Richard Serra/sculpture

Rosalind E. Krauss, edited and with an introduction

by Laura Rosenstock, essay by Douglas Crimp

Author
Krauss, Rosalind E

Date

1986

Publisher
The Museum of Modern Art

ISBN
087070592X, 0870705903

Exhibition URL
www.moma.org/calendar/exhibitions/2190

The Museum of Modern Art's exhibition history—

from our founding in 1929 to the present—is
available online. It includes exhibition catalogues,
primary documents, installation views, and an
index of participating artists.

MoMA © 2017 The Museum of Modern Art

 $40.00

Richard Serra/Sculpture
Rosalind E. Krauss
Edited and with an introduction by Laura Rosenstock
Essay by Douglas Crimp

Since the mid-1960s, the American artist

Richard Serra has been challenging traditional
concepts of sculpture. He has experimented
with process art, "casting" molten lead into the angle
formed by floor and wall to create a series of Splash
Pieces, and with constructed sculpture, leaning massive
slabs of lead and steel against each other to make his
Prop Pieces. His large outdoor installations—created
for such diverse sites as a plaza in Barcelona, the New
York exit from the Holland Tunnel, and three hundred
yards of field in rural Canada—actively involve the
viewer in a space-time continuum.
In this book, nearly 120works are illustrated, from
early rubber and neon-tubing pieces to late large-scale
projects in steel. Rosalind E. Krauss, author of Passages
in Modern Sculpture (1977) and The Originality of the
Avant-Garde and Other Modernist Myths (1985), ana
lyzes Serra's work and its intellectual and perceptual
basis. Douglas Crimp investigates Serra's public sculp
ture and his redefinition of site specificity.Laura Rosen-
stock, Assistant Curator in the Museum's Department
of Painting and Sculpture, provides an introduction, as
well as a chronology, selected bibliography, and lists of
the artist's exhibitions and his filmsand videotapes. This
book accompanies an exhibition at The Museum of
Modern Art, New York.

184pages, 185illustrations, 43 reference illustrations

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RichardSerra/ Sculpture
RichardSerra/ Sculpture
Rosalind E. Krauss

Editedand with an introduction

by LauraRosenstock
Essayby DouglasCrimp

The Museum of Modern Art

New York
Published on the occasion of an exhibition at
The Museum of Modern Art, New York
February 27-May 13, 1986

Copyright © 1986The Museum of Modern Art

All rights reserved
"Richard Serra/Sculpture" Copyright © 1986
Rosalind E. Krauss
"Serra's Public Sculpture" Copyright © 1986
Douglas Crimp
Certain illustrations are covered by claims to
copyright noted in Photo Credits, page 182
Library of Congress Catalog Card Number 85-62476
Paperbound ISBN 0-87070-590-3
Clothbound ISBN 0-87070-592-X

Edited by Jane Fluegel

Designed by Richard Haymes
Production by Tim McDonough
Typeset by Concept Typographic Services, New York
Printed and bound by Dai-Nippon, Tokyo
Distributed outside the United States and Canada
by Thames and Hudson Ltd., London

The Museum of Modern Art

11West 53 Street
New York, New York 10019

Printed in Japan
Acknowledgments The Museum of Modern Art takes pride in presenting the first retrospective in an
American museum of the work of Richard Serra, one of the outstanding artists
working today. This exhibition consists of ten significant sculptures representative
of Serra's accomplishment of the past twenty years. This book, published on the
occasion of the exhibition and reproducing a selection of nearly 120 works,
provides an in-depth review of Serra's sculptural career. The preparation of both
projects has required the assistanceand collaboration of many people, to whom, on
behalf of the Trustees of The Museum of Modern Art, I wish to express a great debt
of gratitude.
First and foremost, I wish to thank Richard Serra. It has been a rewarding
experience to work with him. His participation has been wholehearted and
essential,and I am grateful for his openness in exchanging ideas and for what I have
learned from his work.
Rosalind Krauss, with whom I have had the pleasure of directing the exhi
bition, is to be thanked for her many contributions. We are all in her debt for
her collaboration in the selection of the exhibition and for her perceptive and
thoughtful writing on Serra's sculpture. She joins me in thanking Douglas Crimp
for his essayon Serra's public sculpture.
My very warm thanks are due Clara Weyergraf Serra. Her kind cooperation
and patient collaboration in providing essential information about the artist's work
have been invaluable. Particular thanks also go to Leo Castelli, whose association
with the artists now spans eighteen years, and Alexander von Berswordt-Wallrabe,
who has collaborated with him for the past ten. Both have willingly assisted in
locating works and have enthusiastically provided needed information.
Most sincere appreciation is due the lenders to the exhibition. Graciously
consenting to share their works with us are the Grinstein Family,Los Angeles; the
SaatchiCollection, London; Walker Art Center, Minneapolis; Leo Castelli Gallery,
New York; and Galerie m, Bochum, West Germany.
Important to the exhibition are the consulting engineer Malcolm Graff of
Malcolm Graff Associates,who supervised the challenging installation, and Ray
LaChapelle and Sons, responsible for the rigging. We thank them.
Generous grants from the National Endowment for the Arts and the New
York State Council on the Arts have provided needed support for the exhibition
itself. The cooperation of The Port Authority of New York and New Jersey is also
deeply appreciated.
Many colleagues at The Museum of Modern Art have been generous in
lending their interest and assistance.William Rubin, Director of the Department
of Painting and Sculpture, has strongly supported this exhibition from the time it
was originally proposed by Kynaston McShine, Senior Curator, and the continued
encouragement of both is greatly appreciated. My special thanks go to Alicia Legg,
Curator, for her expert advice on dealing with large sculpture and for enthusi
astically exchanging ideas. Marjorie Frankel Nathanson, Curatorial Assistant,
joined this project during the final stages of the preparation of this book and
assisted in the installation of the exhibition. Most especiallyI should like to thank
Alexandra Muzek. She has ably handled a multitude of details—from providing
documentation and obtaining photographs to typing correspondence and man
uscript for this book—all with professionalism,efficiency,and good will. Her help
has been invaluable and very much appreciated. Ruth Priever has also frequently
provided assistance.
I should particularly like to thank Richard E. Oldenburg, Director of the
Museum, for his interest and support. Richard Palmer, Coordinator of Exhibi
tions, and BetsyJablow, AssociateCoordinator of Exhibitions, have ably handled
the scheduling of the exhibition at the Museum and supervised the many adminis
trative details in its organization. I am indebted to Jerry Neuner, Production
Manager, for his enthusiastic cooperation and attention to the installation of the
exhibition. Among many other members of the Museum's staff who have contrib
uted in various ways I would like to thank John Limpert, Jr., Director of Develop
ment; Darryl Brown, Grants Officer; Richard Tooke, Supervisor of Rights and
Reproductions; Philip Yenawine,Director of Education; Jeanne Collins, Director
of Public Information; Eloise Ricciardelli, Registrar; The Department of Con
servation; Jon Gartenberg, Assistant Curator of Film; Barbara London, Assistant
Curator of Video; and Paula Baxter, AssociateLibrarian for Research.
A special debt is owed the Department of Publications and those directly
responsible for the preparation of this book. Jane Fluegel edited it with perception,
thoroughness, and enthusiasm. Richard Haymes has enriched this publication with
his design; he has been ably assisted by LesleyMandel and Tim Metevier. Timothy
McDonough, Production Manager, has overseen the production of the book
with skilled professionalism. Frederic McCabe, Director of Publications, Harriet
Schoenholz Bee, Managing Editor, and Nancy Kranz, Manager of Book Distribu
tion, were particularly helpful.
The expertise and contributions of all are deeply appreciated.

Laura Rosenstock
Assistant Curator
Department of Painting and Sculpture
The Museum of Modern Art
Contents Preface William Rubin 9

Introduction LauraRosenstock 11

Richard Serra/Sculpture RosalindE. Krauss 14

Serra's Public Sculpture:

Redefining Site Specificity DouglasCrimp 40

Plates 57

Chronology 167

Exhibitions 169

Films and Videotapes 176

Selected Bibliography 177

Works in the Exhibition 180

Photo Credits 182

Trustees 184
Preface The Museum of Modern Art has an ongoing commitment to supporting the best
contemporary art, and has always accepted that this involvement may—indeed,
almost inevitably will—entail controversy. As long ago as 1976, we decided to
devote an exhibition to Richard Serra because we felt that the pieces he had then
been producing—most of them indoor and landscape-sited works—were of the
highest order of creative energy and quality. Various delays attendant on the
construction of the Museum regrettably forced postponement of the project; and
all the while the artist's body of work, more than only fulfillingour early estimation
of his talents, continued to expand in the area of urban projects and to gain even
more dramatic public prominence. In planning the exhibition over several years,
we had not expected that assessmentsof Serra would become so intensely focused
on but one aspect of his sculpture and so enmeshed in larger debates over the
purposes of public art. We are happy now to provide, through the exhibition and
this accompanyingpublication, the occasion for a better awarenessof the full range
of this important artist's work and of the impact he has had on our visual con
sciousness these past two decades.
We have been pleased to work with guest curator Professor Rosalind Krauss,
codirector of the exhibition with curator Laura Rosenstock of our staff. We are
grateful to both Richard Serra and Rosalind Krauss for their work in constituting
the exhibition and to Professor Krauss for her excellent contributions to the catalog
as both author and editor. We hope their efforts will make evident to our visitors
the great originality and power that first drew our curatorial staff to Serra's work.
The installation in our galleries reaffirms the vitality of the artist's continuing
engagement with indoor sculpture. Naturally, the Museum cannot exhibit that
other aspect of Serra's work which has latelybeen the center of so much discussion,
his large and challenging urban-sited pieces. However, given the extraordinary
circumstances of last spring's hearing on the fate of Tilted Arc and the outpouring
of comment it has occasioned, we felt it appropriate that the artist's position on
these matters should be represented in the catalog in the way he personally deemed
most effective. The Museum of Modern Art disagrees with the rhetorical tone and
historical polemic of much that has been written about Tilted Arc here as
elsewhere. Yet, however differently our curators would argue for Serra's position,
9
 we have chosen, at an exceptionally embattled moment in the artist's career, to air
this debate in the fashion he and his guest curator requested—thereby fulfilling
one of the Museum's roles, as a forum for the widely differing ideas and opinions
that give dynamism to public dialogue on the art of our time.

William Rubin
Director
Department of Painting and Sculpture
The Museum of Modern Art

10
ichard Introduction R Serra has created a wealth of complex and sophisticated
sculpture since 1965, much of it the result of exploring direc
tions indicated to him by his own work. In the winter of
Laura Rosenstock 1969-70, as he splashed molten lead against a small steel plate
wedged into the corner of Jasper Johns's studio (pi. 51), he
realized that if the juncture of floor and walls alone would hold
up this plate, it would support a large steel plate as well. A year
later, at the Lo Giudice Gallery, New York, he made Strike
(pi. 52), lodging an eight-by-twenty-four-foot steel plate in the corner of a room,
where it stood without any additional means of support. When, in 1972, he
participated in Documenta 5, in Germany, he extended this concept by wedging
four steel plates into the four corners of a square space and called the piece Circuit
(pi. 66).1
Serra's works involve the viewer in this creative, exploratory process. They
heighten perceptual awareness and virtually force interaction. They compel the
viewer to confront his experience and perception of them in relation to both space
and time and to focus on their physical properties and the manner in which they
were created. All Serra's sculptures are concerned with what can actually be
experienced and observed. Some reveal the process of their making, some clarify
aspects of their physicalproperties, and others redefine the nature of the space they
occupy. It is only in tracing these interactions, in "working" to understand the
I think most work comesout of work and out of the perception of work. pieces, that they become fully comprehendible and meaningful.
—Richard Serra, 1985 Illustrated on the pages that follow are nearly one hundred and twenty works
made by Serra in his twenty years as a sculptor. They range from early rubber and
neon-tubing pieces to some of his most recent large-scaleworks in steel. This book
is published in conjunction with an exhibition of ten works that span the same time
period and represent some of the artist's most innovative investigations of the
sculpture medium.
In forming his body of work, Serra has challenged some of sculpture's long-
accepted conventions. In the late 1960s,he composed a verb list that specified the
processes involved in and the constraints on making sculpture. One verb, "to
splash,"was exemplified by a series the artist executed from 1968to 1970.These
11
 Splash Pieces can be termed "process art," insofar as their forms recount the Circuit, II* 1972-86 (a version of pi. 66, the Documenta piece of 1972),
method of their making. Molten lead was splashed, or cast, into the angle formed redefines and articulates the space of a room. The four plates, ten feet tall and
by floor and wall; when it hardened it was "unmolded," turned over to rest on the therefore too high to look over, are arranged so that only one quadrant of the room
floor, and another "cast" made until the desired number was completed. Casting* is visible at a time—except at the open center. Thus one must walk through the
1969-86, recovers this process (for a similar work, see pi. 32). By interpreting work in order to comprehend it fully.The four elements in Equal Paralleland Right
literally the verb "to cast" ("to throw or fling with a quick motion and sudden Angle Elevations* 1973—83 (a version of pi. 72), are identical in height, but they do
release"), Serra declared his independence of a sculptural tradition, that of casting not read so perceptually. Arranged in a large room, and therefore all resting on flat
2 or reproducing a form by pouring molten metal into a mold. These process works ground, the two short, two long pieces seem to shift in height as one movesthrough
were not only active, in the artist's manipulation of the material, but effective, for the space the indoor counterpart to outdoor landscape works such as Shift,
in seeing the multiple casts removed from the wall and turned over to lie on the 1970-72 (pi. 60), where elevationsare perceived to change as one crossesthe rolling
floor, the viewer could reconstruct the process involved in making the piece and in ground. Two Corner Curve* 1986, another ten-foot-high work, arcs diagonally
so doing sense the passage of time.
across the room, its two ends resting in opposite corners, its two sides—one
With his 1969Prop Pieces, Serra turned his attention to the physicalproper concave, one convex—conveying completely different sensations of space. As in
ties of sculpture, its weight and materials, presenting them in a nonillusionistic the case of Slice, 1980 (pi. 87), each side is viewed from its own entrance; and,
manner so that the principles of the works' construction could be grasped. depending on viewpoint, the work seems to contract or expand with the compres
Weighted and cantilevered against each other, the floor, the wall, or a seven-foot sion or extension of the space. The incline of the twelve-foot-high, thirteen-foot-
lead pole, without benefit of the welding typical of Cubist-derived sculpture, were long outdoor sculpture Modern Garden Arc* 1986—how far it leans, its rela
four-foot-square lead plates, joined to effect not an illusionof balance but an actual tionship to the ground as it leans—can be gauged against the architecture. As the
balance. In One Ton Prop (House of Cards)* 1969(pi. 33), four lead plates propped viewer orients himself to a leaning, vertical curve, he, in effect, measures himself
each other up; in 1-1-1-1 , 1969 (pi. 45, now destroyed; steel version* 1969-86), a against the perpendicular context in which the work is placed. Delineator, II,*
pole was balanced across the four plates, holding them in place by pressing down 1974 86, like its first version (pi. 74), consists of two rectangular plates, one flat on
on them. Serra made us aware of sculpture's physical properties by not disguising the floor, the other attached to the ceiling but positioned crosswise to the lower
them. In the Props he retained the intrinsically dull, raw finish of lead, as he would plate. Serra has said of the earlier version: "The juxtaposition of the steel plates
later maintain the "natural" rusting of steel. Lead is heavy yet malleable, stable but forming this open cross generates a volume of space which has an inside and
able to be undermined. The dichotomy between the stability of the material and its outside, openings and directions, aboves, belows, rights, lefts—co-ordinates to
potential for disorder is reflected in the structure of the works. Held together your body that you understand when you walk through it. . .. You sense a volume of
3 solely by weight and force of gravity, the Prop Pieces tended to stay upright but verticality lifting up from the floor to the ceiling that you become part of."
paradoxically suggested the possibility of collapse. (Aspects of weight and balance The concept of volume expressed in Delineator had become essential to
would figure in all Serra's subsequent sculpture, including Two Plate Prop* 1986.) Serra's work shortly after he produced the first Prop Pieces. One Ton Prop, for
Like the process works, the Prop Pieces alluded to time and movement—yet here example, could be walked around, viewed from all sides, but it could not be
motion was arrested and time implied in the potential of the pieces for change entered. However, sculptures such as Five Plates, TwoPoles* 1971(pi. 64), could be
and movement.
walked into , the interior space had been made accessible.It could not, however,
The large steel structures of the 1970sand '80s have brought a new dimension be walked through; that would only become possible with the large steel interior
to the viewer's involvement in Serra's sculpture; they alter and reshape the viewer's installations and outdoor urban and landscape works of the 1970sand '80s. Five
perception of space. As only parts of these works can be seen from any one vantage Plates, Two Poles, its rhythm of rectangular planes tilted off axis and seemingly
point, they require that time be spent in walking, looking, anticipating, and
distorted into trapezoids and parallelograms slanting in various directions, denot
remembering. The pieces change configuration with the viewer's every step, ing mass and openness, anticipated works such as Terminal, 1977 (pi. 77), Slat,
making him aware of the relation of the works to himself and to the space they
1980-84 (pi. Ill), and Carnegie, 1985 (pi. 118),where Serra's interest in enclosed
occupy.The body's movement around and through the works givesfuller informa
volume and inside/outside dialogue is more fully considered. The ambiguous
tion about the pieces and their space. Their meaning unfolds through the viewer's multisided exteriors of those highly vertical later works, their aspects constantly
continually changing physical experience of the sculpture. Five works illustrate
these points. changing as one walks around them, contrast with their interior spaces, which are
regular and visible in their entirety.
Although the viewer must move around Serra's large-scaleworks to compre
*Asterisk indicates works in the exhibition at The Museum of Modern Art, New York.
hend them fully, some pieces, particularly the urban and architectural works that
12
 involvemore than one element and have an active "dialogue" with their own parts, Serra's work can be analyzed and characterized in many ways. Gregoire Miiller,
seem to propel the viewer around them, exerting a sense of speed. This is writing in The New Avant-Garde, observes:
particularly true of Clara-Clara, 1983 (pi. 104),in which two identical sections of a
cone, a shape that has different radiuses at top and bottom, are placed side by side It is impossibleto dissociatethe physicalproperties of a [Serra] piece and
with one inverted, so that the two parts incline in the same direction, enhancing the psychological conditions of its perception. Materials, processes,
and distorting the viewer's sensations of speed and mobility as he passes between thought mechanisms, time, horizontality, verticality, composition,
them. In contrast, Modern Garden Arc, a single section of a cone, does not produce weight, disorder, perspectives, Gestalt, Knowledge, structures and
these same sensations, but provokes a strong feeling of disequilibrium because it physicality are some of the different aspects under which his pieces may
4 both inclines more steeply and rises more vertically than Clara-Clara. be considered, but, they are actually all interconnected.
Serra's desire to involve the viewer with his work both spatially and tem
porally parallels his desire to create works that respond to a specific site. He
structures his work as an integral part of the site in which it is to be placed. It is It is the interrelation of all these elements that invests Serra's work with its
designed in relation to the site, which it then redefines. It is perhaps easier to expressive power and presence, with a particular eloquence that, while generated
comprehend site specificityin relation to an outdoor plaza or landscape setting, but by attention to perceptual awareness, extends beyond perception alone.
Serra also takes cues from the site in his large indoor installations. They are built The artist himself has said: "The structures are the result of experimentation
within the context of the architecture, and their scale and placement are deter and invention. In every search there is alwaysa degree of unforeseeability,a sort of
mined by the size and shape of the room and by the limitations of access space and troubling feeling, a wonder after the work is complete, after the conclusion. The
5 weight load. Many of the works in the exhibition are site specific: Casting is part of the work which surprises me, invariably leads to new works." For Serra,
"splashed" along a length of wall in the gallery; Circuit is designed to occupy a "most work comes out of work and out of the perception of work." His structures
square room, its dimensions determining the length of the plates that would, if evolvefrom earlier pieces and from his experience of those pieces. The viewer,too,
extended, intersect in the center; the elements of identical height in Equal Parallel must "work" to understand the pieces. By participating in the work, by confront
and Right Angle Elevations must be placed in a room that is large enough for these ing his perceptions and exploring the paths revealed by the sculptures, the viewer
heights to be perceived to alter; Modern Garden Arc rests on an underground discovers the complexity and meaning of the structures and ultimately shares in the
supporting beam that determines its height, size, and scale. excitement the artist derives from his work.

Notes
1. Richard Serra, 1985,in conversation. In the course of writing this introduction, I was fortunate to have had conversations with series of discrete parts coming together to make a whole, while a traditional cast surface is a whole which is sometimes inflected
the artist, for which I am most grateful. The importance of Splash Piece: Casting, 1969-70, for Serra's upright steel plates is into parts. Casting is pardy about making congruent and independent things that can be distributed. Serra shows he knows this by
documented by Douglas Crimp, in "Richard Serra's Urban Sculpture: An Interview," Richard Serra: Interviews, Etc. 1970-1980 casting the corner three times doing an edition within the piece. Yet in his sculpture the parts are not congruent, but similar.
(Yonkers, N.Y.: The Hudson River Museum, 1980),p. 181. They are not an imageof something but an instance of it. They must be kept together to make the whole. The sculpture is absolutely
2. For an analysis of differences between Serra's casting process and that of conventional methods, see Wade Saunders, "Hot site specific, embedded. It wouldn't be the same if moved or reinstalled."
Metal,"Art in America,vol. 68, no. 6 (Summer 1980),pp. 90-91. "For example, traditional castings are hollow and usuallybulge out 3. From an interview by Liza Bear, "Richard Serra: 'Sight Point '71— '75/Delineator '74-'76,'" in Serra: Interviews, pp. 58, 61-62.
from an implied or existing void. The elements in the surviving Serra piece are solid and seem to sag in. .. .In casting, hot metal is 4. In Gregoire Miiller and Gianfranco Gorgoni, The New Avant-Garde:Issuesfor the Art of the Seventies(New York, Washington
normally introduced into a mold all at once. The actual pouring is thus antithetical to shaping; the metal fills a created void and so London: Praeger, 1972),p. 19.
duplicates a pre-existing thing. We see only the metal that was in contact with the mold, metal which is usually patinated and 5. Richard Serra, quoted in "Extended Notes from Sight Point Road," in Richard Serra: Recent Sculpture in Europe 1977-1985
preserved. Serra made his piece incrementally,a ladleful of molten lead at a time. ... We see the mold surface in severalof the parts, (Bochum, West Germany: Galerie m, 1985),p. 11.
but we also see a new, active surface, a surface simultaneously depending on and effacing the underlying one. This surface is a

13
Kb
 RichardSerra Portrait of the Artist. . .ThrowingLead

he
Sculpture T artist appears in a photograph. Backlit against the luminous
distance of the far wall of a room, his body is reduced to silhou
etted gesture: legs braced, arms outstretched, the instrument
in his hand whirling above his head like a slingshot about to
Rosalind E. Krauss release its stone. Dressed as though for battle, he is helmeted,
goggled, gas-masked. The field on which he stands is strewn
with slag. In the foreground is an acetylene tank and two large
iron pots. Behind him several vertical planes describe pre
carious geometries. At the top of this image, above the ceiling of the room, above
the picture itself, we read the title of the book for which this portrait serves as
cover: The New Avant-Garde: Issuesfor the Art of the SeventiesT The artist so
portrayed (fig. 1) is Richard Serra and what he is doing, ladle in hand, is throwing
molten lead.
The history of twentieth-century art is punctuated by famous portraits of the
artist at work. It is impossible to look at Serra's gesture without remembering the
lithe athleticism of Jackson Pollock in the photographs depicting him balanced
above his floor-bound canvases, the balletic master of flung paint. And having
opened the door to that image, we realize that behind it stands a whole series of
others, artists at work with brush and paint deployed in vigorous gestures, as in the
famous filmsof Pablo Picasso and Henri Matisse magicallycreating something out
of nothing as each demonstrates his art for us upon the transparent surface of a
Fig. 1. Opposite: Richard Serra throwing lead, pane of glass.
Castelli Warehouse, New York, 1969. We are interested in the process of their work as it is revealed through their
Photograph by Gianfranco Gorgoni
passion, their intensity, their caprice, their skill. Matisse draws a line that is
hopelessly,wrenchingly simple, just an arc that a slight pressure of the brush causes
to widen at one end. But the flank of a body magically appears—sensuous,
immediate, complete—and the economy of the gesture is revealed in all its
mastery, in its total, wanton perfection. The artist is at work.

