de l’art moderne,” L’Oeil (Paris), no 173 (maio 1969), pp.10-18, 72.

___ . “Entries: Oedipus Reconciled,” Arts Magazine (Nova York), vol. 55, no 3 (novembro 1980), pp. 130-133.

Princenthal, Nancy. “The ‘Afangar Ice landic Series’: Serra’s Recent Etchings,” The Print Collector’s Newsletter (Nova York), vol. 22, no 5 (novembro-dezembro 1991), pp. 158-160. Pulitzer, Emily Rauh. “Space, Time and Sculpture,” Bryn Mawr Bulletin (Bryn Mawr, Pa.), vol. 65, no 1 (Outono 1983), pp. 8-10. Ratcliff, Carter. “Adversary Spaces,” Art forum (Nova York), vol. 11, no 2 (outubro 1972), pp. 40-44. Rose, Barbara. “Problems of Criticism, VI: The Politics of Art, Part III,” Artforum (Nova York), vol. 7, no 9 (maio 1969), pp. 46-51. ___ . “Richard Serra,” Modern Painting, Drawing & Sculpture Collected by Emily and Joseph Pulitzer, Jr. “ Cambridge: Fogg Art Museum, Harvard University, vol. 3. 1971, pp. 538-42. Rosenthal, Mark .“Abstraction in the 20th Century: Total Risk, Freedom, Discipline” (ca tálogo de exposição). Solomon Guggenheim Museum, Nova York, 1996. Rust, Prof. Holger. “Television Delivers People + Werbung als geheime Verfuhrung?” Medienbrief. 2/92. Munchen: Goethe-Insti tut. pp. 1-10. Saunders, Wade. “Hot Metal,” Art in America (Nova York), vol. 88, no 6 (Verão 1980), pp. 90-91. Senie, Harriet. “The Right Stuff,” Art News (Nova York), vol. 83, no 3 (março 1984), capa e pp. 50-52. Shiff, Richard. “Drawing Thick: Serra’s Black.” Richard Serra: Weight and Measure Drawings. Nova York: The Drawing Center, 1994. Snow, Michael. “Passage,” Artforum (Nova York, setembro 1972), p. 63. Storr, Robert. “Tilted Arc: Enemy of the People,” Art in America (Nova York, setem bro 1985) pp. 90-97. Thwaites, John Anthony. “Working Out,” Art and Artists (Londres), vol. 8, no 12 (mar ço 1974), pp. 34-37. van Winkel, C. H. “Serra’s in Nederland Een inventarisatie,” Kunst & Museum Journaal (Amsterdã), no 2 (1990). Weyergraf, Clara. “From ‘Trough Pieces’ to ‘Terminal’: Study of a Development,” Richard Serra: Arbeiten 66-77/Works 66-77. Tübingen: Kunsthalle Tübingen, 1978. Zweite, Armin. “Evidence and Experience of Self: Some Spatially Related Sculptures by Richard Serra,” Richard Serra. Ed. por Ernst-Gerhard Güse, Westfälisches Landes museum für Kunst und Kulturgeschichte, Münster. Stuttgart: Verlag Gerd Hatje, 1987 e Nova York: Rizzoli International, 1988. ___ . “A Steel Curve is not a Monument: Observations on some of Richard Serra’s Sculptures as Forms of Communicating the Uncommunicable”. Richard Serra: “Running Arcs, for John Cage”. Kunst sammlung Nordrhein Westfalen, Düssel dorf. Düsseldorf: Richter Verlag, 1992.

Rio de Janeiro is a city that has always been associated with innovativeness, sophistication, modernity. With their creative talent, Cariocas are constantly discovering and encouraging avant-garde movements. That is why the City Government of Rio de Janeiro is committed to supporting an ever-growing number of national and international events. For Rio is also Brazil’s major tourist, cultural, and sports center. We are proud of the Rodin and Monet exhibitions, which brought to the Museu Nacional de Belas Artes thousands of visitors from all over Brazil, and the concert for church bells played during Pope John Paul II’s recent visit. Now the Municipal Secretariat of Culture presents at the Centro de Arte Hélio Oiticica one of the most important sculptors of this day and age, the U.S. artist Richard Serra, who, for the first time, is presenting an one-man show in Latin America. Rio, a metropolis in constant change, welcomes Richard Serra, who has built so many monumental works installed in public spaces. Who knows Rio will someday boast one of them?

