Richard Serra vol.1, Centro de Arte Hélio Oiticica

Page 1

Richard Serra



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


1

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

7


2

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

8


9


10


4

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

11


12


6

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

13


14


8

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

15


10

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

16


17


18


12

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

19


14

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

20


21


22


16

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

23


18

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

24


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,

25


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

26


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.

27


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

28


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.

29


19

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



32


20

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

33


22

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

34


35


36


23

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

37


25

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

38


39


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

40


41


29

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

42


43


31

“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

44


45


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

46


47


35

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

48


49


50


37

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

51


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.

52


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

53


38

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

54


55


39

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

56


57


40

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

58


59


60


41

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

61


62


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

63


45

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

64


65


66


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

67


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.

68


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

69


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

70


48

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

71


72


49

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

73


74


51

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

75


53

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

76


77


55

78

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


79


80


56

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

81


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

82


83


84


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

85


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

86


87


64

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

88


89


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

90


91


92


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

93


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.


1

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

3

2

4

96

5


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

7

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

8

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.

9

10

11

97


14

12

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

13

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

15

98

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.


16

18

19

17

20

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.

21

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);

99


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

22

23

24

25

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

26

28

27

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.

29

30

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’

33

32

31

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

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

34

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.

36

37

103


39

38

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

40

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,

41

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

43

44

42

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.

45

105


47

46

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.

48

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

50

51

49

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).

52

107


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

53

55

56

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

108

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’

57

59

58

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

109


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

61

63 60

62

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


67

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

66

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,

111


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

69

68

70

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

72

73

71

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.

74

113


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

75

76

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.


79

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.

115


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

81

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

80

82

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

116

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.


85

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

83

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

84

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

86

117


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

88

89

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.

118

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

91

92

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

119


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

96

94

1995

95

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.

120

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.


97

101

98

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

99

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

102

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.

121


104

103

105

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

122


123


Space in Action

Ronaldo Brito

124

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.

133


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.

134

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

135


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).

136

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.

137


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.

138

“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:

139


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).

140

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.

141


___ . “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.

142

___ . “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

143


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


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.