15
 Um dos argumentos fundadores sobre a relação da arte visual com a narrativa gira na distinção essencial entre o meio da narração - tempo -
e o da imagem representada - espaço. Nessa diferença, argumentou Gotthold Lessing no Laocoon (1766), deve-se localizar tanto os problemas
separados dos vários meios estéticos quanto o gênio particular de cada um. Ele concluiu que o problema para o artista visual, que se limita a Uma ação privada de um objeto tem uma relação bastante especial com o tempo. Deve ocorrer com o
apenas um momento de uma sequência narrativa, é encontrar o momento mais sugestivo ou mais gravídico, aquele que implicará tanto o que tempo, mas não se move em direção a um término, pois não há término, nem destino adequado, por assim
já aconteceu como o que está por vir. O tratado de Lessing teve uma ressonância enorme para a pintura do final do século XVIII e do início dizer. Assim, enquanto a lista de verbos ativos sugere o temporal, é uma temporalidade que nada tem a ver
do século XIX, para a qual a representação de sujeitos históricos era a questão central. Mas, pode-se argumentar, o modernismo dispensou com o tempo narrativo, com algo tendo um começo, um meio e um fim. Não é um tempo em que algo se
não apenas as narrativas históricas, mas todas as narrativas, para alcançar a impressionante simultaneidade da experiência com o próprio desenvolve, cresce, progride, alcança. É um tempo durante o qual a ação simplesmente age, e age, e age.
trabalho, a imagem como objeto estético puro.

Although it focuses on the physical act of making, this portrait of Matisse is An action deprived of an object has a rather special relation to time. It must
conceptually compatible with another of which we have only written accounts, of occur in time, but it does not move toward a termination, since there is no
Saint-Pol-Roux,who posted the sign on his door every night before going to bed: terminus, no proper destination so to speak. So, while the list of active verbs
"Poet working." For both the labor of producing dreams and the work of spinning suggeststhe temporal, it is a temporality that has nothing to do with narrative time,
a web of line upon the surface of an indifferent world presuppose the same nature with something having a beginning, a middle, and an end. It is not a time within
for the creative act. The externalization of the artist's perceptions, feelings, ideas, which something develops, grows, progresses, achieves.It is a time during which
this act is expressive, elaborating a trace or index of interior states. So that the the action simply acts, and acts, and acts.
picture of the artist at work comes to stand in a symmetrical relationship with the One of the founding arguments about visual art's relation to narrative turns
artist's works: all are images of the man himself. In Pollock's portraits—in their on the essential distinction between the medium of narration—time—and that of
still-photographic and filmic versions—this symmetry is insisted upon. What we the depicted image—space. In this difference, Gotthold Lessinghad argued in the
see as we look at that black-shirted figure, blurred in the rapidity of its motion, Laocoon (1766), one should locate both the separate problems of the various
reduced to a kind of graphic sign, is a fusion between expressivityand expression, aesthetic mediums as well as the genius particular to each. He concluded that the
between gesture and trace: Portrait of the Artist ... as a Work. problem for the visual artist, who is limited to just one moment in a narrative
Serra's throwing lead mimes Pollock's flinging paint, but with a difference sequence, is to find the most suggestiveor most pregnant moment, the one that will
2 that makes all the difference. The first aspect of that difference is the gas mask. imply both what has already happened and what is to come. Lessing'streatise had
O Retrato do Artista Mascarado, The mask entered the art of this century as a challengeto psychology,a refusal enormous resonance for late-eighteenth- and early-nineteenth-century painting,
portanto, não se alinha com a série de
retratos que acabamos de descrever,
of the personal, individualized, privatized interior space that had been the con for which the depiction of historical subjects was the central issue. But, it can be
pois a máscara, opaca e impassível, é struction of nineteenth-century naturalism. From the African shaman to the argued, Modernism has dispensed not only with historical narratives but with all
inimiga da expressão. Ao status Balinese dancer or the celebrant of Carnival, the wearer of the mask performs a narrative, to achieve the stunning simultaneity of the experience with the work
impessoal da máscara, a máscara de role that he may assume but did not invent, a role that is culturally or sociallygiven, itself, the picture as pure aesthetic object.
gás acrescenta as condições
despersonalizantes do trabalho that is delivered to him from outside the boundaries of his private self. The mask This supposed voiding of narrative within Modernism is, however, only
industrial, tendo associações com may be expressive,but what it expresseshas little to do with a romantic conception seeming. For Modernist art's simultaneity is still understood as a "most pregnant
repetição, serialidade, coisas da of selfhood or with individual creative will. The Portrait of the Artist Masked thus moment"—an experience extended and made replete with a certain kind of
mesma maneira, mas também does not line up with that series of portraits just described, for the mask, opaque understanding, a certain kind of ecstatic or spiritual dilation, a certain kind of
associações com o próprio trabalho,
3 com um tipo de trabalho em que uma and impassive,is the enemy of expression. To the impersonal status of the mask, the drive to completion. Within this situation, the genre of the Portrait of the Artist
tarefa é dada em relação a um gas mask adds the depersonalizing conditions of industrial work, having associa has a special role. It is the signifier of art's hidden but persistent narrativity; for the
conjunto de materiais, no qual as tions with repetition, seriality,things-in-a-row all alike, but also associationswith unfolding of the artist's gesture in this work, which is a model on a small scale for
operações são fixadas pela matéria e
não pela inspiração. Assim, a máscara
labor itself, with a kind of work in which a task is given in relation to a set of the larger unfolding of all his gestures into that totality of his works to which we
não apenas coletiviza a noção de materials, in which operations are fixed by matter rather than inspiration. Thus the give the name oeuvre, this is the story of the artist that each portrait can encapsu
expressão, mas também rebaixa a mask not only collectivizesthe notion of expression, but it folds creativity back late. It tells of those larger movements of the artist's personality,his persistence, his
criatividade na condição de trabalho. into the condition of labor. intuitiveness, his cunning, his triumph. The portrait is alwayspregnant, we could
There is another aspect of the difference between Serra's portrait and those say,with his development: beginning, middle, and end.
of Picasso, Matisse, and Pollock. That is the absence within the frame of this image There are many types of portraits of the artist. We have spoken of photo
of the work on which the artist is working. If Serra's gesture has an issue, it is graphs and films, and obviously we could mention paintings. But there are as well
nowhere in the picture. Indeed, one of the documents reproduced in The New texts, like this one, monographic studies that are also conceived as portraits of the
Avant-Garde is Serra's list of verbs, compiled in 1967-68, suspended in the artist: at work, making works, and through those works, producing the story of his
grammatical midair of the infinitive: "to roll, to crease, to fold, to store, to bend, to oeuvre. But it is against this easy, culturally given cliche that the Portrait of the
shorten, to twist, to twine. ..."These verbs describe pure transitivity.For each is an Artist Throwing Lead operates as a kind of cautionary sign, warning one not to
action to be performed against the imagined resistance of an object; and yet each think that the point of a portrait's story is already given by its form. This caution is
infinitive rolls back upon itself without naming its end. The list enumerates forty- like the one that in 1966 Jean-Luc Godard pronounced for his films, which
four acts before something like a goal of the action is pronounced, and even then themselves had a strong effect on the way narrative was reconceived in the 1960s.
the condition of object is elided: "of waves,"we read, "of tides,"or again, "of time." Stories had beginnings, middles, and ends, he conceded, "but not necessarily in
The image of Serra throwing lead is like this suspension of action within the that order." Chronologically speaking, the portrait of Richard Serra throwing lead
infinitive: all cause with no perceivable effect. stands very near the beginning of his career. But whether we are also to understand
De fato, um dos documentos reproduzidos em The New Avant-Garde é a lista de verbos de Serra, compilada em Essa cautela é como a que em 1966 Jean-Luc Godard pronunciou por seus filmes, que tiveram um
16
1967-68, suspensa no meio gramatical do infinitivo: “rolar, dobrar, dobrar, armazenar, dobrar, encurtar, torcer, forte efeito no modo como a narrativa foi reconcebida na década de 1960. As histórias tinham começos,
enroscar ... ”Esses verbos descrevem pura transitividade. Pois cada uma é uma ação a ser realizada contra a meios e fins, ele admitiu, “mas não necessariamente nessa ordem” Cronologicamente falando, o retrato
resistência imaginada de um objeto; e, no entanto, cada infinitivo volta para si sem nomear seu fim. A lista de Richard Serra jogando chumbo está muito perto do início de sua carreira. Mas se devemos também
enumera quarenta e quatro atos antes que algo semelhante a um objetivo da ação seja pronunciado, e mesmo entender isso como significando o início de sua história - esse é o aviso de que devemos ler o gesto em
assim a condição do objeto é elidida: “de ondas”; lemos: “de marés” ou, novamente, “de tempo”. A imagem de que um ato é transformado em pura repetição, evitando seu objeto.
Serra jogando chumbo é como essa suspensão da ação dentro do infinitivo: tudo causa sem efeito perceptível.
 this as signifying the beginning of his story—that is the warning we must read off Um dos verbos da lista de Serra de 1967-68,
the gesture in which an act is spun into pure repetition by avoiding its object. "compreender", abre especificamente um trabalho que
One of the verbs on Serra's 1967-68 list, "to grasp," specificallyopens up a ressalta essa relação com o tempo. Em seu filme de 1968,
Hand CatchingLead (fig.2), uma moldura fixa
work that underscores this relation to time. In his 1968film Hand CatchingLead centraliza-se em um braço estendido, com os dedos
(fig.2), a fixed frame centers on an extended arm, fingers splayed. Into the frame, abertos. Na moldura, em intervalos regulares, cai uma
at regular intervals, there falls a succession of pieces of lead, which the hand sucessão de pedaços de chumbo, que a mão se esforça
endeavors to catch. Sometimes missing its prey, sometimes capturing it—but in para pegar. Às vezes perdendo a presa, às vezes
capturando-a - mas, no último caso, liberando
the latter case immediately releasing the metal scrap, allowing it to continue on its imediatamente a sucata de metal, permitindo que ela
way out the bottom of the frame—the hand opens and closesin a performance of continue na parte inferior da armação - a mão abre e
the same slighdy irregular pulse as the falling lead. Simultaneously tense and fecha em um desempenho do mesmo pulso levemente
irregular que a liderança em queda. Simultaneamente
desultory, the hand in its relation to the object is both intentional—catching lead is tenso e desultórico, a mão em sua relação com o objeto é
what it is doing—and pointless, for making a catch does not seem to be its intencional - pegar a liderança é o que está fazendo - e
objective. In its insistence on the constitutive act itself,the film produces an image inútil, pois capturar não parece ser seu objetivo. Em sua
of what came to be known in the late 1960sas "pure process."Yet insofar as this insistência no próprio ato constitutivo, o filme produz
uma imagem de o que veio a ser conhecido no final dos
action is pulsional, made up of regular beats, it also creates the kind of special anos 1960 como "processo puro". No entanto, na medida
seriality that Donald Judd had described in a famous characterization of his own em que essa ação é pulsional, composta de batidas
4 work's structure as "just one thing after another." regulares, também cria o tipo de serialidade especial que
This spatial repetitiveness, and its refusal to deploy the organizing, hier Donald Judd havia descrito em uma famosa
caracterização própria para trabalhos estrutura como
archical devices of those compositional schemesupon which most of Western art is "apenas uma coisa após a outra".
based, had entered the vocabulary of the American avant-garde with Minimalist
painting and sculpture: with the repetitive bands of Frank Stella's Stripes, with the
stacked, identical boxes of Donald Judd's wall reliefs, with the blankly juxtaposed
metal plates of Carl Andre's "rugs." Turning this spatial seriality into a temporal
hum was the work of a group of musicians slightly younger than the first Mini
malists and exactly contemporary with Serra. Indeed one of the most important,
Philip Glass, had been a part of Serra's aesthetic apprenticeship. Serra's year in
Paris on a traveling fellowship from Yalehad been spent with Glass, cementing a
friendship and working relationship that was not to be diminished by their return
to New York in 1966.It was in New York that Serra and Glass encountered those
figureswho would be working out of Minimalism and into the later manifestations
of process. Serra made special contact with Steve Reich and Michael Snow,
composer and filmmaker; Sol LeWitt and Walter de Maria, conceptualist modi
fiers of Minimalism; Eva Hesse, early process artist. He also formed important
friendships with Carl Andre and Robert Smithson, whose rhetorical gifts made
their theoretical sparring, night after night at the bar downstairs at Max's Kansas
City, a kind of continuous intellectual circus, one extremely important for Serra's
intense need to theorize his own position, an attitude that had been if not formed
then particularly focused during his studies at Yale.
Fig. 2. Frames from the film Hand Catching Lead, 1968
There is a final aspect of Hand CatchingLead that addresses Serra's attitude
toward the problem of producing art within Modernism, no matter what the
conviction about process or seriality.This is the condition of self-reflexivenessthat
Serra builds into this film. The falling lead's passage into and out of the frame
imitates, and thereby pictures, the movement of the celluloid strip of film itself and
its steady passage down into the gate of the projector and out again. In imaging
 forth the movement of the band of film as it unwinds from reel to reel, Hand
CatchingLead participates in the experience of the auto-referential, that sense of
the way the content of a work exists as an echo of its formal, and even material,
structure, which we associatewith High Modernism.
Three things combine, then, to produce the peculiar flatness of the temporal
profile of Hand CatchingLead: a Modernist-derived concern with the representa
tion of the work's physical support; a Minimalist-connected critique of composi
tion—of those organizing hierarchies that had come to be regarded as merely
arbitrary; and a process-conditioned exchange of the goal, or object, of the action
for the logic of the action itself.
It would not be wholly accurate to say that Serra had no interest at all in what
the hand in Hand Catching Lead is catching. Or to put it another way, it is not
irrelevant that what falls through the frame in representational reflection of the
filmic support is lead, which is to say, the metallic support of another medium,
namely sculpture. The logic of process that had led Serra to turn to film as a way of
manifesting a pure operation on a physicalmaterial was also a way of opposing the
rigid geometries of Minimalist sculpture, in which a viewer was presented with an
object whose construction was a closed system,secreted awaywithin the interior of
the object, invisible and remote. For this reason, process artists such as Eva Hesse
had turned to materials such as latex, fiberglass,and clay,materials that would yield
to the imprint of the action applied to them, and carry it on their surface as their
only mark of structure. "To catch" is a process conceived within the strategic terms
of this critique, but "to catch lead" represents a decision that what is at stake in this
critique is the status of sculpture.
Serra was not yet a sculptor when he went to Paris. His training at Yalehad
been as a painter (he had been a teaching assistant in Josef Albers's famous color
course and had helped proof the plates of Albers's book The Interaction of Color,
1963),and in Paris in 1965he continued to paint. But he also found himself drawn
to the Brancusi atelier reconstructed at the Musee National d'Art Moderne
(located then on the avenue President Wilson), where he returned day after day to
sketch his way into the internal logic of Brancusi'sway of thinking about sculpture.
The following year Serra went to Florence on a Fulbright, and there his identity as
a painter was submerged in the rising tide of the logic of process. Serra's last
paintings consisted of grids that he would fill with color, understanding the
application of pigment as an act ("to paint") to be determined by the arbitrary
measure of a unit of time, meted out in this case by a stopwatch. But it soon
occurred to Serra that having turned paint into a brute material, there was no
Fig. 3. Live Animal Habitat. 1965-66 reason to grant it privilege above any other material; and as this reasoning took
Mixed media, approx. 16 x 34 x 10" hold of him, painting receded as a coherent and therefore possible medium.
Galleria La Salita, Rome Before leaving Italy for New York, Serra had an exhibition at the Galleria La
Salita, Rome, where his pictorial grids were transformed into the three-dimen
sional geometric latticework of a set of cages, and his "material" was the aesthet
ically disarticulated medium of biological life: he filled these cages with animals,
both live and stuffed (fig. 3). "Somewhere between Kienholz and Samaras and
18
 Rauschenberg,"as he himself has characterized it, this exhibition confirmed what
had been building since his entry into the intense but provisional coherence of the
space of Brancusi's studio: that painting no longer held his imagination.

To Prop, to Prop, to Prop...

Shortly after composing his list of transitive verbs, Serra dis
covered the enormous flexibility of lead as a support for the
actions he had projected. Thirty-fiveFeet of Lead Rolled Up
(fig. 4) of 1968, TearingLeadfrom 1:00 to 1:47 (fig.5) of 1968,
and Casting (fig.6) of 1969,all result from the variability of this
material—soft enough to be torn, malleable enough to be
rolled, easily melted and thus able to be cast. It was during a
performance of the last of these possibilities, in 1969,that the
portrait of Serra throwing lead was made, recording the throwing of molten metal
into an angled "mold" along the floor of the Castelli Warehouse. He had made
Casting earlier that year, at the Whitney Museum of American Art, this time
throwing molten metal into the mold formed by the angle of floor and wall of the
gallery, pulling the resultant casting away from the angle when hardened to allow
5 for yet another wave of molten liquid. The logic of Casting demanded, of course,
that it be exhibited in immediate proximity to the place where it had been made, so Photo: Peter Moore
that the relationship between the cast element's shape and the mold that had
determined it would remain clear. The castings were therefore displayed direcdy
on the floor in the order in which they had been pulled awayfrom the wall. Tearing
Lead was also, perforce, displayed on the floor where the ten-foot square "rug" of
lead had lain while Serra tore successivestrips of metal from its edges, leavingthese
clustered at the four corners.
But in less than a year, Serra was to look back critically on this idea of
"displaying" process against the background of the floor and thereby, paradox
ically,rendering the result pictorial. "A recent problem with the lateral spread of
materials, elements on the floor in the visual field,"he explained, "is the inability of
6 this. . .mode to avoid arrangement qua figure ground: the pictorial convention."
To organize material by means of a physical process applied to that material is
obviously to strip the work of art of all possible illusionism, to imbed its existence
in the world in which tearing, rolling, or castingphysically take place. But Serra's
critique arose from his sense that there was a fissurein the logic of process; because Fig. 4. Thirty-fiveFeet of Lead Rolled Up. 1968
as long as nonrigid materials were employed and the floor had to be used as the Lead, approx 5 x 24"
vehicle of display, then the procedure took on a figurative quality, and one was Collection Holly and Horace Solomon,
faced with the "picture" of tearing, the "image" of rolling, the "tableau" of casting. New York
"When pieces are viewed from above,"he declared, "the floor functions as a field or
ground for the deployment of decorative linear and planar elements. The concern
with horizontality is not so much a concern for lateral extension as it is a concern

19
 with painting. Lateral extension in this case allows sculpture to be viewed pic-
7 torially—that is, as if the floor were the canvas plane."
Thus the logic of process had gone full circle: although a material operation
was used to break the grip of the "image,"the image had come back to lay hold of
the operation and to convert it into the terms of painting, to threaten it with a space
that was virtual rather than actual. One of the constant arguments that had kept
Andre and Smithson going until three o'clock in the morning at Max's was just this
question with regard to the logic of Andre's work. Lever (fig. 7), Andre's 1966
thirty-foot row of bricks placed end to end, functioned for him with the most
insistent anti-illusionism: "My first problem has been to find a set of particles, a set
of units and then to combine them according to laws which are particular to each
particle, rather than a law which is applied to the whole set, like glue or riveting or
welding.... No extraneous forces apply to the set to make them have properties
8 which an individual particle does not have." Smithson didn't see it that way.
Receding along the luminous plane of the floor, Lever read for Smithson as a "line."
By 1970Serra had come to agree.
In 1968,in addition to the actions to cast, roll, and tear, Serra had used lead to
enact another transitive relationship: to prop. One sheet of lead, tightly rolled to
form a pole, was inclined against another, still-flat sheet, hoisted on the plane of a
wall, the dense inert weight of the one propping up the leaden expanse of the other.
Insofar as Prop (pi. 22) depended upon the wall plane as a ground, it was of course
open to much the same criticism from its maker as Casting and Tearing....
But where it differed from the others was in the process informing this work: it
was not something applied to the materials of the object, imprinting itself upon
them, an external force coming from outside them to leave its trace so to speak. In
Prop the process was a function of the relationship between the two elements of the
piece, working against each other in a continuous labor of elevation. It was in this
constantly renewed tension, active within the object at each moment, necessaryto
the very prolongation of its existence, that Serra located a special aspect of his
vocation as a sculptor.
The Prop Pieces of 1969—One Ton Prop (House of Cards) (fig. 8), 5:30 (pi.
44), 2-2-1(pi. 46)—provided the basis for Serra's criticism, voiced in 1970,of his
earlier work. For these sculptures are resolutely vertical, their internal dynamic
securing their independence of any external ground, be it floor or wall. And the
extremely simple principle of their verticality rests in the heaviness of lead and its
earnest response to the downward pull of gravity; for in that pull there operates the
resistance that is the principle of the prop—stability achieved through the conflict
and balance of forces. In One Ton Prop (House of Cards) four lead slabs (each
weighing 500 pounds) maintain their mutual erectness through the reciprocity of
their leaning sides, propping each other up by weighing each other down. And in
2-2-1, five lead slabs of the same dimensions remain upright through no other
agency than the crushing inertia of a rolled bar, which, barely kissing each of the
Photos: Peter Moore slabs at one corner, presses down on their resistant forms, goading them into a
continuously precarious verticality.
 In this continuous remaking, the temporality organized by these props has
shifted from the register of time in which Hand CatchingLead was inscribed. The
serial nature of the film, its "one thing after another," its flattened profile in which
an action is denied its climax, its point, has here been powerfully recharged into
something more like a perpetual climax, an end point that continues, and con
tinues, and continues. In the Prop Pieces, Serra discoveredwhat might be called an
erotics of process. And this erotics of process can be thought of as a new site within
which to locate the problematics of sculpture.
Serra has said that a whole generation of American artists was indebted to
Constantin Brancusi's Endless Column (1918):
The fact that [it] measured a definite space from floor to ceiling
anticipates Judd's thinking from floor to ceiling, and what Andre had
done from wall to wall. The idea of the infinite implied by the module
extension was most impressive in Brancusi. It changed the sensibility of
the entire sixties.. .. Stella'sblack pictures and Judd's serial relationships
are indebted to the Endless Column. But the problems in the Endless
Column didn't interest me at that time. I was more interested in
9 Brancusi's open pieces, like the Gate of the Kiss.
As opposed to the flattened serial rhythm of the Endless Column, there is the
Brancusi of The Kiss (fig.9), the Brancusi of the technics of a body whose feeling is
found within the pressure of opposition. Over and over again, in 1907,1910,1912,
1915,1921,1933, 1937,Brancusi explored that line of compression between two
figures meeting in a kiss, a line that simultaneouslybreaks apart the singlenessof
the stone monolith, a fission into two separate bodies, and forges the endless
moment of integration as those bodies enact their fusion. Rippling down the center
of the block in a constant making and unmaking of union, this line describes what
could be called a phenomenological fissure at the center of the stone, a point of
compression in which each body experiences itself only along that surface crushed
against its mate.
The phenomenological fissure, in which the body's Gestalt is radically
opened and differentiated, occurs with great frequency in Brancusi's work and is
the peculiar invention of his particular sculptural drawing. For Brancusi's unitary
forms, his painstaking geometries, his ovoids, fins, and rhomboids, open them
selvesto a kind of found drawing, a line that forms and reforms itself as light and
reflection are cast along the smooth surfaces of these objects. In the polished
bronze ovoid of Beginningof the World (fig. 10)of 1924,for example, the line that
describes the median of the prone form, dividing it into a lower and upper half, is Fig. 5. Opposite above: TearingLeadfrom 1:00 Fig. 7. Carl Andre
cast onto the surface by opposing sets of reflections from above and below the to 1:47. 1968 Lever. 1966
work, reflections that meet at the physical crest of the object and form, through an Lead, 10 x 10' Firebrick, 4" x 30' x 4"
Konrad Fischer Gallery, Diisseldorf National Gallery of Canada, Ottawa
optical moment, a line of opposition. It is in the grip of this optical crossfirethat the
actual symmetry of the object is rewritten as a powerful disequilibrium between its Fig. 6. Opposite below: Casting. 1969
Lead, 4" x 25 x 15'
two halves. The underside, mirroring the dense smoothness of the base on which Installed Whitney Museum of American Art,
the sculpture lies, appears slightly flattened by the heavinessof the object's weight New York. Destroyed