Centro de Arte Hélio Oiticica is proud to present a selection of works by U.S. artist Richard Serra – one of the major contemporary sculptors in the world today. His complex and modern work raises perceptual and spatial questions, engaging the public in the artist’s creative and exploratory process. Serra’s international prestige can be gauged by the number of sculptures by him installed in public spaces in such countries as Japan, Germany, and Switzerland, among others. Richard Serra is one more renowned artist coming to Rio de Janeiro in order to show his innovative concept of art, giving admirers of his style a unique opportunity to see products of his talent firsthand. The City Government of Rio de Janeiro and the Municipal Secretariat of Culture, having sponsored a number of major events on a regular basis, would like to emphasize the particular importance of this exhibition, which will include a lecture by Richard Serra himself. Helena Severo Municipal Secretary of Culture

Luiz Paulo Fernandez Conde Mayor of Rio de Janeiro City

Introduction Invited by our institution, Richard Serra – one of the most significant names in contemporary world art – together with Clara Weyergraf-Serra, came to Rio de Janeiro last April. His purpose was to see the art galleries in the Centro de Arte Hélio Oiticica, where he planned to hold a oneman show focusing on his monochromatic black drawings. The artist carefully explored the building’s architectural structure in order to establish a productive dialogue with space – the material with which he works – studying the lighting conditions and dimensions of each room. In the case of both sculptures and drawings, the site has a determining impact on the way Serra conceives his own method. “... The experience of the work is inseparable from the place in which the work resides.” Born in San Francisco, Richard Serra spent a few years in Europe before settling in New York in 1966, when his first works were made. In these he used such flexible materials as rubber, molten lead, neon lamps scattered and/ or casting light on the walls of rooms. These shapeless compositions anticipated his interest in a set of concerns different from those typical of orthodox minimalism, in which the prevailing structure of action articulates the sculptural procedure with direct manipulation of the surrounding space. Next, Serra produced an extraordinary series called “Props,” which already raised a number of issues that pointed to the dissolution of the sculptural object. These unstable constructions, made up of elements combined so as to create precariously balanced structures, underscored Serra’s break with the representative, narrative, or compositional nature of traditional sculpture. Form, now open, was determined in function of its mass, gravity, weight, and volume, altering the viewer’s perceptual experience beyond the limits of the current notion of visibility.

The use of large and heavy steel plates, with no supports, soldering, or any other fixing device, opened new possibilities of language for his work. Since the seventies, when Serra began his series of black-pigment drawings, the key concept behind his work has been site-specificity. By subverting the aloof confinement of studio work, Serra’s art expanded into public space, as the artist created large works that fit into the context of everyday city life or of specific architectural spaces. The monumental scale of these pieces, involving work in collaboration with a team of engineers, in shipyards and steel mills, requires, with the weight and force of their physical impact, an exclusive setting and particular conditions for their observation. To conclude, I would like to give special thanks to Richard Serra, for his enthusiasm in accepting the invitation to exhibit in Rio; to Clara Weyergraf-Serra, for the interest and cooperativeness she manifested at every stage of the project; and to Trina McKeever, whose unflagging helpfulness and attentiveness in readying photographic and documentary material made it possible to prepare this catalogue. To these three, my special thanks. I would also like to thank those who helped with the preparation of this event: Yve-Alain Bois and Carlos Zilio, for their generous interest during the initial phase of negotiations with Serra; Ronaldo Brito, whose brilliant analyses and critical discussions were of invaluable importance; Sula Danowski and Claudia Machado, who worked with efficiency and dedication on the editorial coordination of this publication; and to all those who, with their trust and patience, helped us to carry out this project. Vanda Mangia Klabin General Director, Centro de Arte Hélio Oiticica

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Exposição / Exhibition

Fotos / Photos

Curadoria/Curator Vanda Mangia Klabin

1. Catálogo/Catalogue

2. Cronologia/Chronology

Alexander von Berswordt-Wallrabe, Bochum, 31 Algis Norvila, Nova York, 40 Anne Chauvet, Paris, 20 Anne Garde, Paris, 36 Bevan Davies, Nova York, 19, 47 Christian Baur, Basel, 55 Claes Oldenberg, Nova York, 15 Dirk Reinartz, Buxtehude, capa/cover, 22, 25, 32, 33, 34, 39, 41, 46 Douglas Parker, Los Angeles, 24 Frans Grummer, Maastricht, 56 Frederic Delpeche, Bordeaux, 60, 61, 62, 63 Gianfranco Gorgoni, Nova York, 45 Gordon Matta-Clark, 17 Gwenn Thomas, Nova York, 18, 21 Huger Foote, Nova York, 37 Jacques Hoepffner, Paris, 35 Jim Ball, Seattle, 50, 53, 54 John Belletti, 49 Mali Olatunji, MoMA, Nova York, 8 Marie Sjöberg-Altemani, 29 Michael Bodycomb, Modern Art Museum of Fort Worth, Texas, 68, 69, 70, 71 Olaf Pascheit, Hamburgo, p. 95 Peter Moore, Nova York, 2, 3, 4, 5, 10, 11 Reinhard Friedrich, Berlim, 16 Richard Stoner, Latrobe, PA, 58, 59 Robert E. Mates, New York, 57 Roy Elkind, Los Angeles, 13 Sidney Felsen, Los Angeles, 30 Tom Ban, Pittsburgh, 23 Tom Powel, Nova York, 42 Vanda Mangia Klabin, Rio de Janeiro, 43, 44 Werner J. Hannappel, Essen, 9, 26, 27, 28, 38, 64

