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RICHARD SERRA, PROMENADE, GRAND PALAIS, PARIS 2008
RICHARD SERRA, PROMENADE, GRAND PALAIS, PARIS 2008
R. SERRA, PARIS: “WALKING AROUND PLATES”
R. SERRA, PARIS: “STANDING ALONE UNDER A GLASS DOME”
R. SERRA, PARIS: “MEETING WITH SKEWED PLATES”
R. SERRA, PARIS: “PERCEPTION OF BALANCE AND GRAVITY”
R. SERRA, PARIS: “STEEL STANTDING IN AN IRON-GLASS STRUCTURE”
weatherproof steeel, 5 plates, each ca. 55x13x5 inches (16,76x3,96x0,13 m)
"It (Promenade, ndr) engages the architectural history of a very different context. What comes to mind when you think of a structure that's tight and high but you can still walk into?" R. Serra, 2011
R. SERRA, CLARA CLARA, PARIS 2008
R.SERRA, BERLIN JUNCTION, BERILN 1987
R. SERRA, INTERSECTION II MOMA 2007
R. SERRA, INTERSECTION II MOMA 2007
R. SERRA, BILBAO
IRON WATERPROOF (CORTEN)
R. SERRA, DOUBLE TORQUED ELLIPSE , DIA, 1997
R.SERRA, LAMCO VECTORS, MOMA 2007
R. SERRA, DIALOG MIT J. C. SCHLAUN, MUNSTER 1996R
R.SERRA. INTERSECTION II MOMA 2007 (INT)
RICHARD SERRA, SCULPTURES 1985-2007
"el espectador de Clara Clara tenedrŕ una vision de plano de comjuncto de la escultura antes de acelelarse ad ella. Los dos arcos de circumferencia son ,geomčtricamente dos fragmentos idénticos de una secciňn de cono, es decir, que las paredes curbas de tales arcos no sono verticales, ya éeste es el primer hecho que la planta no nos revela" Y.A.Bois (1992)
"Line is everywhere in Serra’s sculpture. In the cutting and sawing pieces it is both physical edge and elemental “drawing”—a logical trajectory creating the abstract syntax that binds together the separate elements of the work". R.Krauss, 1969
“In rejecting welding, which he calls “stitching,” Serra employed the first method of raising forms from the ground, that of leaning and propping, as a boy leans cards one against the other. (…)Serra raises forms that are only possible through propping. Hidden in this distinct ion is the time-honored argument surrounding “integrity” and “truth to materials” which, in our time, are almost exclusively associated with Brancusi.” R. Pincus.Witten, 1969
“(the installation at Guggenheim Bilbao, ndr) is summation of the torqued ellipses and it is also the beginning of using toruses,spheres an spirals. I was able to place the pieces in rlation to the entirity od the space. The space have no entrance or exits I f you want to experience the entire intstallation you have to walk the lenght of the space and back, but there is no prescribed way of seeing those pieces. You determinate your own sequence of viewing" R.Serra, 2008
“The biggest break in the history of sculpture in the thentieth century occurred when pedestal was removed. the historical concept of placing sculpture on a pedestal established a separation of the object from the behavioral space of viewer. " R.Serra,1982
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