21
bearing down on a resistant ground; yet the upper half, carrying on its surface the
scatter of random reflections from space at large, seems almost to float as it expands
outward into its surroundings.
In the sense of a body's yielding to pressure while simultaneouslydissolving
toward an absence of sensation, there is configured the radical dyssymmetryof the
lived body, the body as experienced from within. In Brancusi's work, a whole
series of ovoid heads leads up to Beginningof the World: heads nestled against a
supporting base as they figurativelydrift toward sleep (SleepingMuse,1910;fig. 11);
heads shattering their profiles through the contortion of a cry (The Newborn,
1915);heads spilling their weight into the prop of a supporting palm (A Muse,
1917).The reconfigurationof external relationships as the ovoid "remakes" itself in
relation to lived sensation is the work of the reflectiveline that constantly splits and
resutures the Brancusian geometries.
Serra made a videotape called Boomerang (1974) in which the fixed frame
isolates the head and shoulders of Nancy Holt, the work's only participant,
focusing on them as smooth oval and firm neck, while there forms, muselike, an
image of the constant splitting and remaking of the performing persona. Wearing a
technician's headset, Holt spends the ten minutes of the tape talking against the
distraction of audio feedback, since her words are audible to her in a delayof about
one second after she has actually pronounced them. It is the mechanism of the
delay that creates, automatically,a dyssynchronybetween speech and audition, so
that "saying" and "hearing oneself speak" ("thinking") become actions divided in
consciousness. Describing the confusion she feels, Holt explains: "Sometimes I
find I can't quite say a word because I hear a first part come back and I forget the
second part, or my head is stimulated in a new direction by the first half of the
word." This stimulation "by the first half of the word" is, of course, less like the
condition of speaking than it is like the situation of listening—listening to the Photo: Peter Moore
speech of someone else, to information not known by the listener in advance. In
moving back and forth between the self-possessionof speech and the outward
thrust of intentionality in order to grasp the words of another, Holt performs what
Brancusi had earlier pictured: the rent in the body's Gestalt that we have been
calling the phenomenological fissure.
To form, thus, an image of the human subject as disarticulated, and to show it
in the process of recomposing itself,is to create through this "muse" an analogue of
the sculptural Props. One Ton Prop, in breaking with the closed, preformed
geometries of Judd's boxes or Tony Smith's prisms, does not merely put in place
the paradox of an unstable geometric form. It forces a certain analogybetween that
form and the human body, which, like the Prop, "continues."
Fig. 8. One Ton Prop Fig. 9. Opposite, top left: Constantin Brancusi
In some sense, of course, all sculpture configures the human body; that is, it (House of Cards). 1969 The Kiss. c. 1912
operates as a model—of wildly divergent kinds—of the human subject: as an Lead antimony, four plates, each 48" x 48" Limestone, 23 x 13 x 10"
image of ideal repose or of the purposiveness of action; of the centeredness of Collection the Grinstein Family,Los Angeles Philadelphia Museum of Art,
reason or the abandon to feeling. Further, it does this no matter how reduced it Louise and Walter Arensberg Collection
might be in the manner of its actual likeness to the human body. A generation of
Early Modernist sculptors demonstrated sculpture's capacity to model the human
22
 subject from the simplest forms and from the most ordinary ones: from the shape
of an egg to the presentation of a teacup. The issue, then, is not that the Props
create for their viewer the experience of the human subject; rather, the question
must be what kind of subject they insist on modeling.
That subject, specificto Serra's sculptural Props, might be located in another
passage of Holt's self-description, from within the space constructed for her by
boomerang. Still attempting to analyze her experience, she says: "I'm throwing
things out in the world and they are boomeranging back .. . boomerang-
ing ... eranginging.. . anginging."Which is a way of conjuring an image of subjec
tivity as a function of objective space, of what is external to the self, of what
impresses itself upon the subject not by welling up from within but by appearing to
it from without. They, as we have heard, are boomeranging back.
Serra, of course, belonged to a generation of artists who had grown up with
the vastly inflated rhetoric of the claims made by some critics for Abstract
Expressionism. Calling this movement "Action Painting,"Harold Rosenberg went
on to declare that the work produced was "inseparable from the biography of the
artist," from which it also followed for him that "the act-painting is of the same
10 metaphysical substance as the artist's existence." This supposed metaphysical
sharing between painting and painter could be seen to generate an aesthetic model
in which the virtual or illusionistic space of the picture—the space that opens
backward from its surface into the luminous atmosphere of Pollock's linear webs,
for example, or into the chiaroscuro of Willem de Kooning's smeared
impastoes—could be understood as an expression or manifestation of what was
interior to the artist, what was behind his physical surface—his impassiveface, his
stolid body. Painting could thereby be conceived as a way of displaying those two
interior spaces, of aligning the one with the other, of using the first as a registration
of the second, a registration whose value was, in some way, confessional.Compar
ing this notion of confession to religious conversion, Rosenberg spoke of the works
as attempts "to resurrect the saving moment in his story" when a given painter first
felt himself freed from certain aspects of tradition, entering in a wild plunge of
subjectivity the realm of the Uncertain. "The result," he exulted, "has been the
11 creation of private myths."
But what, logically, could a private myth be? Since a myth's function is to
account for phenomena collectively,to use narrative to knit together the social
fabric, a private myth is a contradiction in terms, a story told not in public but in
confidence. This is the confidentiality of the psychologistic, something that the
generation of the 1960sfound distasteful. Speaking about the painterly registration
Fig. 10.Top right: Constantin Brancusi Fig. 11.Bottom: Constantin Brancusi of "expression,"Judd found himself saying: "It certainly involves a relationship
beginning of the World. 1924 SleepingMuse. 1910 between what's outside—nature or a figure or something—and the artist's actu
Bronze, llTt" long; base by artist Bronze, 6V2x 10Vix IV2 ally painting that thing, his particular feeling at the time. This is just one area of
12 Brancusi Studio, Brancusi Studio, feeling, and I, for one, am not interested in it for my own work." The insideness
Musee National d'Art Moderne, Musee National d'Art Moderne,
Centre National d'Art et de Culture
of Abstract Expressionist space—the analogyits depths can be seen to set up with
Centre National d'Art et de Culture
Georges Pompidou, Paris Georges Pompidou, Paris the interiority of the painter—meant that this experience of the psychologistic
involved a claim on the viewer's time, as though a failure to plumb the depths of the
23
 work was to render a judgment that both artist and, by implication, viewer were siting, the impress of everything outside that once-sacred virtual space of art that
shallow. But speaking of this demand in the mid-1960s,Frank Stella objected: "I had been the "inside" of the pictorial space, the "inner being" of the sculptural one.
wouldn't particularly want to do that and also I wouldn't ask anyone [else] to do Coming at the end of this decade, Serra's Prop Pieces obviously participated
that in front of my paintings. To go further, I would like to prohibit them from in this project, already formulated by much of Minimalism. The way One Ton Prop
doing that in front of my painting. That's why I make the paintings the way they creates a geometric form that is all outside, nothing but exterior, so that one's sense
13 are, more or less." of the "inner being" of this form is utterly demystified, is part of this problematic of
In this prohibition, this walling up, this opacity, this insistence on the public versus private. SteveReich, comparing this phase of Serra's work with what
shallowness,the surfaceness of the work, we can to some degree take the measure he was then doing musically,said: "The analogy I saw with Serra's sculpture, his
of the power of rejection behind the flat blandness of that "I, for one, am not propped lead sheets and pole pieces (that were, among other things, demonstra
interested in it." But Judd and Stella, in the same discussion as this announcement tions of physical facts about the nature of lead), was that his works and mine are
14 of disinterest, tied the decisionsthey had made for their art to alternative models of both more about materials and process than they are about psychology." But by
reality, of what the world is like and how the human subject is constituted. Their making the very constitution of this "outside" a question of an alwaysprecarious,
objection was precisely at the level of the metaphysic used by writers like Rosen restabilizing balance, a matter of propping, a function of an equilibrium that has
berg and Thomas B. Hess to defend Action Painting. For what they were constantly to be resecuring itself from within the pressures of time, One Ton Prop
questioning was "a philosophy,"one that, as Judd said, "is based on systemsbuilt reformulates the inside/outside issue, for the "outside" itself is now understood as
beforehand, a priori systems;they express a certain type of thinking and logic that organized within the temporal: "of waves,"we had read, "of tides ... of time ... to
is pretty much discredited now as a way of finding out what the world's like." continue."
If the expression of the private myth had come to seem illogical, absurd, The Skullcracker series, made during the summer of the Prop Pieces,
pretentious, it did so against an attack on the notion of private language—the idea expanded the principles of 2-2-1and One Ton Prop to mammoth scale. The lead
that meanings of words are tied to ideas that I, as a speaker, have in my head when I Props were to the stacked slabs of Skullcracker as cottage industry is to a steel mill.
utter them, so that, for example, what I mean when I say "I have a headache" is The making of the Props had been a matter, to use Serra's term, of "choreography."
dependent upon a sensation uniquely available to me—my headache—for its Together with friends serving as assistants, Serra "would map out what to do; two
truth. Not only did this Idealist view of language seem impossibly to multiply the people would be on each plate. There were four or fiveplates. And then Phil and I
meanings of a given word (John's headache, Mary's headache, Elizabeth's. ..), but would fit in the overhead roll." But in the summer of 1969the Art and Technology
it raised strange problems in the practiceof language, making it somehow puzzling program organized by the Los Angeles County Museum of Art had comman
as to how one would ever learn the meaning of a word, locked out as one was from deered a variety of technological sites within which artists could choose to work,
all those private spaces. and Serra had chosen the Kaiser Steel Corporation yard at Fontana, California.
The generation of the 1960sno longer accepted such a view either of language There, in what was called the Skullcracker Yard, he worked with an overhead
or of human experience. For both structural linguistics and ordinary language magnetic crane stacking and propping massive elements of steel—slabs and
philosophy, as well as the returns from the laboratories of perceptual psychology, crop—to form a constandy changing array of precariously equilibrated, giant
were demonstrating the way our very sensations are dependent upon the language constructions, towering sometimes forty feet into the air and anchored by nothing
we use to name them and not the other way round. So that, for example, if the color but their own crushing weight (pis. 35-37).
spectrum, which is wholly continuous, is broken at point a to create "blue" and "The first day,"Serra recalls, "I built a cantilevered work from slabs stacked
point b to create "green," this is an operation of segmentation that language up forty feet which tilted twelve feet off axis. It leaned as far as it could while
15 performs on the spectrum and not a reality that our senses first report to us and remaining stable. It was at the boundary of its tendency to overturn." Stacked
that we go on to name. It is language that teaches us to see "green" and to SteelSlabs(fig.12),one of the sculptures in this series, presents just such a picture of
experience "headache,"language that, like myth, is nothing if not public, or to use a pile of identical elements canting off axis, so that each addition to the stack
Ludwig Wittgenstein's term, a "form of life." extends its mass while at the same time threatening its existence. The plumb line
It was the extraordinary ambition of post-Abstract-Expressionismto take this around which this work is organized is the stack's center of gravity, a matter of
notion of "forms of life" seriously: to make an art devoted to the way the human tensions constantly in force, tensions externalized by the principle of the "stack."
subject is a function of his ambience, his culture, his media bombardment, his Insofar as the meaning of Stacked Steel Slabs is the struggle for vertically, the
promiscuous reading, his vicariousness. In a movement that began with Jasper vehemence of uprightness and balance, it continues to locate its aesthetic energies
Johns and Robert Rauschenberg, the generation of the 1960smade an art of the in relation to the human body. It matters very little that the scale of this work
human subject turned inside out, a function of space-at-large, the setting, the (twenty feet high) is vastlyover life size. In this respect the work participates in the

24
 kind of expansion of sculptural scale that would preoccupy Serra throughout the
1970s,leading to works such as Strike (pi. 52) of 1969—71, Shift (pi. 60) of 1970-72,
Circuit (pi. 66) of 1972,and Delineator (pi. 74) of 1974-75. But as would be true of
them as well, StackedSteel Slabs is concerned with the dynamics of a relationship
between a center and an outside, which exercises a powerful pull on that center,
which is, one could say,the very meaning of its existence. And what is at issue in
that relation of center to periphery continues to be the nature of the human
subject.