Akiyoshi Terashima, Tóquio, 55 Alexander von Berswordt-Wallrabe, Bochum, 56, 70 Algis Norvila, Nova York, 96 Archiv Kunsthaus, Zurique, 77 Armin Zweite, Düsseldorf, 64 Bill Jacobson, Nova York, 68 Christian Baur, Basel, 69 Claes Oldenberg, Nova York, 26 Cyrille Doukhan, 59 David Aschkenas, 46 Dick Wolters, Ovezande, 45 Dieter Schwille, Colônia, 38, 39 Dirk Reinartz, Buxtehude, 79, 84, 88, 91, 94, 100, 101, 103 Dorothy Zeidman, Nova York, 65 Douglas Parker, Los Angeles, 40 Eric Pollitzer, Nova York, 24, 27, 41 Erica Kiffl, Düsseldorf, 85 Gian Sinigaglia, Milão, 23 Gianfranco Gorgoni, Nova York, 7, 8, 12, 17, 60, 105 Glenn Steigelman, Nova York, 47 Hans Biezen, Tilburg, 87 Harry Shunk, Nova York, 18, 19 Huger Foote, Nova York, 82 Ivory Serra, 95, 104 Jacques Hoepffner, Paris, 81 © Jennifer Kotter, Nova York, 75 Jim Ball, Seattle, 44 Knut Garthe, Düsseldorf, 35 Laszlo J. Bogardy, Malmo, 14 Lobota Studios, Madrid, 61 Malcolm Lubliner, Los Angeles, 21 Marianne Barcelona, Nova York, 31 Marie Sjöberg-Altemani, 63 Matthew Marks Gallery, Nova York, 97, 98, 99 Michael Marsland, Yale University, 76 Michael Tropea, Chicago, 62 © Nancy Lee Katz, 106 Olaf Pascheit, Hamburgo, 107 Peter Moore, Nova York, 2, 3, 4, 10, 11, 13, 30 Phillippe Stepczak, 9, 32, 33 Rafael S. Lobato, Madri, 51 Reinhard Friedrich, Berlim, 34 Robert Mates, Nova York, 29 Robert Pettus, St. Louis, 49, 50 Shunk-Kender, Nova York, 5, 6 Sidney B. Felsen, Los Angeles, 80 Stedelijk Museum, Amsterdã, 36, 37 Stefan Erfurt, Wuppertal, 83 Tom Bills, Nova York, 42 Tom Powel, Nova York, 89, 102 Ulrich Baatz, Essen, 52, 108 Werner J. Hannappel, Essen, 66, 67, 71, 72, 73, 86 Yvon Lambert Gallery, Paris, 78

Produção executiva/Executive production Sinapse Consultoria e Serviços Montagem/Exhibition design Allen Glatter Assistentes de montagem/ Exhibition design assistants Luís Alberto Zúñiga Sergio Vaz Ronald Duarte Centro de Arte Hélio Oiticica Equipe técnica/Staff Monica Rabelo (administração) Fernanda Junqueira (assessoria) Severino Rodrigues (assistente)

Catálogo / Catalogue

Edição/Edition Vanda Mangia Klabin (coordenação) Sula Danowski, Claudia Machado Projeto gráfico/Graphic design Danowski Design Ltda, Rio de Janeiro Sula Danowski, Claudia Machado Adriana Cataldo (assistente) Tradução/Translation Paulo Henriques Britto Revisão de texto/Proofreading Rosalina Gouveia Tratamento de imagem/Image processing Leonardo Fanzeres Fotolito/Films De Garcia Fotolito Digital Ltda, Rio de Janeiro Impressão/Printing Pancrom Indústria Gráfica Ltda, São Paulo

Agradecimentos/Acknowledgments Chicô Gouvêa, Geomax Equipamentos Ltda, Hotel Méridien Rio – Fernando Chabert, Iza Bozzano, Jorge Czajkowski, Günther Bohuslav – Copacabana Palace Hotel, Paula Bergamim, Paulo César e Isabel Ferreira, Paulo de Azevedo Bertazzi, Paulo Lapport, Plantel Agência de Viagem – Henrique Jaymovich, Paulo Klabin, P. S. 3 – Arquitetura Promocional Ltda, USIS – Serviço de Divulgação e Relações Culturais dos Estados Unidos da América.

As fotos não relacionadas foram cedidas por Richard Serra. The remaining photos have been provided by Richard Serra.

Capa/Cover Snake, 1996 Aço Cor-Ten/Cor-Ten steel Seis partes curvas, área total 396cm x 31,69m Coleção Guggenheim Museum, Bilbao, Espanha

ISBN 85-86675-01-6

9 788586 675010

Apoio