Para todos, exceto o mais amador, ou o mais perverso, ou o mínimo,

...to Continue
fazer um filme envolve juntar várias peças de filme: unir pedaços
or diferentes para formar a complexa rede de continuidade que F all but the most amateur, or the most perverse, or the most
chamamos de filme, uma questão de ação ou evento convencendo-
nos de que continua mesmo por meio de enormes lacunas em nossa
minimal, making a movie entails joining several pieces of film
visão. together: splicing different shots to form the complex web of
continuity that we call film, a matter of an action or event
A lógica dessa "continuidade" garante, por exemplo, que durante
uma sequência de ângulo-reverso-ângulo - em que fotos individuais
persuading us that it continues even across enormous gaps in
de duas pessoas diferentes, digamos, em um sofá, sejam unidas para our view of it. The logic of this "continuity" ensures, for
criar a impressão dessa presença contínua de ambas as partes. example, that during an angle-reverse-angle sequence— in
necessário para o que entendemos ser uma conversa - estamos which individual shots of two different people on, say,a couch
convencidos de que estamos vendo dois aspectos de um único
espaço, que a unidade que atribuímos ao nosso mundo sustenta as
are spliced together to create the impression of that continuous presence of both
imagens separadas do filme. parties necessary to what we understand to be a conversation—we are convinced
that we are seeing two aspects of a single space, that the unity we attribute to our
A ilusão organizada por essa lógica foi pacientemente explorada world undergirds the separate images of the film. The illusion organized by this
durante os anos heróicos da experimentação cinematográfica na
Rússia pós-revolucionária. Em 1920, Lev Kuleshov demonstrou logic was patiently explored during the heroic years of film experimentation in
para sua aula de cinema em Moscou a maneira como o corte postrevolutionary Russia.In 1920Lev Kuleshovdemonstrated for his Moscow film
funcionava como um material mágico: uma medida que também e classesthe way the cut functioned as a magicalinterstice: a severancethat also, and
ao mesmo tempo se juntava; um índice de diferença ou separação
dentro de uma matriz predominante "do mesmo”.
at the same time, seamed; an index of difference or separatenesswithin a prevailing
matrix of "the same."The mere juncture, it was revealed, of two strips of celluloid
A mera conjuntura, revelado, de duas tiras de celulóide era was enough to convince that the White House stood solid and indestructible in the
suficiente para convencer que a Casa Branca permaneceu sólida e heart of Moscow, or that filmed details of several different women could fuse
indestrutível no coração de Moscou, ou que detalhes filmados de
várias mulheres diferentes poderiam se fundir além do corte para beyond the cut to form a single body. Over and over these experiments revealed
formar um único corpo. Repetidas e repetidas vezes essas the primacy of spatial continuity—showing that the cut would have to wedge into
experiências revelaram a primazia da continuidade espacial - it very deeply indeed before that continuity would break.
mostrando que o corte teria que se aprofundar profundamente
antes que essa continuidade se rompesse.
The films of the Russian avant-garde—Sergei Eisenstein, Dziga Vertov, I. V.
Pudovkhin, Alexander Dovzhenko—were recycled regularly in the programming
of the Anthology Film Archives, New York, which Jonas Mekas had opened in
Fig. 12. SkullcrackerSeries:StackedSteel Slabs. 1969 1970and which was devoted both to the historical, cinematic avant-garde and to
Hot rolled steel, 20 x 8 x 10' Krauss destaca a influência na carreira de Serra do contato
Installed Kaiser Steel Corporation, the contemporary one. There, in an architecturally bizarre visual solitude, one
com a experiência cinematográfica russa da década de 1920.
Fontana, California. Destroyed Na década de 1970 foi inaugurado em NY o Anthology Film
could view over and over the deft precision of Russianfilmform. And there, several
Archives, que exibia sessões regulares dos filmes de nights of every week, sat Richard Serra, often accompanied by Robert Smithson or
Eisenstein, Vertov, Vsevolod, Pudovkin e Aleksandr Joan Jonas, building on his already formidable film education begun at Yale,
Duvshenko; e Serra foi assíduo frequentador dessas sessões, extended at the Cinematheque in Paris, and refined in New York in the late 1960s.
geralmente acompanhadas por Robert Smithson ou Joan
16 Jonas. There he sat, intently becoming the master of this syntax.
25
"Cortar" era o décimo sexto item da lista de verbos de 1967-68, mas quando Serra começou a fazer escultura por meio
do corte, tornou-se evidente que ele pretendia que esse corte funcionasse como o do filme - para funcionar como o
inelutável marcador da continuidade da experiência durante uma pausa, para ser exatamente o que articula o contínuo.
Cutting Device: Base Plate Measure de 1969 é sobre a conjuntura da disparidade, como folhas de chumbo, tubulação de
aço, viga de madeira e uma laje de mármore são esteticamente unidas pela própria operação que corta sua substância e
as separa. Esses materiais, tendo sido colocados sequencialmente em uma placa de base de aço de dois pés de largura, "To cut" had been the sixteenth item on the 1967-68 list of verbs, but when
seus comprimentos díspares estendendo-se além dela em qualquer borda, foram cortados por uma serra circular, para Serra started making sculpture by means of cutting, it became evident that he
cair e se espalhar em ambos os lados da base / molde relativamente estreito. intended this cut to operate like the one in film—to function as the ineluctable
marker of the continuity of experience across a break, to be the very thing that
Mas a Gestalt que forma magicamente por meio da ação desse corte parece existir "dentro" da obra - mantendo-a unida
- e manifestamente "externa", uma operação realizada sobre a latência da matéria. Abrindo o desempenho dessa unidade
articulates continuum. Cutting Device:BasePlate Measure (pi. 34) of 1969is about
à inspeção do espectador, exibindo-o em câmera lenta, é como se pudéssemos ver exatamente esse salto no escuro em que the juncture of disparateness, as lead sheets, steel piping, a wooden beam, and a
o local de um detalhe filmado se une a outro, ou como se estivéssemos naquele momento. um sentido perceptivo quando o marble slab are aesthetically joined by the very operation that hacks into their
objeto que desaparece, passando atrás de outro, reaparece ao espectador infantil não como um terceiro objeto, mas como substance and splaysthem apart. These materials, having been laid sequentiallyon
o mesmo de antes, unido em sua compreensão cognitiva pela idéia transformacional "por trás". a two-foot-wide steel base plate, their disparate lengths extending beyond it on
either edge, were sliced through by a circular saw,to fall and scatter on both sides
Continuando a operar com esse dispositivo linear, no qual o corte é o que paradoxalmente forja a totalidade da obra, em of the relativelynarrow base/template.
1970 Serra fez uma peça extremamente intitulada extremamente artística (fig. 13), na qual uma placa de aço de seis But the Gestalt that magicallyforms through the agency of this cut seems to
metros foi enxaicada em uma suave queda de terra e depois cortada com maçarico ao longo de sua parte exposta para exist both "inside" the work—holding it together—and manifestly "outside," an
produzir um triângulo caído visivelmente ligado ao seu companheiro agora quase invisível: a outra metade da placa operation performed on the latency of matter. Opening the performance of this
original, ainda enterrada, abaixo da borda exposta na terra.
unity to the viewer's inspection, displaying it in slowmotion, as it were, it is as if we
E, no mesmo ano, ele criou a que talvez fosse sua versão mais extravagante do Dada: Sawing Device: Base Plate Measure could see just that leap in the dark where the site of one filmed detail joins another,
(fig. 14), na qual foram cortadas doze toras maciças de 25 pés, cada uma com cerca de quatro pés e meio de diâmetro em or as if we were at just that moment of dawning perceptual sense when the object
uma placa de base de cimento de sete pés de largura e quinze metros de comprimento, preenchendo o espaço principal do that disappears, by passing in back of another, reappears to the infantile viewer not
Museu de Arte de Pasadena com um enorme desafio ao próprio conceito da galeria como local de escultura. as a third object but as the same one as before, seamed together in his cognitive
understanding by the transformational idea "behind."
Em 1972, algo fundamental havia acontecido com a concepção de Serra por parte do corte. Naquele ano, ele havia feito Continuing to operate with this linear device in which the cut paradoxically
Circuit e Twins, em que o corte não era mais uma força exercida sobre o corpo paciente do mundo fora do espectador, forges the wholeness of the work, in 1970Serra made an extremely lyrical untitled
mas era, de alguma forma, o que ligava esse mundo ao espectador, o que moldou sua percepção e, ao fazê-lo, pode ser piece (fig. 13),in which a twenty-four-foot steel plate was wedged into a gentle fall
mostrado para moldá-lo. Intervenções entre a série BasePlate Measure e esses trabalhos posteriores, em 1969-71, forma of ground and then torch-cut along its exposed portion to produce a fallen triangle
Strike, uma escultura concebida para realizar um corte no próprio espaço e organizá-lo em relação ao corpo do
espectador, de modo que a interdependência entre corpo e espaço - desmontando e sendo reunidos - são coreografados em visiblywedded to its now mostly invisiblemate: the other half of the original plate,
relação ao trabalho. still buried, below its exposed cut edge, in the earth. And in the same year he
created what was perhaps his most extravagantly Dada version: Sawing Device:
Base Plate Measure (fig. 14), in which twelve twenty-five-foot massive logs, each
about four and a half feet in diameter, were cut on a cement base plate seven feet
wide and fifty feet long, filling the main space in the Pasadena Art Museum with a
massivechallenge to the very concept of the gallery as a site for sculpture.
By 1972 something fundamental had happened to Serra's conception of the
cut. In that year he had made Circuit (pi. 66) and Twins (fig. 15),in which cutting
was no longer a force exerted on the patient body of the world outside the viewer,
but was, somehow,what tied that world to the viewer,what shaped his perception,
and, in so doing, could be shown to shape him. Intervening between the Base Plate
Measure series and these later works, in 1969-71, was Strike (pi. 52), a sculpture
conceived as performing a cut on space itself and organizing it in relation to the
Fig. 13.Untitled. 1970 viewer's body, so that the interdependence of body and space—coming apart and
Hot rolled steel, rectangular plate 8 x 24' x Wa" being put back together—is choreographed in relation to the work.
cut according to elevational fall
Collection Roger Davidson, Toronto
Strike is simply a steel plate eight feet high and twenty-four feet long butted
into the corner of two walls for its only means of vertical support, the steel plate
transecting the right-angled volume of the space. As the viewer moves around the
work, plane is perceived as contracting to line (or edge) and then expanding back
 into plane. Reciprocally, the space is blocked off and then opened out and Strike é simplesmente uma placa de aço de dois metros e meio de altura e quatro metros de comprimento,
subsequently reblocked. In this movement, open-closed-open, the space itself is encostada no canto de duas paredes, como único meio de apoio vertical; a placa de aço transporta o
experienced as the matter on which the cut, or slice,of Strike operates, as though it volume angular do espaço. À medida que o espectador se move pela obra, o plano é percebido como uma
were the space of the room that had been laid across the work's steel template and contração à linha (ou aresta) e depois expandido de volta ao plano. Reciprocamente, o espaço é bloqueado
e aberto e posteriormente bloqueado. Nesse movimento, aberto-fechado-aberto, o espaço em si é
severed in three. And, as in the earlier work, it is the cut that knits together the experimentado como a matéria sobre a qual o corte, ou fatia, de Strike opera, como se fosse o espaço da
raveled sleeve of experience, that unites it beyond the split into the splice. And sala que havia sido colocado sobre a estante de aço da obra e cortado em três. E, como no trabalho
because it is the viewer, moving through the space, who is himself the operator of anterior, é o corte que une a manga enredada da experiência, que o une além da divisão na emenda. E
this cut, its activity becomes a function of his perceptual work as well; he is porque é o espectador, que se move pelo espaço, quem é o operador desse corte, sua atividade se torna
working with it to reconvene the continuity of his own lived world. também uma função de seu trabalho perceptivo; ele está trabalhando com ele para reconvocar a
In Circuit the viewer's body is unavoidably implicated in the action of the continuidade de seu próprio mundo vivido.
work, since the only place to experience the sculpture is at its center, as one stands
in the three-foot opening in the midst of the jut of four plates—each eight by Em Circuit, o corpo do espectador está inevitavelmente implicado na ação da obra, uma vez que o único
twenty-four feet—pushing diagonallyfrom the four corners of a room to stop just lugar para experimentar a escultura está no centro, como se fica na abertura de um metro e meio no meio
short of its midpoint. The viewer must turn 360 degrees in order to see the work, da estrutura de quatro pratos - cada oito por vinte e quatro pés - empurrando na diagonal dos quatro
and the wholeness of his own body becomes the guarantor of the reconstructible cantos de uma sala para parar um pouco antes do ponto médio. O espectador deve girar 360 graus para ver
wholeness of the room's continuity beyond the cellular segmentation of the o trabalho, e a totalidade de seu próprio corpo se torna garantidora da totalidade reconstrutível da
separate quadrants, or "shots," into which the plates cut the architectural space. continuidade da sala além da segmentação celular dos quadrantes separados, ou "tiros", nos quais as
placas cortam o espaço arquitetônico.
With Twins, this drama of a perceptual center is played in a variant that
combines the Strike phenomenon with the earlier notion of cut. A huge steel plate,
forty-two feet in length, is bisected
Com diagonally,
Twins, esseand one half is then
drama de um flipped so that
centro perceptivo é interpretado em uma variante que combina o fenômeno Strike com a noção
when the two elements are projected from opposing corners of
chapa de aço, com um metro e oitenta an oblong room,e dois de comprimento, é cortada na diagonal e a metade é invertida, de modo que, qua
they form two triangular fins, parallel in plan but inverse in elevation, each
projetados dos cantos opostos de uma sala oblonga, eles formam duas aletas triangulares, paralelas no plano, mas elevação, c
presenting a profile that stretches from high in one corner to narrow at a point on
the floor when it reaches the wall se estende
across the do altoGiven
room. em um the canto para
simplicity estreitar em um ponto no chão quando atinge a parede do outro lado da sala. Dada a sim
of the
geometrical relationships, it is é extremamente
extremely fácil reconstruir
easy to reconstruct a placa
the original singleúnica original, para entender, ou seja, a maneira como o corte se bifurcou e dispersou
plate, to understand, that is, the ficar
wayentre ashas
the cut duas paredes
bifurcated andda obra é the
dispersed sentir essa reconstrução em uma relação muito especial com o próprio corpo, experiment
formerly unified plane. But standing between the two walls of the work is to feel
extraordinariamente aguda da simetria do próprio corpo - do modo como a simetria não funciona como uma identidade entre dir
this reconstruction in a very special relation to one's
relacionamento own body,
inverso to experience
e espelhado it por meio de um senso elevado da maneira como o que está presente para mim no esp
- ou
through an extraordinarily acute sensation of the body's own symmetry—of the
way that symmetry works not ascompartilha da formação
an identity between do sides,
right and left que experimento
but as an diante dos meus olhos.
inverse, mirror relationship—or through a heightened sense of the manner in Texto
which what is present to me in the space behind my back shares in the formation of Ficar entre essas duas barbatanas é uma questão de perceber como um elemento gigante foi arrancado do
what I experience in front of my eyes. outro e, girado de trás para a frente no lugar, que agora expõe a superfície externa do seu companheiro à
Standing between these two fins is a matter of perceiving how one giant área interna na qual o espectador fica. Assim, o prato que está na parte de trás do espectador é,
element has been sheared off from the other and, rotated back-to-front into place, literalmente, o "verso" do prato que ele enfrenta. E com essa manobra incrivelmente simples, a orientação
- ou o que a fenomenologia chamaria de "situação" - é adicionada à geometria. O que pode ter sido
now exposes the outer surface of its mate to the inner area within which the viewer entendido como um invólucro geométrico simples - um tipo de caixa articulada por duas paredes e duas
stands. Thus the plate that is at the viewer's back is, literally,the "back" of the plate aletas - foi articulada em relação a um ponto de vista sobre ou dentro dessa construção. E isso, deve ser
he faces. And with this incredibly simple maneuver, orientation—or what phe sublinhado, não é um ponto de vista abstrato, como o ponto projetivo da perspectiva renascentista, que
Fig. 14.Sawing Device:Base Plate Measure. Fig. 15. Twins: ToEste
Tonyéand
umMary Edna. 1972 que, em vez disso,
nomenologywould call "situation"—is added to geometry.What might have been suspende um único
Twelvefir trees and"olho"
cement desencarnado
block, overall antes daHot
matriz visual. ponto de vista
rolled steel, two plates, each 8 x 42' x V/2"
understood as a simple geometrical enclosure—a kind of box articulated by two está situado em um corpo,
approx. 4'6" x 55 x 35' um corpo que possui costas e frente. Assim, na medida em que Twins articula
Collection Giuseppe Panza di Biumo,
walls and two fins—has been articulated in relation to a point of view onto, or sua própria preocupação com
Installed Pasadena Art Museum, a dupla face de cada elemento,
Varese, Italy ele o coordena com as condições do corpo de
seuPasadena,
espectador: o fatoDestroyed
California. de que esse corpo tem um lugar que não é o que vê e que fica atrás do que é
within, this construction. And this, it must be underscored, is not an abstract point desconhecido, mas que não se vê. No entanto, é esse lado muito invisível e invisível que engrossa o mundo
of view, like the projective point of Renaissance perspective, which suspends a para quem percebe, que garante a ele que as coisas têm lados opostos, a saber, os aspectos que, escondidos
disembodied single "eye" before the visual array. This is a point of view that is dele, são revelados um ao outro. E assim como a presença contínua do corpo fornece o fundamento da
continuidade para unir os cortes do circuito, a localização desse corpo é revelada, a pré-condição para
"conhecer" a densidade e a aparência múltipla da estrutura dos Twins. 27
 situated instead in a body, a body that itself has a back and a front. Thus insofar as To Pair. ..to Bind...to Bond
Twins articulates its own concern with the double-sidedness of each element, it
coordinates this with the conditions of its viewer's body: the fact that that body has Richard Serra makes several different appearances in The New
a front from which it sees and a back which it knows to be there but cannot see. Yet Avant-Garde:Issuesfor the Art of the Seventies.We see him and
it is this very unseen, and unseeable, side that thickens the world for the perceiver, Robert Smithson from the back, setting off on the rocky road
that assures him that things have reverse sides, namely, those aspects that, being of the SpiralJetty; we see him making the casting piece in the
hidden from him, are revealed to each other. And just as the continuous presence Castelli Warehouse; and we see one actual torso-length close-
of the body provides the ground of continuity for seaming together the cuts of up of him—amazingly dirty, in overalls and a tee-shirt, hair
Circuit, so the sitedness of that body is revealed as the precondition for "knowing" wild and face spattered with white. And as with the Portrait of
the density and multiple-aspectednessof the structure of Twins. the Artist Throwing Lead, precedents come to mind. For there
Two years after making Twins, Serra constructed yet another work that is another twentieth-century sculptor who relished being portrayed as though in a
articulated itself against the background or horizon of the viewer's physical self, cocoon of studio grime, who wore the dirt of his artistic life as a kind of filmy,
given an added density and corporeality by feeling itself to be the very precondi glamorous veil: Alberto Giacometti, with plaster in his hair, in the deep grooves
tion for experiencing the density and weight and inner relationship of the work. along his cheeks, in his lashes, on his clothing. And curiously enough, Giacometti
The sculpture in question is Delineator (pi. 74), of 1974-75, consisting of two steel was the focus for a certain phase of Serra's attempt to assimilatethe fact of Paris as
plates, each ten by twenty-six feet, one laid direcdy on the floor, the other hung a living center for art, during the first year in Europe after Yale.
from the ceiling right above it, the two plates at right angles to each other. One In the course of several months he and Philip Glass would go, many times a
could of course read this juxtaposition as a notion of abstract coordinates and week, to La Coupole, the Montparnasse restaurant to which Giacometti repaired
relate it to the red bars crossing black of Kasimir Malevich's Suprematism or the every evening toward midnight to eat his dinner. Sometimes alone, but more often
graphic crosses of Piet Mondrian's Plus and Minus series. But that would be to accompanied by his brother Diego and a few assistants, Giacometti would arrive
omit the way a space is corporealized by those two anonymous plates, a space covered in plaster, the noble workman of the rue du Moulin Vert. Every night he
called into being in relation to the viewer's body. "When you're outside the plates," would eat a bowl of musselsand drink red wine. And every night Richard Serra and
Serra explains, "the overhead plate appears to press upward against the ceiling. Philip Glass would watch him eat. Later, at Phil's insistence, they would go to the
That condition reverses itself as you walk underneath. There aren't any direct cafe where Samuel Beckett could usually be counted upon to show up for endless
paths into it. As you walk towards its center, the piece functions either centrifugally games of snooker. One night Giacometti acknowledged this youthful audience of
or centripetally. You're forced to acknowledge the space above, below, right, left, two. There are many stories of Giacometti's having found this kind of attention
north, east, south, west, up, down. All your psychophysicalcoordinates, your sense highly irritating, but that evening he seemed intrigued by these gawkers at the
17 of orientation, are called into question immediately." Explaining that he was not marks of his labor. He invited them to come to see him the next day; but when they
interested in a reading of Delineator as a kind of column or zone of light suspended got there, no one was home.
between the two planes, he added: "It's not opting for opticality as its content. It For Serra, riveted to what he was experiencing as Brancusi's abstractness, this
has more to do with a field force that's being generated, so that the space is failure to enter Giacometti's studio was not an aesthetic tragedy, for Giacometti's
18 discerned physically rather than optically." postwar work was determinedly figurative, presenting again and again the rigid,
Delineator is thus to Twins as Twins is to Circuit. In all three, what is standing body of his model. It is only from a later perspective that that meeting—
experienced is a powerful imbrication of the visual with the physical, as the space which could have taken the title "to miss"—assumes the character of a charming
that one sees is shown to be interdependent with the space corporealized within historical irony.For Serra and Giacometti did later "meet"—if only to miss—over
oneself, and that space in turn relies for its meaning upon space at large. This a text that strangely enough could serve as a kind of theoretical key to both their
concern with the body as the "ground" of the sculptural experience is in part work, and that, even despite the radical difference between them.
comparable to the way the abstract conditions of the body were modeled by One The text in question is Maurice Merleau-Ponty's The Phenomenology of
Ton Prop (House of Cards), or by Stacked Steel Slabs: the body as a will toward Perception(1945)from which passage after passage could be cited to illuminate the
erectness, as the seeking of containment through balance. Where the three 1970s nature of Serra's sculptural elaboration of the perceptual field. We remember, for
sculptures depart from the Props and Stacks, however, is that the body is the instance, the question of back and front as it was developed in Twins, and we read:
precondition not for existing but for perceiving. Indeed throughout the decade of
the 1970sSerra conceived of the sculptural project as a problem in the domain of To see is to enter a universe of beings which displaythemselves,and they
perception—perception, that is, grounded in a living, moving, reacting body. would not do this if they could not be hidden behind each other or
28 De fato, ao longo da década de 1970, Serra concebeu o projeto escultórico como
um problema no domínio da percepção - percepção, ou seja, fundamentada em
viver, mover, reagir.
 behind me. In other words: to look at an object is to inhabit it, and from the works constructed the sitedness of vision, of what it means to be seen "by"
this habitation to grasp all things in terms of the aspect which they another "from" the place from which he views. "He chose,"Jean-Paul Sartre wrote
present to it. But insofar as I see those things, too, they remain abodes about Giacometti, "to sculpt situated appearance and discovered that this was the
open to my gaze, and being potentially lodged in them, I already path to the absolute. He exposes to us men and women as alreadyseen but not as
perceive from various angles the central object of my present vision. already seen by himself alone. His figuresare already seen just as a foreign language
19 Thus every object is the mirror of all others. that we are trying to learn is already spoken. Each of them revealsto us man as he is
23 seen, as he is for other men, as he emerges into interhuman surroundings. .. ,"
Yet the Phenomenologyof Perceptionwas first thought not to address issues Published in 1948,this reading established the critical ambiencewithin which
raised by Serra, but to create a kind of explanatory ground for the late Giacometti. Giacometti's art was assimilated. The sponsorship by Sartre meant that for
For the matter of his sculpture—those attenuated figures, rising like stalks, built American receivers of the work, for the most part unaware of Merleau-Ponty's still
up as though through a process of destruction, an erosion that establishesthem as a untranslated Phenomenology of Perception, Giacometti exemplified the moral
kind of crumbled vagueness at the center of vision—this attack on matter was lessons of Existentialism, what man-in-a-situation signified for human respon
often seen as the parallel in sculptural terms to phenomenology's recharacteriza sibility,human choice, human freedom. Also, figuration seemed to be a minimum
tion of perception as a function of intentionality, as the simultaneous cause and requirement for these kinds of issues to emerge, for how else would one get at the
result of the viewer's "gearing into the world," his prise sur le monde. In the light of question of "interhuman surroundings"?
this notion of seeing as a kind of grasping or meshing, no objects are imagined as But by the time American readers encountered Phenomenologyof Perception
being given to us neutrally, to be then modified by the distance from which we see (it was translated into English in 1962),their aesthetic horizons had been restruc
them or the angle of view we are forced to take. The distance and the viewpoint are tured by a belief in the necessity of abstraction. The Minimalist generation,
not added to the object, it is argued, but inhere in the object's meaning, like the becoming aware of phenomenology against a background of the problematic
sounds that infuse our language with an always-already-givenground of sense, inherited from Jackson Pollock, Barnett Newman, and Clyfford Still, did not read
separating it at the start from mere noise or babble. "Is not a man smaller at two it as a call for figuration. For the Minimalists, the interest of phenomenology was
hundred yards than at five yards away?" Merleau-Ponty asks. "He becomes so if I located precisely in its assumption of a "preobjective experience" underlying all
isolate him from the perceived context and measure his apparent size. Otherwise perception and guaranteeing that even in its abstractnessit is always and already
he is neither smaller nor indeed equal in size: he is anterior to equality and meaningful; otherwise, without an expectation of meaning located precisely in it,
20 inequality; he is the same man seenfrom farther away" Perceptual data are thus we would have no reason to go on to commit acts of seeing, hearing, moving. This
recharacterized by phenomenology.They are no longer neutral stimuli to enter the description was pertinent to their ambitions, seeming to eclipse those of postwar
bodily sensorium for point-by-point processing but are now defined as the France. The generation of the 1960s encountered in Merleau-Ponty's text the
meaningsthat things present to a given point of view. "Convergence and apparent analysis of "a spatiality without things," which gave intellectual and theoretical
size are neither signs nor causes of depth: they are present in the experience of ballast to their own preoccupations with a seriously intended abstract art. "Once
depth in the way that a motive, even when it is not articulate and separatelyposited, the experience of spatiality is related to our implantation in the world," they could
21 is present in a decision." Or further: "They do not act miraculously as 'causes' in read there, "there will always be a primary spatiality for each modality of this
producing the appearance of organization in depth, they tacitly motivate it insofar implantation. When, for example, the world of clear and articulate objects is
as they already contain it in their significance,and insofar as they are both already a abolished, our perceptual being, cut off from its world, evolvesa spatialitywithout
22 certain way of looking at distance." things. This is what happens in the night. . .. Night has no outlines; it is itself in
24 It was precisely "a certain way of looking at distance" that set the formal contact with me."
conditions of Giacometti's postwar sculpture. And his work, insofar as it appeared In the context of this desire for abstraction and this welcoming of "a spatiality
to represent the mutual relationship between the object and its spectator, the without things," we might read what Serra wrote about the far-flung structure he
viewer and the viewed, was directly associated with phenomenology. The "dis constructed during the period from 1970 to 1972, a work that extends over 300
tance" imprinted on those represented bodies, inscribed there by means of their yards of field in rural Canada and that he titled Shift (fig. 16; pi. 60):
hieratic removal, their frontality, their rigidity, their kneaded and blurred surfaces,
could not be effaced by moving close up to the sculpture to examine it, by peering Surrounded on three sides by trees and swamp, the site is a farming field
into the clefts of its surfaces. These bodies were, instead, marked by a meaning that consisting of two hills separated by a dog-leg valley.In the summer of
nothing could erase: their separation from the viewer, their existence as a kind of 1970,Joan [Jonas] and I spent five days walking the place [figs. 17, 18].
limiting condition of his gaze. Forever caught in the field of the spectator's look, We discovered that two people walking the distance of the field opposite
one another, attempting to keep each other in view despite the curvature
29
 tmmmmmmmmMfmmmmmmmmmmmmmmrnm

of the land, would mutually determine a topological definition of the

space. The boundaries of the work became the maximum distance two
people could occupy and still keep each other in view. The horizon of
the work was established by the possibilities of maintaining this mutual
viewpoint. From the extreme boundaries of the work, a total configura
tion is always understood. As eye-levels were aligned— across the
expanse of the field—elevationswere located. The expanse of the valley,
unlike the two hills, was flat.
What I wanted was a dialectic between one's perception of the
place in totality and one's relation to the field as walked. The result is a
way of measuring oneself against the indeterminacy of the land. . ..
Insofar as the stepped elevations [the six "walls" that are the built
elements of the work] function as horizons cutting into and extending
towards the real horizon, they suggest themselves as orthogonals within
the terms of a perspective system of measurement. The machinery of
renaissancespace depends on measurements remaining fixed and immu
table. These steps relate to a continually shifting horizon, and as mea
surements, they are totally transitive: elevating, lowering, extending,
foreshortening, contracting, compressing, and turning. The line as a
5 visual element, per step, becomes a transitive verb?

Verbs surface once more in this description, a list of verbs that might remind
us of that earlier sequence of actions contemplated by the Artist Throwing Lead:
"to splash, to knot, to spill, to droop, to flow... to swirl."And like the earlier set of
named actions, these also appear to float in grammatical space, in a free-fall divorce
from any specificobject. But there is no real synonymybetween these lists. For the
parade of infinitives suggests acts to be performed on an object, in its passivity.
Whereas this list of gerunds, even as it is enacted by the continuity of the
progressive tense, seems to indicate an action that is reflexive—modifying the
enacting subject in the very process of modifying the object. Neither pole of the
action is named, but the type of action imagined—foreshortening, contracting,
turning —implies a field of reciprocity, as though it were impossible to think of an
object without thinking at the same time about the way it carved out and
determined a place for oneself.
Thus from the coming into being of Shift as the recorded trace of the mutual
sighting of two people as they walk opposite sides of a hilly ground but struggle to
keep each other in view; to its construction as a network of perspectives that would
Fig. 17.Opposite above: Elevational plan for establish an internal "horizon" for the work (as opposed to the real horizon),
Fig. 16.Shift. 1970-72
Concrete, six sections, 60" x 90' x 8," Shift, 1970 which in turn would continually define one's vision of the object through one's
60" x 240' x 8," 60" x 150' x 8,"60" x 120' x 8," physical relation to it; to its transitive relationship to the viewer, marking the
60" x 105' x 8," and 60" x 110' x 8"; overall 815' Fig. 18.Opposite below: Videotape of landscape activity of his connection to the world: Serra's conception of Shift seems to arise
Installed King City, Ontario, Canada; survey for Shift, 1970 quite naturally from the kind of phenomenological setting in which it is argued: "I
view from East Hill cannot understand the function of the living body except by enacting it myself,and
Collection Roger Davidson, Toronto
26 except insofar as I am a body which rises towards the world."

30
 The opening movement in the making of Shift is a kind of choreographed
version of that determination to experience the self only, as Sartre had said, "as he
is for other men, as he emerges in interhuman surroundings." (It is perhaps a mark fyOKTH
of the distance separating the postwar era from that of the post-1960sthat Serra's
connected space dispenses with the "interhuman" as something naturally to be
articulated "for other men," and instead it is articulated through both sexes: "Joan
Jonas and I") And in the next movement, whereby one passes from the interper
sonal into an interaction with space itself,it seemsto follow that one will discover a
network of horizons, a system that will constandy reorganize itself not as one
stands back and surveys the terrain but as one gives way to the topographical
embrace. It is in this movement, in which the horizon is redefined not as a spatial
limit operated by measurement but as a coordinating limit operated by meaning, TOPOGRAPHICAL
SURVfV
that we hear the echo of phenomenology's account of perception: "because to look JOWNSHIP
OF KING.KtOONALMUMCIPALITV
»

at the object is to plunge oneself into it, and because objects form a systemin which
one cannot show itself without concealing others. More precisely, the inner
horizon of an object cannot become an object without the surrounding objects
27 becoming a horizon, and so vision is an act with two facets."
Shift does not, of course, relate to the Phenomenologyof Perceptionas work to
source. Rather, the ideas developed by Merleau-Ponty had been generally assimi
lated by a first generation of Minimalist artists, affecting the assumptions of Judd
and Robert Morris that sculpture had better own up to what it had, in its former
Idealism, attempted to hide, namely,that "if the object is an invariable structure, it
28 is not one in spite of the change of perspective, but in that change or through it."
In the play of perspectives in which Minimalism now grounded the object, abstract
geometries were constantly submitted to the redefinition of a sited vision. And it is
against this background that Serra arrived at the choreography of Shift, in which a
work could be conceived as the mutually established "horizon" of two people at a
distance.
Within this context, too, we understand how Serra's idea of "seeing at a
distance" can never coincide with or map onto that of Giacometti. For where
Giacometti located the depiction of distance in the object world, and specifically
in the representation of the human figure, it was Serra's assumption that the
ground for the perception of distance was to be found not in figuration but in
abstraction, an abstraction that parallels the notion of the preobjective experience.
For Serra, the only way to approach that primordial, preobjective world is through
a use of form that, though palpable and material—direcdy engaging the viewer's
body—is rigorously nonfigurative, insistently abstract.
The abstract elaboration of the plane in Twins, Circuit,and Strike is deployed
throughout the vast expanse of Shift. Moving over the ground of the work, one
experiences the walls as elements in constant transformation: first as line and then
as barrier, only once more to become line. From the vantage of high ground,
the upper edges of the walls are the vectors along which one sights as one stands
looking down, and they thereby establish one's connection to the distance.
Whereas from the vantage of one's "descent,"they broaden and thicken to become
 :'U: ri .

an enclosure that binds one within the earth (fig. 19).Felt as barrier rather than as
perspective, they then heighten the experience of the physical place of one's body.
Without depicting anything specific, the walls' oscillation between the linear and
the physical articulates both a situation and a lived perspective. And it does this in
the most abstract way possible: by the rotation in and out of depth of a plane.
The opening sections of Phenomenologyof Perceptionsketch something of the
preobjectival world when they speak of the internal horizon of an object as that
network of views from everywhere within which it is caught:
When I look at the lamp on my table, I attribute to it not only the
qualities visible from where I am, but also those which the chimney,the
walls, the table can "see"; the back of my lamp is nothing but the face
which it "shows" to the chimney.I can therefore see an object insofar as
objects form a system or a world, and insofar as each one treats the
others round it as spectators of its hidden aspects which guarantee the
9 permanence of those aspects by their presence?

This passage opens a section tided "The Body," in which Merleau-Ponty

argues that it is from the interconnectedness of "back" and "front" within a system
of the meanings of these relationships, given preobjectivally by the space of the
body, that we can construct a primordial model to explain perception. The body as
the preobjective ground by which we experience the relatedness of objects is,
indeed, the first "world" explored by the Phenomenologyof Perception.
As the plane of Shift rotates to become now internal, now external horizon, it
functions as a kind of syntactical marker—an equivalent within the abstract
language of sculpture for the connection between the body's "horizon" and that of
the world beyond. The abstraction of Shift, like that of Twins, is therefore a
function of the abstractness of its vectors, the possible coordinates that are mapped
in their latency, rather than a matter of the nonfigurative character of the plane
itself. Constructivist sculpture had, throughout the opening half of the century,
based its own claim to abstraction on the nonobjective, nonreferential forms of the
elements it put to use: smoothly transparent rectangles of celluloid, shiny grids of
aluminum, mattely deadpan ovals of wood or metal. The realness of these mate
rials—their associationsto workplace, to laboratory, to transport —did nothing to
interfere with the aura of the "abstract" within which these shapes located the
Constructivist object. For that object seemed to exist in the ideal space of
geometric diagrams, of textbook structures, of engineering tables. The trans
Fig. 19. Section from Shift, 1970-72
parency of the materials seemed to underscore the way these intellectualist models,
these diagrams for objects, could be opened to the inspection of thought, which
penetrated them from all sides at once, entering and acquiring them. Thus
translucency to thought became the real "subject" of Constructivism, marking a
triumph over matter by the formal operations of logic or of science, the object
baptized in the ether of reason. In this way the Constructivist plane acts to
overcome the appearances of things and to redefine the object itself as the

32
 geometral of all possible perspectives, which is to say, the object seen from
nowhere, or as phenomenology critically characterizes it, the object as seen by
God: "For God, who is everywhere, breadth is immediately equivalent to depth.
Intellectualism and empiricism do not give us any account of the human experi
30 ence of the world; they tell us what God might think about it."
Now, no matter how geometrical in form, the planes in Shift locate the
meaning of the work in a place utterly distinct from that of Constructivism. These
planes do not enter the formal domain of transparency, and this not because they
are literally opaque (made of concrete, half-buried in the earth, at one with the
compactness of the land), but because they participate in a system that finds
abstraction only when it is carnally enacted as the dual coordination of a lived
perspective supported by the preobjectival space of the body, "an act with two
facets."Acknowledging that vision is this "act with two facets,"the planes in Shift
serve to mark the thickness of the body and that of the world, as well as the mutual,
motile engagement that is at the heart of perception. Further, because Con-
structivist sculpture is seen from a vantage point in the Absolute, its viewer is
represented as immobile, hovering somewhere above it in that total, simultaneous
presence to its being that has no need of movement. But Shift's viewer is repre
sented (through the sculpture) in constant motion; and this bridging of the body's
horizon with that of the world, this abstract transitivity— "foreshortening," "con
tracting, compressing,' "turning" —must be seen as the subject matter of the
work.
Chiasma is a relationship of crossing and exchange. It can be used lin
guistically to chart the reflexive crossovers between words, or it can be used to
describe a spatial transitivity, as in the mutual interaction of seer and seen—their
activity as they exchange positions through visual space, each to leave a mark on
the other. By the 1970s this formal loop, this chiasmatic trajectory, became the
subject of much of Serra's work. It is an abstract subject, most often given visual
form by correspondingly "abstract" elements, like the diagonally oriented fifteen-
foot-long bars and the two steel blocks that they displace within the spectator's
field of vision in the 1973work called Different and DifferentAgain (fig.20). But it
is a subject one can continue to experience abstractly, syntactically,even when the
medium through which it is expressed is not the geometrical plane of Shift or
Twins but a real, functional, functioning object, an industrial object, for example.
It was precisely a bridge, a revolving turnbridge, that became the medium of
Photo: Peter Moore the chiasmatic loop in the film Railroad Turnbridge (fig.21), which Serra made in
the summer of 1976 as a kind of encomium to his revered masters of the Soviet
Fig 20. Different and DifferentAgain. 1973 filmic avant-garde—to the Eisenstein of the raising-of-the-bridge sequence in
Hot rolled steel, four elements, two 12"x 15' x 6", October (1927)and to the Vertov of the steel mills in Enthusiasm (1931).In Serra's
two 12 x 14 x 6"
Leo Castelli Gallery, New York, and collection the artist film the camera, from a position at one end of the bridge, sights down its entire
length to make of the bridge itself a giant viewfinder,a kind of semaphore of vision,
reaching like an extended bellows toward the remote landscape. The view beyond
this tunnel-like construction is thus entirely a function of the distant aperture at
the bridge's end, and the lens of the camera and the opening at the far end of the

33
 bridge enter into a mirror relationship: two frames set at either edge of a trajectory
of space, each reflecting the other. View and viewer are thus mutually implicated,
at the levelboth of form and the dispositifof vision; the majesticallyslow turning of
the sunstruck bridge operates simultaneously on the position of the seer and on
that limited part of the world available to be seen. As Serra says about his work:
"Not only does it use the device of the tunneling of the bridge to frame the
landscape, but then it returns on itself and frames itself. In that, there is an illusion
created that questions what is moving and what is holding still. Is the camera
moving and bridge holding still or vice versa? That is contained within the framing
structure of the material of the bridge itself, right down to its internal functioning
31 element—the gear."
Indeed, in Railroad Turnbridge,nothing of the bridge's physical existence or
its historical density (such as its material place in the development of truss
construction within the nineteenth century's conquest of spans) is banished from
sight, and nothing of the landscape toward which the entire filmic apparatus—
camera, bridge, viewer—projects is denied. But what occurs instead is that each of
these, in their objective character, is eclipsed by the film's abstract subject, by that
thing that fills the frame and is not so much a thing as a relationship, a transitivity.
That film could be abstract without turning its back on the world, without
denying the quotidian spaces of rooms and streets, had been part of the ethos of
Serra's generation of independent filmmakers. Thus in 1967 Michael Snow had
made Wavelength,a forty-five-minute film that consists of a single camera move
ment—a zoom—that traverses the space of a Downtown New York loft, seeming
32 to distill with startling purity an abstract experience of "suspense." Right after
Snow's filmwas made, Serra had taken it with him on a working tour in Europe and
had insisted on showing it everywhere he went. Over and over he had watched that
dawning of the irreversible,the inexorable, as something that could be not so much
pictured as plotted. It was when he saw the turnbridge on a trip to the Pacific
Northwest that he realized the relation he could project between this abstract,
filmic drive and his own specific subject.
In Railroad Turnbridge, Serra found access to a space made visible in and of
itself by the fact that it is in motion, a space swollen by a brilliant luminosity that
serves as a metaphor for vision, yet a space traversed by the mutual implication of
back and front, thus creating a visual figure for the preobjective space of the body.
The physical turnbridge is the medium, the support, the pretext for this experi
ence, not its subject. The subject of the film remains absolutelyconsonant with that
of Shift. Another aspect of the abstract subject emerges from reading Railroad
Fig. 21. Frames from the film Railroad.Turnbridge, 1976
Turnbridgeand Shift together, and that is their parallel preoccupation with time as
the medium within which movement unfurls the complications of its connections.
For if, for Serra, the abstract subject can only be a function of time, this is because
any subject that is timeless—fixed, isolated, and unchanging—lapses into an
image.And an image is by definition not abstract. Alwaysan image of something, it
alwaysacts to depict: this person, that chair, this concept. Giacometti's sculpture
has, in this sense, constant recourse to images, not just because it is figurative but

34
 because it is resolutely static, a function of the "image" of distance become arc—might now suggest a different subject for the work, a different relationship
"picture." Stamped onto the surface of his works through the indelible facture of between sculpture and meaning.
the modeling, through the abruptness with which the sides of the sculpted faces "Et in Utah ego,"wrote Robert Smithson in an essayabout his 1970SpiralJetty
recede before our eyes, this frozen picture ensures that, whether physicallyfar or (fig. 22). Composing a section of his film on the work, Smithson had choreo
near, we will alwaysbe presented with this idea of distanceas an image. graphed a shot to be taken from its very center, at the end point of its trajectory as it
For Serra the abstract subject only becomes availableto the artist once space spirals out from shore to curl around and into itself. Conceived as a continuous
and time are acknowledged as functions of one another. It is within the very camera movement, that shot is a 360-degree pan along the horizon of the Great Salt
moment of a shift in vision that what is seen is experienced as not bounded by the Lake at Rozel Point, Utah, a horizon now mimed, redefined, and displaced by the
condition of being fixed, as is an image. In this insistence on an abstraction that outer rim of the Jetty. On the storyboard of the film Smithson composed the shot;
fusesthe temporal with the spatial, so that the bridge of Serra's filmis imaginable as it begins:
a medium only because, like the gears of the camera itself, it is turning, one
continues to feel a phenomenological preoccupation: "This quasi-synthesis is North —Mud, salt crystals, rocks, water
elucidated if we understand it as temporal. When I say that I see an object at a North by East—Mud, salt crystals, rocks, water
distance, I mean that I already hold it, or that I still hold it, it is in the future or in Northeast by North —Mud, salt crystals, rocks, water
the past as well as being in space... .But co-existence,which in fact defines space, is Northeast by East—Mud, salt crystals, rocks, water
not alien to time, but is the fact of two phenomena belonging to the same temporal East by North —Mud, salt crystals, rocks, water
33 wave." And once again Merleau-Ponty links the space of this continuum to East—Mud, salt crystals, rocks, water. .. 36
something preobjective and abstract: "There is, therefore, another subject beneath
me, for whom a world exists before I am here, and who marks out my place in it. Moving steadily through the points of the compass—north, then east, then
This captive or natural spirit is my body, not that momentary body which is the south, then west—Smithson's camera captures the sameness of a monotonous
instrument of my personal choices and which fastens upon this or that world, but immensity.Unlike the Constructivist triumphal entry into the heart of the material
the system of anonymous 'functions' which draw every particular focus into a object to conquer it cognitively, this centering acknowledges instead a kind of
34 general project." perceptual defeat, a great entropic assault on intuition that would, as Smithson
wrote, "end in sunstroke." Looking for a geometry to end geometry, to collapse it
utterly, Smithson found it in the "immense roundness" of his site, which he
compared to a "rotary that enclosed itself."This site seemed to provide the means
But Not Necessarilyin That Order to undermine what Smithson viewed as the presumptuousness of the certainties
produced by the art he knew. "No ideas, no concepts, no systems,no structures, no
abstractions," he wrote, "could hold themselves together in the actualitv of that
37 The landscape sculptures—the Pulitzer Piece: Stepped Elevation evidence."
(pi. 59) of 1970-71, Shift (pi. 60) of 1970-72, Spin Out: For Bob In 1980 Serra located a work within a rotary, a site he found as crushingly
Smithson (pi. 70) of 1972—73,and Plumb Run: Equal Elevations disorienting as the sweep of RozelPoint. This site, a traffic roundabout at the New
(pi. 105) of 1983—marry form to topography, with the form York City exit from the Holland Tunnel, Serra described as "a space polluted by
bringing into a kind of relief the continuousness of the land exhaust fumes, a scene of incessant change, a hub, a place of rush hour glut, a place
scape, its meander, its sprawl, its aimless sliding this way and of disorientation and permanent rotation where, at various times of the day, the
that. The sculptures lay bare a need to read the landscape but density of traffic screens the inner center of the Rotary, enforcing the distinction
assert that no determinate reading can be arrived at, no closure between the inside and the outside of the space so that the space seems to open and
38 to this experience, no final figure that will resolve once and for all the "ground." close with the traffic flow."
The sculptures "point to the indeterminacy of the landscape," Serra has said, St. John s Rotary Arc (figs. 23, 24) is thus, like Smithson's Jetty, a regular
adding: "The dialectic of walking and looking into the landscape establishes the geometric form placed on a level, regularized "base," a ground that in its flatness
35 sculptural experience." compares to the "thermal mirror" of the Great Salt Lake from which the Jetty rises.
But the arcs that Serra went on to construct—St. John's Rotary Arc (pi. 90) of And like Smithson, Serra imagined a certain narrative for the viewingof this work,
1980,TiltedArc (pi. 93) of 1981,Clara-Clara(pi. 104)of 1983,La Palmera (pi. 106)of a kind of cinematic scenario even though for a film never really contemplated.'
1982-84—presuppose a flat site, within which is set the segment of a regular, Further, like Smithson's shot plan, this scenario projects its angles according to the
geometrical shape. And these two regularities—horizontal plane and vertical points of the compass: first east, then south, then west, then north —although it
35
 must be noted that these compass points are urban, functions of the metropolitan
grid. The scenario begins:
On the East, Varick Street runs South, downtown: walking down Varick
Street, the Arc foreshortens, expands and flattens to a plane. Standing
on line with the visual center of the work (halfwaydown the block) its
top edge curves outward and up at the limits of peripheral vision.
WalkingVarick, the Arc can be read as a site-specificmetaphor in that it
39 echoes the content of a tunnel: traffic appears, disappears, reappears.

If Smithson's refrain, "mud, salt crystals, rocks, water," relates to the

repetitive hum of Serra's contemporaneous Hand CatchingLead, the narrative of
the Rotary Arc breaks awayfrom that earlier serialized sameness.For, from its very
outset— "the Arc foreshortens, expands and flattens to a plane"—we are intro
duced to change. Further, as was the case with the landscape pieces ("The
),
40 sculptural elements act as barometers for reading the landscape" we are being
invited to a "reading"; we are asked to enter a space with the expectation that it will
yield up meaning. But that meaning arises, we also realize, within a network of
coordinates for which there is no single center. We understand that for the Rotary
Arc, no matter the geometrical regularities involved—the juxtaposition of the
segment of a circle to the rectilinear, circumscribed ground of an urban setting
(Varick Street, Laight Street, Hudson Street, Ericsson Street)—the preobjectival
ground of sense is to be found in a fundamental experience of the body's own
coordinates defined as pure difference. North-south-east-west equals, then, front/
back, left/right.
The Rotary Arc locates two different centers. The first is its own center, the
center of the circle of which it is a segment: "standing on line with the visual center
of the work" is the filmic direction. But the second is the center of the site, that
formed-but-formless terrain vague of gravel, whose center is given by the urban
network "On the East, Varick Street runs South."The Rotary Arc is thus a 200-foot
section of a vast circle much larger than the urban base of the Rotary on which it
stands. That larger, projected circle, which would be 800 feet if completed, has as
its center not the center of the Rotary but a point at its edge: "at the asphalt edge of
the Rotary (VarickStreet side) where the ovalbegins to contract."Hence the play of
continual difference, the oscillating attractions of two eccentric orbits: the center
of the site versus the center of the arc.
To be "inside" one space is to experience concavity,enclosure. To be "inside"
the other is to witness the exteriority and the objectification of the convex. But as
Fig. 22. Robert Smithson Fig. 23. Opposite above: St. John's Rotary Arc , one walks around this work, which operates at the scale of the city itself, one is
SpiralJetty. Great Salt Lake, Utah. 1970 1980, aerial view never wholly inside or outside; one is alwaysmoving "toward," reflexivelydefined
Black rock, salt crystals, earth, and water, coil Cor-Ten steel, 12 x 200' x 2W as pure destination, as intentional movement. We return to the scenario:
1,500' long, approx. 15' wide Installed Holland Tunnel exit, New York
Leo Castelli Gallery, New York On the South, Ericsson Street runs East to Varick: walking across the
Fig. 24. Opposite below: St. John's Rotary Arc,
exit ramp onto Ericsson Street toward Hudson Street, the curve snakes
1980,view from northeast back on itself and reads as a half circle. Moving further down to the
 corner of Hudson, the concavity is overlapped, abridged. The convex
curve moves outward and away in a seeminglyunending arc.
On the West, Hudson Street runs North, uptown: walking up
Hudson Street the convexity of the Arc appears enigmatic, obdurate,
wall-like.It flattens gradually to an elongated, slow curve, which appears
concentric with the roundabout, when standing on axis with Hubert
Street. Here, on line with the visual center of the convexity,the top edge
41 curves downward and away at the limits of the peripheral vision.

From this outside, then, facing this "obdurate, wall-like" closure, a viewer existir, “mas não necessariamente nessa ordem.”
finds as the work's "inner horizon" the pull of peripheral vision itself, the
activation of a field beyond, behind, outside of. Thus whether the work maps a A metáfora do filme que Serra usa para traçar a experiência
trajectory ("the convex curve moves outward and away in a seemingly unending Johns Rotary nos leva de volta aquela observação sobre a
arc") or a barrier ("obdurate, wall-like"),it operates in the play of passage between narrativa que Godard em “Duas ou Três coisas que sei sobre
a constant exchange of horizons. It is not so much an object as it is the map of a
ela” (1966), um filme que também, curiosamente, examina um
fluctuating set of exchanges. Serra's plot underscores this resistance to a condition
for the work as object, fixed and knowable before, or outside of, lived experience. espaço urbano por meio de uma tomada de 360 graus. "As
Neither the driver who circumnavigates the Rotary Arc nor the pedestrian who histórias têm começo, meio e fim", lembramos, "mas não
moves toward and along it "can ascribe the multiplicity of views to a Gestalt necessariamente nessa ordem". Como alguém entra e onde sai
reading of the Arc. Its form remains ambiguous," Serra insists, "indeterminable, é variável; mas todas as trajetórias vivem no casamento
42 unknowable as an entity." indissolúvel do espaço com o temporal, uma experiência que, se
That something might be "unknowable as an entity" does not affect the
possibility of its entering into a system with a viewer who moves toward it
intending to know, and uncovering through it the resonance of this intention. It
does not matter from what angle such a viewer approaches the object, for there is
no correct entry into this experience. A rational set of coordinates—north, west,
south, east—may exist, "but not necessarilyin that order." The film metaphor that
Serra uses to plot the experience of St. John's Rotary Arc brings us back to that
remark about narrative that Godard had placed in the mouth of one of the
characters of Two or Three Things I Know about Her (1966), a film that also,
interestingly enough, surveys an urban space by means of a 360-degree pan.
"Stories have beginning, middles, and ends,"we remember, "but not necessarilyin
that order." How one enters and where one leaves is variable; but all trajectories
live in the indissoluble marriage of the spatial with the temporal, an experience
which, if we can have it intensely enough, brings us to that preobjectival condition
for meaning I have been calling "the abstract subject" of Serra's art.
The abstract subject can be supported by a functional object, as in Railroad
Turnbridge, and remain nonetheless abstract. It can be supported by the precise
limits and conditions of a specific site as in Rotary Arc, with its concatenation of
city streets at its boundaries, or Tilted Arc, positioned as it is at the particular
interface between two eras of government construction. Nonetheless it remains
abstract. The specificity of the site is not the subject of the work, but—in its
articulation of the movement of the viewer's body-in-destination—its medium. In
all of this—the imbrication of the abstract subject within the most carefully
 observed specificitiesof place, for it is only through the placing of the one in the
other that the abstract subject can be made to appear—in this we may be reminded .. .we had left Martinville some little time, and the village, after accom
of another text, which, like the Phenomenologyof Perception,serves to illuminate panying us for a few seconds, had already disappeared, when lingering
Serra's project without in any way being taken as a source. Rather, from some con along on the horizon to watch our flight, its steeples and that of
siderable distance, it functions as a thematic ground and a means of orientation. Vieuxvicq waved once again, in token of farewell, their sunbathed
The text to which I refer appears near the opening of Marcel Proust's pinnacles. Sometimes one would withdraw, so that the other two might
Remembranceof ThingsPast, at the end of the section called "Combray."It involves watch us for a moment still; then the road changed direction, they
a perception, or rather an interlocking set of perceptions, which we are shown not veered in the light like three golden pivots, and vanished from my gaze.
once but twice in succession: first in the narrative time within which the book is But, a little later, when we were already closeto Combray,the sun having
being written and then as a citation of a textual fragment written many years earlier set meanwhile, I caught sight of them for the last time, far away, and
and set down immediately after the author has just had the experience in question. seeming no more now than three flowerspainted upon the sky above the
44 By its narrative doubling, Proust underscores what he has already stated: this low line of fields.
fragment possesses a talismanic quality in being the first real "writing" he ever
produced; and as such it stands as a kind of promise for him of the possibilities of The "fecundity of mind," the meaning that operates at the heart of percep
his art. This is all the more so, since, as he explains, it was accomplished at the tion, is released, then, within a specificsite, a precise situation that the young writer
moment when he despaired of ever becoming an author. actually inhabits. The choreography that sets his movement and that of the towers
The text, simply an intensely specific description of the constant pivoting on into a mutually established set of limits—convex and concave,luminous and dark,
the visual horizon of the two bell towers of the Cathedral of Martinville (Caen) and expanding and contracting—makes apparent to him the spatio-temporal web that
the one of Vieuxvicq, interrupts Proust's youthful notions that writing should connects him to his world, that defines him as coexistent with it, being buoyed by it
concern itselfwith abstract ideas, or with "a philosophic theme." Siding with quite on "the same temporal wave."It is this subject—the temporality that connects him
another set of experiences, it is a text that involves itself in the voluptuous, to things—that is released by a site articulated by the towers of Martinville.
changeant glitter reflecting off the surfaces of things. Beneath this perceptual The doubling of the Martinville passage models in small scale the repetitions
covering, the young Proust is sure that there lies something hidden, something of that same pleasure, released over and over again by specific sites established
important to grasp, although certainly nothing to do with the abstract truths so throughout Proust's novel, on which can be enacted other versions of that
necessaryto his literary ambitions. In search of this buried treasure, Proust tells us: movement, renewed each time by the different conditions of the changed context.
I would concentrate upon recalling exacdy the line of the roof, the In a similar relation to what Proust had therefore called "Place Names," each of
colour of the stone, which, without my being able to understand why, Serra's Arcs unfurls before its viewer within utterly new situations and thus new
had seemed to me to be teeming, ready to open, to yield up to me the mediums for meaning.
secret treasure of which they were themselves no more than the outer Thus the Rotary Arc's exchange between tunnel and street cannot open
coverings. It was certainly not any impression of this kind that could or perspective in the same way that meaning occurs for the Tilted Arc, with its
would restore the hope I had lost of succeeding one day in becoming an different conditions of interior and exterior, its relation between workplace and
author and poet, for each of them was associated with some material civic spaces. And neither of these can figure within the experience of movement
object devoid of any intellectual value, and suggesting no abstract truth. created by the 1983Clara-Clarain its original site. There its special momentum as
But at least they gave me an unreasoning pleasure, the illusion of a sort of one passed between its two opposing, but mirroring, halves, operated preobjec-
fecundity of mind. .. 43 tivally on the idea of the "gate," situated as it was along that magical trajectory of
Parisian monuments that begins with the Arc de Triomphe, proceeds to the Place
45 The struggle to find this source of pleasure, this ground that lay beneath the de la Concorde, and sweeps off to the Louvre.
surface of the objects without, however, suggesting for one instant that it could be The repetition that is involved in the relocation of this same "simple" form is
translated into the realm of concepts, this perceptual thickening of experience into thus far removed from the kind of repetition that had defiantly been referred to in
which he wished to delve, eluded Proust until the day he rode in an open coach the 1960sas "just one thing after another." For in the meantime, this elusive thing
down the winding road that first approached and then retreated from Martinville. that dilates within the body, this preobjectival, abstract ground of meaning, this
Observing the perceptual network articulated by the towers, and his own ever- pure intentionality, had emerged for Richard Serra behind the obdurate physical
changing relation to them, he mapped his lived perspective within his written text, object, as his subject. Just one thing after another, we now might say, but not
a section of which reads: necessarily in that order.
38
Notes
1. Gregoire Miiller and Gianfranco Gorgoni, The New Avant-Garde: Issues for the Art of the Seventies (New York, 18. Ibid., p. 62.
Washington, London: Praeger, 1972). 19. Maurice Merleau-Ponty, The Phenomenology of Perception (Paris, 1945),trans. Colin Smith (London: Routledge & Kegan
2. Gotthold Lessing, Laocoon (1766), trans. Ellen Frothingham (New York: Noonday, 1957), p. 92. Paul, 1962), p. 68.
3. The kind of understanding to which I am referring has been variously characterized by those critics generally identified 20. Ibid., p. 261.
with "formalism." Clive Bell's idea of "significant form" could stand for this notion of a moment in which understanding 21. Ibid., p. 258.
subsumes and unifies the formal integers of a work. Stanley Cavell, in Must We Mean What WeSay? (New York: Scribner's, 22. Ibid., p. 259.
1969),p. 191,describes this aesthetic moment, in which the sense of the work of art is revealed, as follows: ".. .works of art are 23. Jean-Paul Sartre, "La Recherche de l'absolu," Les Temps modernes, vol. 3 (1948),p. 1161.Reprinted in Situations III (Paris-
objects of the sort that can only be known in sensing. .. seeingfeels like knowing. ('Seeing the point' conveys this sense, but in Gallimard, 1948), pp. 289-305.
ordinary cases of seeing the point, once it's seen it's known, or understood; about works of art one may wish to say that they 24. Merleau-Ponty, p. 283.
require a continuous seeing of the point.)" Michael Fried, in "Art and Objecthood," in Gregory Battcock, ed., Minimal Art 25. Serra: Interviews, pp. 25-28. Serra further describes the piece: "There are two sets of stepped walls, with three elements
(New York: Dutton, 1968), p. 146, conceives this "seeing of the point" as something that suffuses a given work, guaranteeing in each set. The walls span two hills which are, at their height, approximately 1500 feet apart. Each element begins flush with
its experience as an instantaneously intuited whole. It follows from this, for example, that in viewing a great work of the ground and extends for the distance that it takes the land to drop five feet. The direction is determined by the most
sculpture, the succession of different views of the work are "eclipsed by the sculpture itself—which it is plainly meaningless critical slope of the ground"; ibid., p. 25.
to speak of as only partly present. It is this continuous and entire presentness, amounting, as it were, to the perpetual creation 26. Merleau-Ponty, p. 75.
of itself, that one experiences as a kind of instantaneousness: as though if only one were infinitely more acute, a single 27. Ibid., p. 67.
infinitely brief instant would be long enough to see everything, to experience the work in all its depth and fullness, to be 28. Ibid., p. 90.
forever convinced by it." 29. Ibid., p. 68.
4. Donald Judd, "Specific Objects," Arts Yearbook,vol. 8 (1965), p. 82. 30. Ibid., p. 255.
5. The photograph of Serra throwing lead was taken during the making of Splashing with Four Molds: To Eva Hesse (1969) at 31. Serra: Interviews, p. 99.
the Castelli Warehouse. This explored the same principle as Casting (1969), made for the 1969 exhibition "Anti-Illusion: 32. See Annette Michelson, "Toward Snow," Artforum, vol. 9 (June 1971),pp. 30-37.
Procedures/Materials," at the Whitney Museum of American Art, New York. 33. Merleau-Ponty, p. 265.
6. From Richard Serra: Interviews, Etc. 1970-1980 (Yonkers, N.Y.: The Hudson River Museum, 1980), pp. 15—16. 34. Ibid., p. 254.
7. Ibid., p. 16. 35. Serra: Interviews, p. 72.
8. Phyllis Tuchman, "An Interview with Carl Andre," Artforum, vol. 8 (June 1970), p. 55. 36. The Writings of Robert Smithson, ed. Nancy Holt (New York: New York University Press, 1979), p. 113.
9. Serra: Interviews, pp. 48, 49. Carl Andre explains the importance of Brancusi and the Endless Column for his own 37. Ibid., p. 111.
development as a sculptor, in "An Interview with Carl Andre," pp. 55 and 61. 38. Serra: Interviews, p. 154.
10. Harold Rosenberg, The Tradition of the New (New York: McGraw-Hill, 1965), pp. 27-28. 39. Ibid., p. 156.
11.Ibid., p. 31. 40. Richard Serra and Peter Eisenman, "Interview," Skyline (April 1983), p. 16.
12. From Bruce Glaser's 1964 interview with Donald Judd and Frank Stella, reprinted in Battcock, ed., Minimal Art, p. 161. 41. Serra: Interviews, p. 160.
13. Ibid., p. 159. For Judd's objection to the metaphysics of the Action Painters, see p. 151. 42. Ibid., p. 161.
14. Emily Wasserman, "An Interview with Composer Steve Reich," Artforum, vol. 10 (May 1972), p. 48. 43. Marcel Proust, Swann's Way, trans. C. K. M. Scott-Moncrieff (New York: Vintage, 1970), p. 137.
15. Serra: Interviews, p. 168. 44. Ibid., p. 139.
16. Serra: Interviews, pp. 94-95. 45. For a brilliant and precise analysis of this work, see Yve-Alain Bois, "A Picturesque Stroll around Clara-Clara" October,
17. Ibid., p. 61. no. 29 (Summer 1984), pp. 32-62.

39
nnuMMNi m
 Serra's Author's note: This essay represents my position on site specificityas I was led to
consider the issue in relation to the crisis over Richard Serra's Tilted Arc, a crisis
that pushed my earlier ideas in a new direction, redefining the very terms of the

PublicSculpture: problem. That this position may be at variance with that of The Museum of
Modern Art, indeed of most art institutions, will be obvious from the argument.
Transcending the differences between the Museum and myself, however, is our

Redefining shared conviction of the importance of Serra's work. D.C.

he
Site Specificity T site was an old warehouse on the Upper West Side in
Manhattan used by the Leo Castelli Gallery for storage; the
occasion, an exhibition organized by Minimal sculptor Robert
Douglas Crimp Morris; the moment, December 1968.There, strewn upon the
cement floor, affixed to or leaning against the brick walls, were
objects that defied our every expectation regarding the form of
I know that there is no audiencefor sculpture,as is the case with poetry and the work of art and the manner of its exhibition. It is difficult to
experimentalfilm. There is, however,a big audiencefor products whichgive convey the shock registered then, for it has since been
people what they want and supposedlyneed, and which do not attempt to give them absorbed, brought within the purview of normalized aesthetics, and, finally,
consigned to a history of an avant-garde now understood to be finished. But, for
more than they understand. -Richard Serra, "Extended Notes from many of us who began to think seriously about art preciselybecause of such assaults
Sight Point Road" on our expectations, the return to convention in the art of the 1980scan only seem
false, a betrayal of the processes of thought that our confrontations with art had set
It is better to be an enemy of the people than an enemy of reality. in motion. And so we try again and again to recover that experience, to make it
—Pier Paolo Pasolini, "Unhappy Youths" availableto those who now complacently spend their Saturday afternoons in SoHo
galleries viewing paintings that smell of fresh linseed oil and sculptures that are
once again cast in bronze.
Fig. 1. Opposite: Terminal. 1977 Of the things in that warehouse, certainly none was more defiant of our sense
Cor-Ten steel, four trapezoidal plates, each 41' x of the aesthetic object than Richard Serra's Splashing(fig. 2). Along the juncture
12 to 9' (irregular) x 2 Z2" where wall met floor, Serra had tossed molten lead and allowed it to harden in
Installed Bochum, West Germany
Stadt Bochum, West Germany place. The result was not really an object at all; it had no definable shape or mass; it
created no legible image. We could, of course, say that it achieved the negation of
categories that Donald Judd had, some years earlier, ascribed to "the best new
1 work": "neither painting nor sculpture." And we could see that by effacing the
41
 line where the wall rose up perpendicular to the floor, Serra was obscuring a
marker for our orientation in interior space, claiming that space as the ground of a
different kind of perceptual experience. Our difficultywith Splashingwas in trying
to imagine its very possibility of continued existence in the world of art objects.
There it was, attached to the structure of that old warehouse on the Upper West
Side, condemned to be abandoned there forever or to be scraped off and
destroyed. For to remove the work meant certainly to destroy it.

"To remove the work is to destroy the work." It is with this assertion that Serra
sought to shift the terms of debate in a public hearing convened to determine the
fate of Tilted Arc (1981).2 Serra's sculpture had been commissioned by the General
Services Administration (GSA) Art-in-Architecture Program and installed in the
plaza of the Jacob K. Javits Federal Building in Lower Manhattan during the
summer of 1981.In 1985,a newly appointed GSA regional administrator presumed
to reconsider its presence there, to ask whether it might be "relocated" elsewhere.
In testimony after testimony at that hearing, artists, critics, museum officials,and
others pleaded the case for site specificitythat Serra's assertion implied. The work
was conceived for the site, built on the site, had become an integral part of the site,
altered the very nature of the site. Remove it and the work would simply cease to
exist. But, for all its passion and eloquence, the testimony failed to convince the
adversaries of Tilted Arc. To them the work was in conflict with its site, disrupted
the normal views and socialfunctions of the plaza, and, indeed, would be far more
pleasant to contemplate in a landscape setting. There, presumably,its sizewould be
less overwhelming to its surroundings, its rust-colored steel surface more harmo
nious with the colors of nature.
The larger public's incomprehension in the face of Serra's assertion of site
Photo: Peter Moore
specificityis the incomprehension of the radical prerogatives of a historic moment
in art practice. "To remove the work is to destroy the work" was made self-evident
to anyone who had seen Splashings literalization of the assertion, and it is that
which provided the background of TiltedArdor its defenders. But they could not
be expected to explain, within the short time of their testimonies, a complex
history which had been deliberately suppressed. The public's ignorance is, of
course, an enforced ignorance, for not only is cultural production maintained as
the privilege of a small minority within that public, but it is not in the interests of
the institutions of art and the forces they serve to produce knowledge of radical
practices even for their specialized audience. And this is particularly the case for
those practices whose goal was a materialist critique of the presuppositions of those
Fig. 2. Splashing.1968 very institutions. Such practices attempted to reveal the material conditions of the
Lead, 18"x 26' work of art, its mode of production and reception, the institutional supports of its
Installed Castelli Warehouse, New York circulation, the power relations represented by these institutions—in short, every
Destroyed thing that is disguised by traditional aesthetic discourse. Nevertheless, these
practices have subsequently been recuperated by that very discourse as reflecting
just one more episode in a continuous development of modern art. Many of Tilted
Arc's defenders, some representing official art policies, argued for a notion of
 site specificity that reduced it to a purely aesthetic category. As such, it was no tion of their circulation: from the studio to the commercial gallery, from there to
longer germane to the presence of the sculpture on Federal Plaza. The specificityof the collector's private dwelling, thence to the museum or lobby of a corporate
TiltedArc's site is that of a particular public place. The work's material, scale, and headquarters. The real material condition of modern art, masked by its pretense to
form intersect not only with the formal characteristics of its environment, but also universality, is that of the specialized luxury commodity. Engendered under
with the desires and assumptions of a very different public from the one con capitalism, modern art became subject to the commodification from which
ditioned to the shocks of the art of the late 1960s.Serra's transfer of the radical nothing fully escapes. And in accepting the "spaces" of art's institutionalized
implications of Splashinginto the public realm, deliberately embracing the contra commodity circulation as given, Minimal art could neither expose nor resist the
dictions this transfer implies, is the real specificityof Tilted Arc. hidden material conditions of modern art.
The task was taken up in the work of artists who radicalized site specificity,
When site specificitywas introduced into contemporary art by Minimal artists in artists as various as Daniel Buren and Hans Haacke, Michael Asher and Lawrence
the mid-1960s, what was at issue was the idealism of modern sculpture, its Weiner, Robert Smithson and Richard Serra. Their contributions to a materialist
6 engagement of the spectator's consciousness with sculpture's own internal set of critique of art, their resistance to the "disintegration of culture into commodities,"
relationships. Minimal objects redirected consciousness back upon itself and the were fragmentary and provisional, the consequences limited, systematically
real-world conditions which ground consciousness.The coordinates of perception opposed or mystified, ultimately overturned. What remains of this critique today
were established as existing not only between the spectator and the work but are a history to be recovered and fitful, marginalized practices that struggle to exist
among spectator, artwork, and the place inhabited by both. This was accomplished at all in an art world more dedicated than ever before to commodity value.
either by eliminating the object's internal relationships altogether or by making That history cannot be recovered here; it can only be claimed as necessaryfor
those relationships a function of simple structural repetition, of "one thing after any genuine understanding of Richard Serra's Splashingand what he was to make
3 another." Whatever relationship was now to be perceived was contingent upon afterward. We need hardly be reminded of the dangers inherent in divorcing art
the viewer's temporal movement in the space shared with the object. Thus, the practices from the social and political climates in which they took place; in this
work belonged to its site; if its site were to change, so would the interrelationship of case, the very mention of the year 1968 as the date of Splashing should serve
object, context, and viewer. Such a reorientation of the perceptual experience of sufficientnotice. The following paragraphs, written in France by Daniel Buren just
art made the viewer, in effect, the subject of the work, whereas under the reign of one month after the events of May '68 and published the followingSeptember, may
Modernist idealism, this privileged position devolved ultimately upon the artist, provide a reminder of the political consciousnessof artists of the period.
the sole generator of the artwork 's formal relationships. The critique of idealism We can find challenges to tradition back in the 19th century—indeed
directed against modern sculpture and its illusory sitelessnesswas, however, left (considerably) earlier. And yet since then countless traditions, academ-
incomplete. The incorporation of place within the domain of the work's percep icisms, countless new taboos and new schools have been created and
tion succeeded only in extending art's idealism to its surrounding site. Site was overthrown!
understood as specific only in a formal sense; it was thus abstracted, aestheticized. Why? Because those phenomena against which the artist struggles
Carl Andre, who made the claim that sculpture, formerly equated with form and are only epiphenomena or, more precisely,they are only the superstruc
structure, was now to be equated with place, was asked about the implications of tures built on the base that conditions art and is art. And art has changed
moving his works from one place to another. His reply: "I don't feel myself its traditions, its academicisms, its taboos, its schools, etc., at least a
obsessed with the singularity of places. I don't think spaces are that singular.I think hundred times, because it is the vocation of what is on the surface to be
there are generic classesof spaces which you work for and toward. So it's not really changed, endlessly, and so long as we don't touch the base, nothing,
4 a problem where a work is going to be in particular." And Andre enumerated these obviously,is fundamentally, basically,changed.
spaces: "Inside gallery spaces, inside private dwelling spaces, inside museum And that is how art evolves,and that is how there can be art history.
5 spaces, inside large public spaces, and outside spaces of various kinds too." The artist challenges the easel when he paints a surface too large to be
Andre's failure to see the singularity of the "generic classes of spaces" he supported by the easel, and then he challenges the easel and the over-
"worked for and toward" was the failure of Minimal art to produce a fully large surface by turning out a canvas that's also an object, and then just
materialist critique of Modernist idealism. That critique, initiated in the art an object; and then there is the object to be made in place of the object
production of the following years, would entail an analysis of, and resistance to, made, and then a mobile object or an untransportable object, etc. This
art's institutionalization within the system of commerce represented by those [is said] merely by way of an example, but intended to demonstrate that
spaces listed by Andre. If modern artworks existed in relation to no specific site if there is a possible challenge it cannot be a formal one, it can only be
7 and were therefore said to be autonomous, homeless, that was also the precondi basic, on the level of art and not on the level of the forms given to art.
43
 The Marxist terminology of Buren's text locates him in a political tradition
very different from that of his American colleagues.Moreover, among the artists of
his generation, Buren has been the most systematicin his analysisof art in relation
to its economic and ideological bases, and thus he has reached a far more radical
conclusion: that the changeswrought upon art within practice must be "basic," not
"formal." In spite of Richard Serra's continued work with the "forms given to art,"
however, he has incorporated important components of a materialist critique.
These include his attention to the processes and divisionsof labor, to art's tendency
toward the conditions of consumption, and to the false separation of private and
public spheres in art's production and reception. Although Serra's work is not
systematic or even consistent in this regard, even the contradictory manner in
which he has taken a critical position has produced reactions that are often
perplexed, outraged, sometimes violent. Determined to build his work outside the
confinesof art institutions, Serra has met opposition from public officialswho have
often been quick to manipulate public incomprehension for the purpose of
8 suppressing the work.
The extraordinary status that has accrued to the work of art during the
modern period is, in part, a consequence of the romantic myth of the artist as the
most highly specialized, indeed unique producer. That this myth obscures the
social division of labor was recognized by Minimal artists. Traditional sculpture's
specializedcraft and highly fetishized materials were opposed by Minimalism with
the introduction of objects industrially fabricated of ordinary manufactured
materials. Dan Flavin's fluorescent lights, Donald Judd's aluminum boxes, and
Carl Andre's metal plates were in no way products of the artist's hand. Serra, too,
turned to industrial materials for his early sculpture, but at first he worked those
Photo: Peter Moore
materials himself or with the help of friends. Using lead, and working at a scale
proportionate to hand manipulation, his early torn, cast, and propped pieces were
still evidence of the artist's activity, however much the processes Serra employed
differed from the conventional crafts of carving, modeling, and welding. But
when, in 1971,Serra installed Strike (fig.3) in the Lo Giudice Gallery, New York,
his working procedure was transformed. Strike was only a single plate of hot-rolled
steel, one inch thick, eight feet high, twenty-four feet long, and weighing nearly
three tons. That steel plate was not, however, the work. To become the sculpture
Strike, the steel plate had to occupy a site, to assume its position wedged into the
corner of the gallery room, bisecting the right anglewhere wall met wall. But there
is no operation of the artist's craft that would accomplish this simple fact. The
steel's tonnage required yet another industrial process than the one which pro
duced the plate itself. That process, known as rigging, involves the application of
Fig. 3. Strike: To Roberta and Rudy. 1969-71
Hot rolled steel, 8 x 24' x 1" the laws of mechanics, usually with the aid of machinery, "to put [material] in
9 Installed Lo Giudice Gallery, New York, 1971-72 condition or position for use." Beginning with Strike, Serra's work would require
Collection Giuseppe Panza di Biumo, Varese, Italy the professional labor of others, not only for the manufacture of the sculpture's
material elements but also to "make" the sculpture, that is, to put it in its condition
or position for use, to constitute the material as sculpture (figs. 4-7). It is this
exclusive reliance on the industrial labor force (a force signaled with a very
44
 particular resonance in the sculpture's name) that distinguishes Serra's production
after the early 1970sas public in scope, not only because the scale of the work had
dramatically increased, but because the private domain of the artist's studio could
no longer be the site of production. The place where the sculpture would stand
would be the place where it was made; its making would be the work of others.
Characterizations of Serra's work as macho, overbearing, aggressive,
oppressive, seek to return the artist to the studio, to reconstitute him as the work's
sole creator, and thereby to deny the role of industrial processes in his sculpture.
While any large-scalesculpture requires such processes, while even the manufac
ture of paint and canvas require them, the labor that has been expended in them is
nowhere to be discerned in the finished product. That labor has been mystified by
the artist's own "artistic" labor, transformed by the artist's magic into a luxury
commodity. Serra not only refuses to perform the mystical operations of art but
also insists upon confronting the art audience with materials that otherwise never
appear in their raw state. For Serra's materials, unlike those of the Minimal
sculptors, are materials used only for the means of production. They normally
appear to us transformed into finished products, or, more rarely, into the luxury
10 goods that are works of art.
The conflict between the product of heavy industry, unavailable for luxury
consumption, and the sites of its exhibition, the commercial gallery and museum,
intensified as Serra developed the implications of Strike toward the total negation
of the normal functions of gallery spaces. Rather than subserviently taking their
cues from the formal conditions of room spaces, as site-specificworks increasingly
tied to purely aesthetic ideas began to do, Serra's sculptures worked not "for and
toward" but against those spaces. The enormous steel-plate walls of Strike, Circuit
(1972,pi. 66), and Twins (1972,pi. 67) took on new dimensions with Slice(1980,pi.
87), WaxingArcs (1980,pi. 86), Marilyn Monroe-Greta Garbo (1981,pi. 91), and
Wallto Wall (1983,pi. 102).These dimensions were also assumed in the horizontal
steel-plateworks Delineator (1974-75,pi. 74) and Elevator (1980,pi. 88), and by the
forged-steel block pieces Span (1977,pi. 78) and Step (1982,pi. 96). Testing and
straining against the outer limits of structural, spatial, visual, and circulatory
capacity, these works pointed to another sort of specificity of the site of art, its
specifichistorical origins in the bourgeois interior. For if the historical form of the
modern artwork was conceived for its function in adorning that private interior
space, if the museum-goer could always imagine the painting by Picasso or the
sculpture by Giacometti transposed back inside the private dwelling, it was hardly
so comfortable a thought to imagine a steel wall slicingthrough one's living room.
"Inside private dwelling spaces" would no longer be congenial sites for Serra's
Fig. 4. Pile driver preparing the foundation for
sculpture, and thus another of art's private domains was defeated by Serra's use of Sight Point (pi. 71), Stedelijk Museum,
heavy industrial materials and their mode of deployment. At the same time, art's Amsterdam, 1974
institutional exhibition spaces, surrogates of the private domicile, were revealed as
determining, constraining, drastically limiting art's possibilities.
By the time Serra installed these later works in commercial galleries and
museums, he had already transferred much of his activity out-of-doors into the
45
 landscape and cityscape.The sheer implausibilityof the indoor works, shoehorned
as they are into clean white rooms, imposes the terms of a truly public sculptural
experience within the confines of the usually private site. In effect, Serra reversed
the direction generally taken by sculpture as it ventures into public space, the
direction conciselyspelled out in one critic's statement of resignation: "All we can
11 ever do is put private art in public places." Unwilling, as we shall see, to accept
this calcified idea of private versus public, Serra insists rather upon bringing the
lessons learned on the street, as it were, back into the gallery. In the process the
gallery-goer (Marilyn Monroe-Greta Garbo is subtitled "A Sculpture for Gallery-
Goers") is made excruciatingly aware of the gallery's limitations, of the strangle
hold it exerts on the experience of art. By turning the tables on the gallery,holding
the gallery hostage to sculpture, Serra defies the gallery's hegemony, declares it a
site of struggle. That the terms of this struggle hinge in part upon questions of the
private versus the public site of art is demonstrated by Slice(fig.8), installed in the
Leo Castelli Gallery on Greene Street, New York, in 1980.A continuous curve of
steel plates, ten feet high and over one hundred and twenty-four feet long, the
sculpture sliced through the gallery's deep space and lodged itself into the' two
corners of one of the long walls. The room was thereby divided into two noncom-
municating areas, an area on the convex side of the curve, which we may designate
as public, and a concave interior "private" area. Entering the gallery from the
street, the gallery-goer followed the curve from an expansive open space through
the compression where curve closed in closer to the long wall and then opened out
again into the gallery's back wall. The sensation was that of being on the outside,
cut off from the real function of the gallery, unable to see its operations, its office,'
its personnel. Leaving the gallery and reentering through the door off the lobby
the gallery-goerwas now "inside," confined in the concavity of the curve, privy to
the gallery's commercial dealings. In thus experiencing the two sides of Slice as
extraordinarily different spatial sensations, neither imaginablefrom the other, one
also experienced the alwayspresent and visible but never truly apparent relations
between the gallery as a space of viewingand as a space of commerce.In installing a
work that could not partake of the commercial possibilitiesof commodity circula
tion, Serra was nevertheless able to make that condition of the gallery a part of the
work's experience, if only in abstract, sensory terms.
But possibilities of disrupting the power of galleries to determine the experi
ence of art are exceedingly limited, dependent as they are upon the willingness of
the contested institution. This is also true, of course, for museums, even though the
latter might claim greater neutrality with respect to all art practices, even those that
Fig. 5. Forging of Berlin Blockfor Charlie Chaplin (pi. 80), question the privatization of culture as a form of property. The museum, however,
Henrichshiitte, Hattingen, West Germany, 1977 in the benevolence of this neutrality, simply substitutes an ideologicallyconstituted
concept of private expression for the gallery's commercial concept of private
commodities. For the museum as an institution is constituted to produce and
maintain a reified history of art based on a chain of masters, each offering his
private vision of the world. Although his work does not participate in this myth,
Serra is aware that within the museum it will be seen that way in any case:
46
 In all my work the construction process is revealed. Material, formal,
contextual decisions are self-evident. The fact that the technological
process is revealed depersonalizes and demythologizesthe idealization
of the sculptor's craft. The work does not enter into the fictitious realm
of the "master."... My works do not signify any esoteric self-referen-
tiality. Their construction leads you into their structure and does not
refer to the artist's persona. However, as soon as you put a work into a
museum, its label points first to the author. The visitor is asked to
recognize "the hand." Whose work is it? The institution of the museum
invariably creates self-referentiality, even where it's not implied. The
question, how the work functions, is not asked. Any kind of disjunction
the work might intend is eclipsed. The problem of self-referentiality
does not exist once the work enters the public domain. How the work
alters a given site is the issue, not the persona of the author. Once the
works are erected in a public space, they become other people's
12 concerns.

When Serra first moved out of the institutions of art, he moved very far indeed. It
was 1970.Robert Smithson had built the SpiralJetty (1970)in the Great Salt Lake in
Utah; Michael Heizer had carved Double Negative (1969) into the Virgin River
Mesa of Nevada; Serra himself was planning Shift (pi. 60), the large outdoor work
in King County, Canada. For all the excitement generated by the development of
earthworks, however, Serra found such isolated sites unsatisfactory. An urban
artist working with industrial materials, he discovered that the vast and inevitably
mythologized American landscape was not his concern, nor were the pathos and
mock heroism of working in isolation from an audience. "No," he said, "I would
13 rather be more vulnerable and deal with the reality of my living situation." Serra
negotiated with New York City officialsfor a site in the city, and eventually they
granted him a permit to construct a work in an abandoned dead-end street in the
Bronx. There, in 1970, Serra built To EncircleBase Plate Hexagram, Right Angles
Inverted (fig.9), a circle of steel angle, twenty-six feet in diameter, embedded in the
surface of the street. Half the circle's circumference was a thin line, one inch wide;
the other half, the angle's flange,eight inches wide. From a distance, at street level,
the work was invisible; only when the viewer came directly upon it did the work
materialize. Standing within its circumference, the viewer could reconstruct its
sculptural bulk, half buried under grade. There was, however, a second approach,
also from a distance, from which the work was visible in a different way.The dead
end street gave on to stairways leading up to an adjoining street at a higher level;
Fig. 6. Rigging of Elevator (pi. 88), by
from there the street below appeared as a "canvas" upon which the steel circle was Ray LaChapelle and Sons, steelriggers,
"drawn." This reading of figure against ground, rather than reconstructing material The Hudson River Museum, Yonkers, N.Y.,
bulk in the ground, worried Serra, seeming to him once again the pictorialism into 1980
which sculpture alwaystended to lapse, a pictorialism he wished to defeat with the
sheer materiality and duration of experience of his work. Moreover, this deceptive Fig. 7. Forming of Clara-Clara(pi. 104),steel
mill, West Germany, 1983
pictorialism coincided with another way of reading the sculpture that Serra did not

47
 foresee and that came to represent for him a fundamental deception against which
he would position his work. That deception was the image of the work as against
the actual experience of it.
To Encircles site was, as Serra described it, "sinister, used by the local
14 criminals to torch cars they'd stolen." Clearly those "local criminals" were not
interested in looking at sculpture—pictorial or not—and it was Serra's miscon
ception that anyone from the art world was interested enough in sculpture to
venture into that "sinister" outpost in the Bronx. The work existed, then, in
precisely the form in which earthworks exist for most people—as documents,
photographs. They are transferred back into the institutional discourses of art
through reproduction, one of the most powerful means through which art has been
abstracted from its contexts throughout the modern era. For Serra, the whole
point of sculpture is to defeat this surrogate consumption of art, indeed to defeat
consumption altogether and to replace it with the experience of art in its material
reality:
If you reduce sculpture to the flat plane of the photograph, you're
passing on only a residue of your concerns. You're denying the temporal
experience of the work. You're not only reducing the sculpture to a
different scale for the purposes of consumption, but you're denying the
real content of the work. At least with most sculpture, the experience of
the work is inseparable from the place in which the work resides. Apart
from that condition, any experience of the work is a deception.
But it could be that people want to consume sculpture the way they
consume paintings —through photographs. Most photographs take
their cues from advertising, where the priority is high image content for
an easy Gestalt reading. I'm interested in the experience of sculpture in
15 the place where it resides.

Serra's attempts to enforce the difference between an art for consumption

and a sculpture to be experienced in the place where it resides would, however,
embroil him in constant controversy. The first work Serra proposed for a truly
public location was never allowed to occupy the site for which it was intended.
After winning a competition in 1971for a sculpture for the Wesleyan University
campus in Middletown, Connecticut, Serra's SightPoint was ultimately rejected by
the university's architect as "too large and too close to the campus's historical
16 building." It was, of course, just this size and proximity that Serra had wanted.
Sight Point is one of a number of large-scale works that employ the principles
Fig. 8. Slice. 1980
Cor-Ten steel, 10' x 124'6" x 1)4"
developed in the early Prop Pieces, principles of construction that rely exclusively
Leo Castelli Gallery and Blum Helman Gallery, on the force of gravity. But at their greatly increased scale and in their particular
New York, and collection the artist public settings, these works no longer use those principles merely to oppose the
formal relationships obtaining in Modernist sculpture; now they come into conflict
with another form of construction, that of the architecture of their surroundings.
Rather than playing the subsidiary role of adornment, focus, or enhancement of
their nearby buildings, they attempt to engage the passerby in a new and critical
48
 reading of the sculptures' environment. By revealing the processes of their con
struction only in the active experience of sequential viewing, Serra's sculptures
implicitly condemn architecture's tendency to reduce to an easilylegible image, to
collapse into, precisely,a facade. It is that reduction to facade, the pictorial product
of the architect's drawing board, site of the architect's expressive mastery, that,
presumably, the WesleyanUniversity architect wanted to protect for the campus's
17 "historical building."

When asked what Sight Point (1971-75,pi. 71)lost by being built in the back court
of the Stedelijk Museum in Amsterdam instead of its intended location, Serra
replied simply: "What happened with SightPoint was that it lost all relationship to a
pattern of circulation, which was a major determinate for its original location at
18 Wesleyan." Serra recognized that even public art was generally granted only the
function of aesthetic enhancement in the seclusion of museumlike sites, removed
from normal circulation patterns and placed, as it were, on ideologicalpedestals:
Usually you're offered places which have specific ideological con
notations, from parks to corporate and public buildings and their
extensions such as lawns and plazas. It's difficult to subvert those
contexts. That's why you have so many corporate baubles on Sixth
Avenue [New York], so much bad plaza art that smacks of IBM,
signifying its cultural awareness... . But there is no neutral site. Every
context has its frame and its ideologicalovertones. It's a matter of degree.
19 There is one condition that I want, which is a density of traffic flow.

It was just such a density of traffic flow that Serra found for Terminal (1977,figs. 1,
10),erected in the very center of the German city of Bochum in the central hub of
20 commuter traffic. "The streetcars miss it by a foot and a half."
Terminalis a prop construction of four identical trapezoidal plates of Cor-Ten
steel, forty-one feet high. The plates were manufactured at the Thyssen steelworks
in the nearby company town of Hattingen, one of a number of such towns in the
Revier industrial region of which Bochum is the capital city. Although Terminal
was initially built in Kassel for Documenta 6, Serra meant the work for its present
site, in part because he wanted it located in the center of the steel-producing
district where its plates were manufactured 21It is this social specificityof its site,
however, that would cause a furor over Terminal.
At first the work aroused a response not unusual for Serra's public sculpture:
graffiti identifying it as a toilet or warning of rats, letters to the editors of local
Fig. 9. Installation of To EncircleBase Plate
newspapers deploring the huge expenditure of city funds, declaring the work ugly Hexagram, Right Angles Inverted (pi. 48),
and inappropriate. As the controversy widened, and as city council elections 183 Street and Webster Avenue, the Bronx,
neared, the Christian Democratic party (CDU) seized upon it as the focus for its New York, 1970
political campaign against the firmlyentrenched SocialDemocrats, who had voted
to purchase the work for the city. Vying for the votes of the steelworkers, who
constitute a majority of the region's electorate, the CDU printed campaign posters
 showing a photograph of Terminalmontaged against one of a steel mill (fig.11).The
slogan announced: "This will never happen again—CDU for Bochum." The
Christian Democrats' objections to Terminal are extremely revealing of the issues
raised in Serra's public sculptures, especially insofar as his abstract vocabulary
intersects with explicit socialand material conditions. It is therefore worth quoting
at length from the press release issued by the CDU stating its position on Terminal:
The supporters of the sculpture refer to its great symbolicvalue for the
Revier region generally and for Bochum in particular as the home of coal
and steel. We believe the sculpture lacks important qualities that would
enable it to function as such a symbol. Steel is a special material whose
production demands great craftsmanship, professional and technical
know-how. The material has virtually unlimited possibilities for the
differentiated, even subde treatment of both the smallest and the largest
objects, both the simplest and the most artistically expressive forms.
We do not believe this sculpture expresses any of these things since
it looks like a clumsy,undifferentiated, half-finished "ingot." No steel-
worker can point to it positively,with pride.
Steel signifies boldness and elegance in the most varied construc
tions; it does not signify monstrous monumentality. This sculpture is
frightening because of its awkward massiveness, untempered by any
other attributes. Steel is also a material that, to a great degree, suggests
resilience, durability, and resistance to rust. This is especiallytrue of the
high-quality steel produced in Bochum. This sculpture, made only of
simple steel, is already rusted and disgusting in appearance. Steel is a
high-quality material developed from iron and so is not a true raw
material. Yet this sculpture gives the impression of raw material
extracted from the earth and given no special treatment.
If, as its supporters claim, the sculpture is to symbolize coal and
steel, it must provide the possibility of positive identification for those
concerned, that is, for the citizens of this area, especially the steel-
workers. We believe that all of the characteristics mentioned provide no
positive challenge and identification. We fear the opposite will occur,
that rejection and scorn will not only result initially but will intensify
over time. That would be a burden not only for this sculpture but for all
self-contained modern artworks. Such cannot be the goal of a responsi
22 ble cultural policy.
Fig. 10. Terminal. 1977
For the Christian Democrats, now presiding over record unemployment in
23 Germany, to claim that they represent the steelworkers' interests is hypocritical,
and the steelworkers demonstrated at the polls that they were undeceived in this
regard: the SocialDemocrats retained power in the region. What is important here,
however, is the nature of the demand made on public art to provide the working
class with symbols to which they can point with pride, with which they can
positively identify. Now, hidden in this demand, it could be argued, is the
50
 requirement that the artist symbolically reconcile the steelworkers to the brutal
working conditions to which they are subjected. Steel, the material which the Bochumer- Jungen- Lied
citizens of the Revier region work with daily, is to be used by the artist only to
symbolize boldness and elegance, resilience and durability, the unlimited pos
sibilities for subtle treatment and expressive form. It is, in other words, to be
disguised, made unrecognizable to those who have produced it. Serra's work flatly
refuses this implicitly authoritarian symbolism, which would convert steel from
raw material—although processed, steel is a raw material in the capitalist eco
24 nomic structure — to a signifier of invincibility. Instead Serra presents the
steelworker with the very product of his alienated labor, untransformed into any
symbol at all. If the worker is then repelled, heaps scorn on Terminal,it is because
he is already alienated from the material; for although he produced those steel
plates, or materials like them, he never owned them; the steelworker has no reason
whatsoeverto take pride in or identify with any steel product. In askingthe artist to
give the workers a positive symbol, I would suggest that the CDU is really asking
the artist to provide a symbolicform of consumption; for the CDU does not, in any
case, wish to think of the worker as a worker, but rather as a consumer 25

The Bochum CDU's goal of a "responsible cultural policy" that would not be a
burden for "self-containedmodern artworks" parallels officialpublic art policies in
the United States that have emerged and expanded over the past twenty years.
Taking for granted that art is private self-expression,these policies are concerned
with the various possibilities of transferring such an art into the public realm
without offending public expectations. In an essay tellingly entitled "Personal
Sensibilities in Public Places," John Beardsley,who worked for the Art in Public
Places Program of the National Endowment for the Arts and was commissioned to
write a book about it, explains how the artists' private concerns can be made
palatable for the public:
An artwork can become significant to its public through the incorpora
tion of content relevant to the local audience, or by the assumption of an
identifiable function. Assimilation can also be encouraged through a
work's role in a larger civic improvement program. In the first case, FUR
recognizable content or function provides a means by which the public
can become engaged with the work, though its style or form might be
unfamiliar to them. In the latter, the work's identity as art is subsumed
BOCHUM
by a more general public purpose, helping to assure its validity.In both
cases, the personal sensibilities of the artist are presented in ways that
encourage widespread public empathy 26 Fig. 11.Christian Democratic party (CDU)
campaign poster, Bochum, West Germany, 1979
One of Beardsley's prime examples of the empathy solicited through recognizable
content involves a public much like that for Terminal:
[George] Segal was awarded his commission by the Youngstown Area
Arts Council. He visited the city and toured its steel mills, finding the
51
 open hearth furnaces "staggeringly impressive." He decided to make
steelworkers at an open hearth the subject of his sculpture, and used as
models Wayman Paramore and Peter Kolby, two men selected by the
steelworkers union from its membership. His commission coincided
with a severe economic crisis in Youngstown during which a series of
mill shutdowns eventually idled some 10,000workers. Yet completion of
the sculpture became a matter of civicpride. Numerous local businesses
and foundations gave money; one of the steel companies donated an
unused furnace. Labor unions assisted in fabricating and installing the
work. One cannot escape the conclusion that the subject matter was
largely responsible for this outpouring of public support. The people of
Youngstown sought a monument to their principal industry, even as it
27 collapsed around them. Segal'sSteelmakersis a tribute to their tenacity.

It is a cynical arts policy indeed that would condone, much less laud, a
monument mythologizingwork in steel mills when the real historical condition of
the steelworkers is that of being forced into the industrial reserve army.Just whose
tenacity does this work really pay tribute to? To the steelworkers hopelesslytrying
to maintain their dignity in the face of joblessness? Or to the society—including
the business community, steel companies, and labor unions whose largessecontrib
uted to the work that will go to any length to ensure that those steelworkers will
never recognize the nature of the economic forces arrayed against them? Perhaps
the CDU in Bochum would find Segal'sSteelmakersinsufficient as a symbol of the
boldness and elegance of steel—the work is, after all, cast bronze—but it can
certainly be said to fulfillwhat I have suggested is the CDU's essentialdemand: that
the sculpture reconcile the workers with their brutal conditions by giving them
something with which they can positivelyidentify. That this identification can only
be false, that the workers' pride is only intended to make their subjugation more
tolerable, is, in the terms of the political analysis I am invoking, precisely what
motivates such a cultural policy28
Needless to say,such a cultural policy,whether that of the Right in Germany
or of the liberal establishment in the United States, finds the public sculpture of
Richard Serra considerably more problematic. Conservatives in this country who
argue against all federal funding for culture oppose Serra's work categorically,
confident that when all public commissions are once again exclusivelypaid for by
the private sector, there will be no more room for such a "malignant object"
29 (Serra's TiltedArc is illustrated in an article of that title). The cultural bureaucrats
Fig. 12. Tilted Arc. 1981
Cor-Ten steel, 12 x 120' x IZi"
want, however, to appear more tolerant, hoping that "Serra's sculpture may
30 Installed Federal Plaza, New York eventually win a greater measure of acceptance within its community."
General Services Administration, Washington, D.C.

Fig. 13. Opposite: Tilted Arc. 1981 That a difficult work of art requires time to ingratiate itself with its public was a
standard line of defense of Serra's TiltedArc (figs.12,13)during the public hearing
of March 1985. Historical precedents of public outrage meeting now-canonical
52
works of modern art became something of a leitmotif. But this deferral to the
judgment of history was, in fact, a repudiation of history, a denial of the current
historical moment in which Tilted Arc actually confronts its public in all its
specificity, as well as a denial of Richard Serra's intransigent rejection of the
universal nature of the work of art. For to saythat TiltedArc will withstand the test
of time is to reclaim for it an idealist position. The genuine importance of TiltedArc
can best be understood through an analysis of the crisis that it has precipitated
within established cultural policy.
TiltedArc is built on a site that is public in a very particular sense.It inhabits a
plaza flanked by a government office building housing federal bureaucracies and
by the United States Court of International Trade. The plaza adjoins Foley Square,
the location of New York City's federal and state courthouses. It is thus situated in
the very center of the mechanisms of state power. The Jacob K. Javits Federal
Building and its plaza are nightmares of urban development, official,anonymous,
overscaled, inhuman. The plaza is a bleak, empty area, whose sole function is to
shuttle human traffic in and out of the buildings. Located at one corner of the plaza
is a fountain that cannot be used, since the wind-tunnel effect of the huge office
bloc would drench the entire plaza with water. Serra's Tilted Arc, a twelve-foot-
high, steel-plate wall, one hundred and twenty feet long, and tilted slighdy toward
the office building and the trade courthouse, sweeps across the center of the plaza,
dividing it into two distinct areas. Employing material and form that contrast
radically with both the vulgarized International Style architecture of the federal
structures and the Beaux-Arts design of the old Foley Square courthouses, the
sculpture imposes a construction of absolute difference within the conglomerate
of civic architecture. It engages the passerby in an entirely new kind of spatial
experience that is counterposed against the bland efficiency established by the
plaza's architects. Although Tilted Arc does not disrupt normal traffic patterns—
the shortest routes to the streets from the buildings are left clear—it does implant
itself within the public's field of vision. Soliciting,even commanding attention, the
sculpture asks the officeworkers and other pedestrians to leavetheir usual hurried
course and follow a different route, gauging the curving planes, volumes, and sight
lines that mark this place now as the place of sculpture.
In reorienting the use of Federal Plaza from a place of traffic control to one of
sculptural place, Serra once again uses sculpture to hold its site hostage, to insist
upon the necessityfor art to fulfillits own functions rather than those relegated to it
by its governing institutions and discourses. For this reason, Tilted Arc is consid
ered an aggressiveand egotistical work, with which Serra places his own aesthetic
assumptions above the needs and desires of the people who must live with his
work. But insofar as our societyis fundamentally constructed upon the principle of
egotism, the needs of each individual coming into conflict with those of all other
individuals, Serra's work does nothing other than present us with the truth of our
social condition. The politics of consensus that ensures the smooth functioning of
our society is dependent upon the shared belief that all individuals are unique but
can exist in harmony with one another by assenting to the benign regulation of the Photo: Jack Manning/NYT Pictures
Fig. 14.Demonstration at Federal Plaza, New
York, June 6, 1984,against U.S. Immigration
and Naturalization Service policies regarding
Central American refugees. Videotape:
Dee Dee Hal leek.
 state. The real function of the state, however, is not the defense of the citizen in his My main purpose here is to present you aspects from the security angle.
or her true individuality,but the defense of private property—the defense, that is, The arc is what I consider to be a security hazard or a disadvantage. My
31 precisely of the conflict between individuals. Within the politics of consensus, main contention is that it presents a blast wall effect.... It's 120feet long,
the artist is expected to play a leading role, offering a unique "private sensibility" twelve feet high, and it's angled in a direction toward both federal
in a manner properly universalized so as to ensure feelings of harmony.The reason buildings, number one Federal Plaza and 26 Federal Plaza. The front
Serra is accused of egotism, when other artists who put their "private sensibilities curvature of the design is comparable to devicesused by bomb experts to
in public places" are not, is that his work cannot be seen to reflect his private vent explosive forces The purpose of these ... bomb devices is to vent
sensibility in the first place. And, once again, when the work of art refuses to play explosions upward. This one vents an explosion, could vent an explosion
the prescribed role of falsely reconciling contradictions, it becomes the object of both upward and in an angle toward both buildings
scorn. A public that has been socialized to accept the atomization of individuals Most of the time the wall was [wc]closer to the building. It would,
and the false dichotomy of private and public spheres of existence cannot bear to of course take a larger bomb than [those] which have been previously
be confronted with the reality of its situation. And when the work of public art used ... to destroy enough for their purposes, but it is possible, and lately
rejects the terms of consensus politics within the very purview of the state we are expecting the worst in the federal sector.... Most people express
apparatus, the reaction is bound to be censorial. Not surprisingly, the coercive their opinions against us in either violent ways or with graffiti and other
power of the state, disguised as democratic procedure, was soon brought to bear on types of ways.... Tilted Arc is used more for graffiti purposes than any of
32 Tilted Arc. At the hearing staged to justify the work's removal, the most the other walls... . Most of the graffiti is done on the other side where we
vociferous opposition to the work came not from the public at large but from cannot view it.
representatives of the state, judges of the courts and heads of federal bureaucracies Loitering for illegal purposes is another problem we experience
whose offices are in the Federal Building. and we do have a problem with drug dealing, which we cannot see from
From the moment Tilted Arc was installed on Federal Plaza in 1981,Chief our side of the building. We, by the way,only concern ourselveswith the
36 Judge Edward D. Re of the United States Court of International Trade began the federal side of the building.
33 campaign to have it removed. In a city where many people feel that they have little
control over a degraded socialenvironment and that such control is granted only to
property owners, Judge Re held out the promise of pleasant socialactivities,which If a public sculpture can have projected upon it such an explicit statement of the
34 he claimed could not take place on the plaza unless the steel wall were removed. contempt in which the public is held by the state, it has served a historical function
With accusations that an elitist art world had foisted its experiments upon them, of great consequence. We now have written into the public record, for anyone who
with visions of band concerts and picnic tables presented to them, many office wishes to read it, the fact that the "federal sector" expects only the worst from us,
workers signed petitions for TiltedArc's removal.But it would seem that the judge that we are all considered potential loiterers, graffiti scribblers, drug dealers,
and his fellow civil servants had a very different view of the public from the terrorists. When Tilted Arc is converted, in the paranoid vision of a state security
beneficent one that saw people gathering to listen to music on their lunch breaks. guard, into a "blast wall," when the radical aesthetics of site-specificsculpture is
As I read the existing documentation, the public seems to have consisted, on the reinterpreted as the site of political action, public sculpture can be credited with a
one hand, of competitive individuals who could be manipulated to fight it out new level of achievement. That achievement is the redefinition of the site of the
among themselves over the crumbs of social experience dishonestly offered to work of art as the site of political struggle. Determined to "be vulnerable and deal
them, and on the other hand, of frightening individuals lurking on the other side of with the reality of his living situation," Richard Serra has found himself again and
the wall, lying in wait for the judge as he left the protection of his chambers and again confronted with the contradictions of that reality. Unwillingly to cover up
ventured out into the public realm. In one of the many letters written to the GSA those contradictions, Serra runs the risk of uncovering the true specificity of the
complaining of the sculpture, Judge Re made his fears explicit: "By no means of site, which is alwaysa political specificity.
minor importance is the loss of efficient security surveillance. The placement of
this wall across the plaza obscures the view of security personnel, who have no way
35 of knowing what is taking place on the other side of the wall."
Judge Re's attitude, as reflected in his letter, was echoed during the GSA
hearing by one of those security personnel. Her testimony is worth excerpting at
some length, since it gives a clear and chilling sense of the state's current regard for
its citizens:
55
 Notes
1.Donald Judd, "SpecificObjects" Arts Yearbook,no. 8 (1965),p. 74.
25. To each capitalist, the total mass of all workers, with the exception of his own workers, appear not as workers, but as
2. Serra's actual assertion on this occasion was: "To remove 'Tilted Arc,' therefore, is to destroy it"; see hearing transcript, "The consumers, possessors of exchange values (wages), money, which they exchange for his commodity." Karl Marx, Grundrisse:
Matter of: A Public Hearing on the Relocation of 'Tilted Arc' at Jacob K. Javits Federal Building," March 6, 1985,p. 43. Held on Foundations of the Critique of PoliticalEconomy,trans. Martin Nicolaus (New York: Vintage Books, The Marx Library), p. 419.
March 6, 7, 8, 1985,at the Ceremonial Courtroom, International Court of Trade, One Federal Plaza, New York, the hearing took In the postwar period in Germany, attempts to reconcile the working class to its social conditions has operated precisely on the
place before a panel consisting of William J. Diamond, Regional Administrator, General Services Administration; Gerald symboliclevel,including language itself.Thus the words Arbeiter (worker) and Arbeiterklasse(working class)are no longer used in
Turetsky,Acting Deputy RegionalAdministrator, GSA; Paul Chistolini, Public Building Services,GSA; and two outside panelists: officialdiscussion, as Germany is now said to be a classlesssociety.In this society,there are only Arbeitnehmer (one who takes work
Thomas Lewtn of the law firm Simpson, Thacher, and Bartlett, and Michael Findlay of the auction house Christie, Manson, and employee) and Arbeitgeber (one who gives work, employer). The irony of this linguistic reversal is not lost on the workers
Woods. On April 10, 1985, the panel in a four to one vote recommended relocation of Tilted Arc. This recommendation was themselves,who, for their part, know perfecdy well that it is the worker who is the giver of work (Arbeitgeber)and the employer
adopted by Dwight A. Ink, Acting Director of the United States General Services Administration, Washington, D.C., and on who is the taker ofwork (Arbeitnehmer).In such a climate it comes as no surprise that the right-wing party would see art as another
May 31, 1985,he announced his decision to relocate the sculpture. Hearing transcript in The Museum of Modern Art Library. possible form of mystification of real social conditions.
3. Judd, p. 82.
26. John Beardsley,"Personal Sensibilitiesin Public Places," Artforum, vol. 19,no. 10 (June 1981),p. 44.
4. In Phyllis Tuchman, "An Interview with Carl Andre," Artforum, vol. 7, no. 10 (June 1970),p. 55. 27. Ibid.
5. Ibid.
28. Louis Althusser has specified the role of what he calls Ideological State Apparatuses, among which he includes culture as "the
6. Walter Benjamin, "Edward Fuchs, Collector and Historian," trans. Kingsley Shorter, in One-WayStreet (London- New Left
Books, 1979),p. 360. reproduction of the conditions of production." In order for this reproduction to take place, what must be assured is the workers'
subjection to the ruling ideology. Thus one of the functions of the cultural object confronting workers would be that of teaching
7. Daniel Buren, "Peut-il Enseigner 1'Art?"Galerie desArts (Paris), September 1968.Translatedfrom the French by Richard Miller.
them how to bear their subjugation See Louis Althusser, "Ideology and the Ideological State Apparatuses (Notes towards an
8. There have been several attempts to remove Serra's work from public sites. Soon after the decision to remove Tilted Arc was investigation), in Lenin and Philosophy,trans. Ben Brewster (New York and London: Monthly ReviewPress 1971) pp 127-86
announced (see n. 2), St. Louis City Alderman Timothy Dee introduced a bill to the Board of Aldermen that would, if passed, allow 29. Douglas Stalker and Clark Glymour, "The Malignant Object: Thoughts on Public Sculpture," The Public Interest, no. 66
city voters to decide whether Twain (1974-82, pi. 94), a work in downtown St. Louis, should be removed. According to The (Winter 1982),pp. 3-21. For other neoconservative attacks on public spending for art, see Edward C. Banfield, The Democratic
Riverfront Times (St. Louis), September 6—10,1985,p. 6A, Dee said: "The problem is the real gap between regular people—my Muse: VisualArts and the PublicInterest (New York: BasicBooks, 1984);and Samuel Lipman, "Cultural Policy:Whither America
constituents and the overwhelming majority— and the elitist art community, who decide to do something because they've all Whither Government?" The New Criterion, vol. 3, no. 3 (November 1984),pp. 7-15.
invested in certain artists" (italics added). The most thoroughly documented case is that of the Christian Democratic party of 30. Beardsley,p. 45.
Bochum, West Germany, against Terminal (1977,pi. 77). For this case, see Terminal von RichardSena: Eine Dokumentation in 7 31. On this subject, the central texts are the early writings of Karl Marx on the state and civil society; see especially"On the Jewish
Kapiteln (Bochum: Museum Bochum, 1980),and my discussion below. In addition, a number of major commissions awarded to Question," in Karl Marx: Early Writings, trans. Rodney Livingstone and Gregor Benton (New York: Vintage Books, The Marx
Serra have never been built, due to opposition to the work from architects and city officials. These include works for the Library, 1975),pp. 211-41. See also the reinterpretation of the relation between state and civil society and the importance for it of
Pennsylvania Avenue Development Corporation in Washington, D.C., the Centre Georges Pompidou in Paris, and works for consensus in the work of Antonio Gramsci.
outdoor sites in Madrid; Marl, West Germany; and Peoria, 111.Sight Point (1971-75, pi. 71), commissioned for the Wesleyan 32. 1 believe the public hearing on Tilted Arc was a mockery and that anyone who followed the case closelywould agree with me
University campus, was not built there. For a discussion of the difficulties Serra has faced in building his work in public, see The hearing was presided over, and the four other panelists were selected by, William Diamond, RegionalAdministrator of the
Douglas Crimp, "Richard Serra's Urban Sculpture: An Interview," in Richard Serra: Interviews, Etc. 1970-1980 (Yonkers, N.Y.: General Services Administration, who had publicly asked for the removal of Tilted Arc, circulated petitions and solicited
The Hudson River Museum, 1980),pp. 163-87.
testimonies for its removal (see "New York Day by Day," The New YorkTimes,December 29, 1984,and Grace Glueck, "What Part
9. Webster'sEighth New CollegiateDictionary (Springfield,Mass.: Merriam-Webster, 1979),p. 989.
Should the Public Play in Choosing Public Art," The New York Times, section 2, February 3, 1985,pp. 1, 27; see also letter of
10. In volume II of Capital, Karl Marx divides the total mass of commodities into a two-department system for the purposes of Gustave Harrow to Dwight A. Ink, Acting Administrator, United States General Services Administration, Washington, D.C.,
explaining reproduction. Department I consists of the means of production: raw materials, machinery, buildings, etc.; Depart dated March 22, 1985,in The Museum of Modern Art Library). Many testimonies held that the hearing was obviously prejudiced-
ment II consists of consumer goods. Later Marxists have added to this scheme Department III to designate those goods that do not see especially those by Gustave Harrow (hearing transcript [March 6, 1985],pp. 51-56) and Abigail Solomon-Godeau (hearing
play a role in the reproduction of the working class since they are intended for consumption only by the capitalist classes transcript [March 8], pp. 564-67).
themselves. Department HI includes luxury goods, art, and weapons. For a discussion of this relation between art and arms, see 33. See Chronology of Events, in Dwight A. Ink, "Decision on the Tilted Arc," United States General Services Administration,
Ernest Mandel, Late Capitalism,trans. Joris De Bres (London: Verso Editions, 1978),especiallychapter 9, "The Permanent Arms Washington, D.C., May 31, 1985. It notes that Tilted Arc was installed at Federal Plaza on July 16, 1981;soon after, on July 21,
Economy and Late Capitalism."
"Honorable Edward D. Re, ChiefJudge, Court of International Trade wrote Administrator Gerald P. Carmen contending that the
11.Amy Goldin, in "The Esthetic Ghetto: Some Thoughts about Public Art," Art in America,vol. 62, no. 3 (May-June 1974),p. 32. sculpture was an architectural barrier which negatively impacts on the spaciousness and utility of the plaza." On August 18, he
12. Richard Serra, "Extended Notes from Sight Point Road," in Richard Serra: Recent Sculpturein Europe 1977-1985 (Bochum, wrote: ".. . the views of responsible local citizens were not solicited before the sculpture was erected." An entry for November 18,
West Germany: Galerie m, 1985),p. 12
1984,reads: "Letter from Judge Re to GSA Administrator Ray Kline continuing to urge removalof the Tilted Arc." Document in
13.In Crimp, p. 170. The Museum of Modern Art Library.
14.Ibid., p. 168.
3A See testimony ofJudge Edward D. Re, hearing transcript (March 7,1985),p. 362. Given the claimsof the judge and other public
15.Ibid., p. 170.
officialsthat the plaza should be used for social activities,it is curious indeed that they made few attempts to experiment with the
16.Ibid., p. 175.
possibility of such activities with the sculpture in place. It is interesting to note that at the hearing itself numerous performing
17.On this subject, see Yve-AlainBois, "A Picturesque Stroll around Clara-Clara,"October,no. 29 (Summer 1984),pp. 32-62; see artists claimed that the sculpture, in fact, provided a perfect environment for their work. See hearing transcript, the testimonies of
also Richard Serra and Peter Eisenman, "Interview," Skyline,April 1983,pp. 14-17. Philip Glass (March 6, 1985,p. 112),Joan Jonas (March 7, p. 420), and Alvin Lucier (March 7, p. 505).
18. Quoted in Crimp, p. 175.
35. Letter from Chief Judge Edward D. Re to Ray Kline, Acting Administrator, United States General Services Administration
19.Ibid., pp. 166,168. Washington, D.C., November 5, 1984,p. 3.
20. Richard Serra, in Annette Michelson, Richard Serra, and Clara Weyergraf, "The Films of Richard Serra: An Interview" 36. Testimony by Vickie O'Dougherty, in hearing transcript (March 6, 1985),pp. 139-43.
October, no. 10 (Fall 1979),p. 91.
21. Ibid.; it is in this interview, in the context of a discussion of the film Steelmill/Stahlwerk(1979),by Serra and Weyergraf, that
Serra discusses at length his experience working in steel mills. Steelmill/Stahlwerkwas shot in the mill where the plates of Terminal
were fabricated, although the shooting took place during the forging of Berlin Blockfor Charlie Chaplin (1977).See also in this
regard the testimony by Annette Michelson at the public hearing about TiltedArc; in hearing transcript (March 6, 1985),pp. 66-70.
Michelson's testimony was important for the formulation of many of the ideas in the present essay.
22. Press release, CDU representatives to the Bochum City Council, reproduced in Terminal von RichardSerra, pp. 35-38.
23. Since 1982,when the CDU came to power in West Germany, the unemployment rate has risen to a postwar record: there are 2.2
million registered unemployed and an estimated 1.3 million unregistered job seekers. Hardest hit have been areas such as the
Revier region, where heavy industries are located. In October 1985,the Federation of German Labor Unions staged a week-long
protest against the CDU's economic policies to coincide with heated debates on the issue in the Bundestag. In these debates, the
full range of the opposition attacked the CDU for contributing to the disintegration of social conditions in Germany.
24. In claiming that steel is not a raw material because it is produced from iron, the CDU attempts to mystify,through an appeal to
a natural versus man-made distinction, the place of steel within capitalist production. Steelis, of course, a product of Department I,
used for producing the means of production; see n. 10.

56
Plates Dimensions are cited in the order of height,
width, and depth.
 1966/1967

1. Opposite: Doors. 1966-67 2a/b. Trough Pieces. 1966-67 3. Remnant. 1966-67

Rubber and fiberglass,four parts, each 36" x 9' Rubber and fiberglass,two parts, 71 x 6 x 6" Vulcanized rubber, 6'1" x 38"
Akira Ikeda Gallery, Tokyo and 59)4 x 18)4x 6)4" Museum Ludwig, Cologne, West Germany
Museum Ludwig, Cologne, West Germany

Photos: Peter Moore

59
4. Inverted Bucket. 1967
5. Untided. 1967 6. Slant Step Folded. 1967
Rubber and fiberglass,approx. 36 x 12' Rubber, 8'4" x 42"
Destroyed Rubber, 8'6" x 28"
Collection the artist
Collection Mr. and Mrs. Ronald K. Greenberg, St. Louis

60
 1967

7 . God Is a Loving Father. 1967

Neon tubing, 7" x 6'8"
Museum Ludwig, Cologne, West Germany

Photos: Peter Moore

61
 8. Chunk. 1967 10. To Lift, mi
Vulcanized rubber, 52 x 12x 4" Vulcanized rubber, 36" x 6'8"
Collection Barbara and Peter Moore, New York Galerie Reinhard Onnasch, Berlin

9. Angle Slabs. 1967 11. Opposite: Plinths. 1967

Fiberglass encased in rubber, 6 x 6" x 10'1" Fiberglass, rubber, and neon tubing, each element 8' x 8"
Collection Giuseppe Panza di Biumo, Musee National d'Art Moderne,
Varese, Italy Centre Georges Pompidou, Paris
62
Photos: Peter Moore
 1967

12

12. Rosa Esman's Piece. 1967 13. Untitled. 1967

Vulcanized rubber, 36 x 15" Vulcanized rubber and neon tubing,
Leo Castelli Gallery, New York approx. 8' x 60"
Collection Mr. and Mrs. Arthur Workstel,
New York

64
 1967

14

14. Belts. 1966-67

Vulcanized rubber and neon tubing,
7x24'x20"
Collection Giuseppe Panza di Biumo,
Varese, Italy

Photos: Peter Moore

65
lUJUlOWWt
 1967/1968

15. Opposite: Scatter Piece. 1967 1 7 . Double Roll. 1968 19. Slow Roll: For Philip Glass. 1968
Rubber latex, 25 x 25 ' Lead, 6 x 6" x 8' Lead, approx. 10x 10"x 6'
Collection Donald Judd, Marfa, Texas Stedelijk Museum, Amsterdam Akira ikeda Gallery, Tokyo

16. Untitled. 1968 18. Bullet. 1968

Lead, 21" diameter x 2" Lead, 6" diameter x 36"
Collection Sydney and Frances Lewis Collection William J. Hokin, Chicago
Photos, pis. 17,18, 19: Peter Moore

67
 fl|w
w$3$f wgm&,
'PiMw'hwkfy# T*m
/vi-^i'"; fV jp^.

8T3

'. 3T:
-&S&-."*•>.'•*

;'V " • '

 1968

22

20. Opposite: Splashing. 1968. 2 1 . Bent Pipe Roll. 1968 22. Prop. 1968
Lead, 18"x 26' Lead, 56 x 6 x 50" Lead antimony, plate 60 x 60"; pole 8'
Installed Castelli Warehouse, New York, 1968 Collection the artist Whitney Museum of American Art, New
Destroyed York, Gift of the Howard and Jean Lipman
Foundation

Photo, pi. 2 1: Peter Moore

69
23. Installation of lead Props, The Solomon
R. Guggenheim Museum, New York, 1969
From left: ShovelPlate Prop, ClothesPin Prop,
WallPlate Prop, Right Angle Prop
 m

mm.

-;W :

24

24. Installation of lead Props, The Solomon

R. Guggenheim Museum, New York, 1969
From left: Sign Board Prop, Floor Pole Prop,
Plate Roll Prop
1969

25. Shovel Plate Prop. 1969 26. Right Angle Prop. 1969
Steel, 6'8" x 7' x 32" Lead antimony, 6x6'
Collection Giuseppe Panza di Biumo, The Solomon R. Guggenheim Museum, New
Varese, Italy York, Gift of The Theodoron Foundation

Photo, pi. 26: Peter Moore

 1969

<21 28

27. Floor Pole Prop. 1969

Lead antimony, 8'4" x 8'4" x 57"; pole 6'8"
Stedelijk Museum, Amsterdam

28. Sign Board Prop. 1969

Lead antimony, 64 x 64"; pole 42"
Collection Leo Castelli, New York
Photos: Peter Moore

73
 1969

29. Two Bricks with Pole. 1969 30. ClothesPin Prop. 1969
Lead antimony, 7' high 31. Corner Prop. 1969
Lead antimony, pole 7'6"; tube 6" diameter x 40" Lead antimony, box 25 x 25 x 25"; pole 6'8"
Collection the artist Collection Giuseppe Panza di Biumo, Gilman Paper Company Collection, New York
Varese, Italy

74
32. Casting. 1969
Lead, 4" x 25x15'
Installed Whitney Museum of American Art,
New York, 1969
Destroyed

Photos: Peter Moore

 1969

33. Opposite: One Ton Prop (House of 34. Cutting Device:Base Plate Measure. 1969 35. Following page: SkullcrackerSeries:
Cards). 1969 Lead, wood, stone, and steel, overall, Inverted House of Cards. 1969
3/4" Lead antimony, four plates, each 48 x 48" 12"x 18' x 15'7 variable Hot rolled steel, each slab 8 x 10'
Collection the Grinstein Family,Los Angeles The Museum of Modern Art, New York, Installed Kaiser Steel Corporation,
Gift of Philip Johnson Fontana, California
Destroyed

Photos: Peter Moore

77
 1969

35 Opposite

36. SkullcrackerSeries: StackedSteel Slabs. 37. SkullcrackerSeries: Stacked. 1969

1969 Steel, 32 x 30 x 25'
Hot rolled steel, 20 x 8 x 10' Installed Kaiser Steel Corporation,
Installed Kaiser Steel Corporation, Fontana, California
Fontana, California Destroyed
Destroyed
38. Four Plates Edges Up. 1969 39. Opposite: No. 5. 1969
Lead antimony, approx. 48 x 48" x 14 Lead antimony, two plates, each 48 x 48'
Collection Donald Judd, New York pole 7'; overall approx. 52" x 7' x 48"
Galerie Reinhard Onnasch, Berlin

Photo, pi. 39: Peter Moore

1969

Photos, pis. 41, 42, 43, 44: Peter Moore

Plates 40, 41, 42, 43, 44: preceding pages 4 1 . Right Angle Corner with Pole. 1969 43. V + 5: To Michael Heizer. 1969 45. 1-1-1-1.1969
Lead antimony, two plates, each 48 x 48"; Lead antimony, four plates, each 48 x 48"; Lead antimony, four plates, each 48 x 48"
40. Untitled (Corner Prop Piece). 1969 pole 60". Collection the artist pole 7'; overall approx. 52" x 7 x 7' pole 7'
Lead, plate 48 x 48"; pole 60" x 3" diameter Collection the artist Destroyed
Private collection 42. No. 1.1969
Lead antimony, two plates, each 48 x 48"; pole 44. 5:30.1969
60"; overall approx. 51" x 8'2" x 48" Lead antimony, four plates, each 48 x 48";
Collection the artist pole 60" . Collection the artist
84
46. 2-2-1:To Dickie and Tina. 1969
Lead antimony, five plates, each 48 x 48";
pole 7'; overall 52" x 8'2" x 11'
Collection the artist

Photo: Peter Moore

85
 1970

47. Opposite: To EncircleBase Plate

Hexagram, Right Angles Inverted. 1970
Steel, rim 5" x 10'10" diameter
Installed Tama University of Fine Art, Tokyo

48. To EncircleBase Plate Hexagram,

Right Angles Inverted. 1970
Steel, rim 1 x 8" x 26' diameter
Installed 183 Street and Webster Avenue, the
Bronx, New York, 1970-72
Collection Mr. and Mrs. Ronald K. Greenberg,
St. Louis

Photo, pi. 48: Peter Moore

 1970

49. Opposite: Untitled. 1970

Steel, two circles, 16' diameter
Collection Roger Davidson, Toronto

50. Untitled (Kyoto Square). 1970

Steel, 5" x 25x25'
Kyoto National Museum of Modern Art,
Kyoto, Japan
89
 1969-1971

Photo, pi. 52: Peter Moore

51. Opposite: Splash Piece: Casting. 1969-70

Lead, 19"x 9' x 14'11"
Collection Jasper Johns, New York

52. Strike: To Roberta and Rudy. 1969-71

Hot rolled steel, 8 x 24' x 1"
Collection Giuseppe Panza di Biumo,
Varese, Italy

53. Following pages: Davidson Gate.

1969-70
Hot rolled steel, two plates, each 8x8' ' x %"
National Gallery of Canada, Ottawa, Gift of
Mr. and Mrs. R. Davidson, Toronto
91
'', *'

te-JoSe.'.'

^•VjesSis^
•/I'
 1969-1971

54

54. Base Plate Deflection:In It, on It. 1970 56. Opposite: Untitled (Steel Corner Prop). 57. Opposite: Duplicate. 1971 58. Opposite: Equal (Corner Prop Piece).
/s" Hot rolled steel, 3 x 8 x 16' 1970 Hot rolled steel, 12"x 12' x 26" 1969-70
/s"; Norton Simon Museum of Art, Hot rolled steel, plate 54 x 54 x 3 Allen Memorial Art Museum, Oberlin Lead plate and lead tube rolled around steel
/8" Pasadena, California bar 3 x 6"x 7' College, Oberlin, Ohio, NEA Museum core, plate 48 x 48 x W; tube I'VC x 4 3
Art Gallery of Ontario, Toronto, Purchase Purchase Plan diameter; overall 52" x I'/C x 7'8"
55. Opposite: Balanced. 1970 The Museum of Modern Art, New York,
Hot rolled steel, 8'1" x 62 x 1" Gilman Foundation Fund
Saatchi Collection, London
94
ifefea
Ji
 1970/1971

pSiPPpi

^59a v
S: 4*5:.; J J
>

59a— g. Pulitzer Piece:Stepped Elevation. 59b/c. Details, plate 1

1970-71
Cor-Ten steel, three plates, (1)60" x 40'3" x 2", 59de. Details, plate 2
(2) 60" x 45'11"x 2", and (3) 60" x 50'7" x 2",
located in 450 x 450' area 59f/g. Details, plate 3
Collection Mr. and Mrs. Joseph Pulitzer, Jr.,
St. Louis

97
1970-1972

60a— g. Shift. 1970-72

Concrete, six sections, 60" x 90' x 8",
60" x 240' x 8", 60" x 150' x 8", 60" x 120' x 8",
60" x 105' x 8", and 60" x 110' x 8"; overall 815'
Installed King City, Ontario, Canada
Collection Roger Davidson, Toronto
 1970-1972

60e

61. Following page: Untitled. 1971 62. Following page: Mozarabe. 1971 64. Following page: Five Plates, Two Poles. 65. Following pages: Jophn. 1970
Cor-Ten steel, two plates, overall 8 x 16' x 12' 6" Cor-Ten steel, four plates, overall 8 x 30 x 20' 1971 Hot rolled steel, three plates, each 8 x 8' x 2";
Dallas Museum of Art, Matching Grants from The Detroit Institute of Arts, Founders Society Cor-Ten steel, plates, each 8 x 8' x 2"; poles, overall 8 x 12x 16'
the National Endowment for the Arts and Purchase with Funds from W. Hawkins Ferry each 12' x 7" diameter; overall 8 x 23 x 18' Private collection
The 500, Inc., in Honor of Mr. and Mrs. Walker Art Center, Minneapolis, Gift of
Leon Rabin 63. Following page: Moe. 1971 Mr. and Mrs. Kenneth N. Dayton
Hot rolled steel, three plates, overall 8 x 20 x 12'
Museum Ludwig, Cologne, West Germany Photo, pi. 63: Peter Moore

99
laMmrai
-: ,-y} ;
 1972

66. Circuit. 1972

Hot rolled steel, four plates, each 8 x 24' x 1";
overall 8 x 36 x 36'
Galerie m, Bochum, West Germany

102
 1972

67

67. Twins: To Tonyand Mary Edna. 1972

Hot rolled steel, two plates, each 8 x 42' x IZ2"
Collection Giuseppe Panza di Biumo,
Varese, Italy

103
68. Spoleto Circles.1972
Steel, one circle flush to the ground, one circle
in the ground, VCx 8' diameter
Collection Fabio Sargentini, Rome, and
collection the artist
 1972-1974

- t i •.> ./ i s
'. • -U - V.

69

69. F/ue Elevations. 1972-74 70. Following page: Spin Out: For Bob Smithson.
Hot rolled steel, twelve plates, each 8 x 12' x 1" 1972-73
Collection Mr. and Mrs. Morton J. Hornick, Hot rolled steel, three plates, each 10 x 40' x 154"
New York Rijksmuseum Kroller-Miiller, Otterlo,
the Netherlands

105
 1971-1975

71b

71a/b. Sight Point. 1971-75

Cor-Ten steel, three plates, each 40 x 10' x 2V2
Installed Amsterdam (b); view from
interior (a)
Stedelijk Museum, Amsterdam
 1973-1975

72a

7 2a—C. Equal Parallel and Right Angle

Elevations. 1973 73. Opposite: Unequal Elevations. 1975
Hot rolled steel, four elements, Steel, two blocks, 12x 24 x 12"and
10 x 24 x 12"
two 24" x 14'9" x 5Va";two 24 x 27 x 5Va"
Private collection Collection Giuseppe Panza di Biumo,
Varese, Italy

108
 iKXSmWmmgmMMMm

'/ 4 ' H" • "*®

 1974-1976

74. Opposite: Delineator. 1974-75 75. PS. 1. 1976

Steel, two plates, each 1"x 10x 26' Hot rolled steel, two channels, 2 x 5" x 30'
Collection the artist and Ace Gallery, Venice, P.S. 1, Long Island City, New York, Gift of
California the artist

111
1976-1980

76a— C. Wright's Triangle. 1976-80

Cor-Ten steel, 10 x 36 x 36'
Western Washington State University,
Bellingham
 1976-1980

;a Sj

,
&e'-
1977

uiii-Lti

Mfis&aE

77a— h. Terminal. 1977

Cor-Ten steel, four trapezoidal plates,
each 41' x 12 to 9' (irregular) x 214"
Installed Documenta 6, Kassel, West Germany
(a-f), and Bochum, West Germany (g);
view from interior (h)
Stadt Bochum, West Germany
 1977

78. Span: ToAlexander and Gilbert. 1977

Steel, three square beams, overall 9'11"x
36'3" x 8"
Galerie Daniel Templon, Paris, Leo Castelli
Gallery, New York, and collection the artist

116
 1977

79a— C. Untitled Piece for Munster. 1977 80. Following pages: Berlin Blockfor Charlie
Cor-Ten steel, six plates, overall 10 x 44 x 7' Chaplin. 1977
Galerie m, Bochum, West Germany Forged steel, 6'3" x 6'3" x 6'3"
Nationalgalerie Berlin, Staadiche Museen
Preussischer Kulturbesitz

117
i <5
371
 1977

81

81. Consequence.1977
5/s Forged steel, two blocks, 17%x 21 x 21%"
and 21% x 21% x 17%"
Stadtisches Museum Abteiberg,
Monchengladbach, West Germany

120
 1977/1978

82. Untitled. 1978 83. Tot. 1977

Forged steel, two blocks, 21V2x 2lZi x 59" and Forged steel, 6'5J4" x 6'5i4" x 10"
HV2 x 21V2x 71" Staatsgalerie Stuttgart
Skulpturenmuseum Glaskasten, Marl,
West Germany
 1979/1980

84a 84b

84a— d. Open Field Vertical/Horizontal

Elevations: For Brueghel and Martin Schwander.
1979-80
Forged steel, ten cubes, each 29 x 2lVzx 22"
Installed Wenkenpark, Riehen/Basel
Emanuel-Hoffmann-Stiftung, Basel, Switzerland
 1980

85. Opposite: Extended Cantilever. 1980 86a/b. WaxingArcs. 1980

Steel, eighteen plates, nine at each end of Hot rolled steel, two plates, each 9'10" x 40'4"
3/i" room; each plate 6'6 x 14'9/h" x 1";overall x Va"
6'6W x 106' 5W' x 84' Museum Boymans-van Beuningen, Rotterdam
Installed Museum Boymans-van Beuningen,
Rotterdam, 1980 86c. Plan for installation, WaxingArcs, 1980
Collection the artist Engineering drawing by Malcolm Graff Asso
ciates, New York
1980

87a

87a— d. Slice. 1980

Cor-Ten steel, 10' x 124'6" x V/2"
Leo Castelli Gallery and Blum Helman Gallery,
New York, and collection the artist

126
gMfa
1980

< 88a
HH

89a/b

88a. Elevator. 1980

Cor-Ten steel, two plates, each 2Vi"x 12 x 40';
one plate at floor level, one cantilevered above
Installed The Hudson River Museum,
Yonkers, New York, 1980
Collection the artist
88b/C. Rigging of Elevator, 1980
 if W

rj:
 1980

90d 90e

89a/b. Preceding page: T.W.U. 1980 90a— e. St. John's Rotary Arc. 1980
3/r Cor-Ten steel, three plates, each 36 x 12' x 2 Cor-Ten steel, 12 x 200' x 2Zi'
Installed West Broadway between Leonard Installed Holland Tunnel exit, New York
and Franklin streets, New York, 1981-82 Leo Castelli Gallery, New York
Galerie m, Bochum, West Germany

130
 •'*" ^ . nirp.
I!JK 71 nil Vif TP
ISpH'Tca
ill Til i

PAPEP Jif WAREHOUSE

w * . • .• • • - „ ' •- V„

• - ' .' •":"V-;- ~

U:: •... v.
„ i ... •
 1981

•L

4 91a

92b

91a. Opposite: Marilyn Monroe- 91b. Plan for installation, Marilyn Monroe- 92a/b. Gedenkstatte Goslar. 1981
Greta Garbo (A Sculpturefor Gallery-Goers). Greta Garbo (A Sculpturefor Gallery-Goers), Forged steel, 9'2" x 9'2" x 11"
1981 1981 Stadt Goslar, West Germany
Cor-Ten steel, two elements, each 10x 85' x V/i" Engineering drawing by Malcolm Graff Asso
Leo Castelli Gallery and Blum Helman Gallery, ciates, New York
New York, and collection the artist

133
 1981

4 93a 93b

93a— d. Tilted Arc. 1981 93e— h. Following pages: Tilted Arc. 1981
Cor-Ten steel, 12 x 120' x 2/i
Installed Federal Plaza, New York
General Services Administration,
Washington, D.C.
 s

-VjT&!#: ~.i&M

*vJM < -.y-Mi

1981

137
 1974-1982

1 I 1 B1 1 I

94a— c. Twain. 1974-82

Cor-Ten steel, eight plates: seven plates, each
12 x 40' x 2"; one plate, 12 x 50' x 2"
St. Louis

-V
v" ' r *v^l
1974-1982

139
BflKMI
 1982/1983

95. Opposite: Colombinodi Firenzuola. 1982 96. Step. 1982 97. Do It. 1983
Eight stones, each 7' x 4'10" x 4'10" Steel, two square beams, approx. 9 x 24' x 10" Hot rolled steel, overall 10' 11"x 8'6" x 11'9" jj
Collection Giuliano Gori, Fattoria di Celle, Collection Jacques Hachuel, Madrid Galerie Reinhard Onnasch, Berlin
Santomato di Pistoia, Italy

141
 1983-1985

98. Kitty Hawk. 1983 99. Corner Block. 1983 100. The Dead Egyptians (from Torino).
Cor-Ten steel, upper plate 48" x 14' x 2/i'\ Hot rolled steel, block 11x 11x 36" 1983-85
lower plate 48" x 6' x 4"; overall height I'llVi plate 60 x 60 x I/2" Hot rolled steel, two plates, overall 55/2 x
Saatchi Collection, London Akira Ikeda Gallery, Tokyo 8'11"x 54"
Galleria Stein, Milan, and collection the artist

142
 >v piSiCi
pp

101. Plunge. 1983

Cor-Ten steel, two slabs, each 8 x 8' x 9";
tilting 3.25° on axis; distance between
elements 32'
Larry Gagosian Gallery, Los Angeles, and
collection the artist
102. Wallto Wall,mi
Steel, eight plates propped between two walls,
each plate 54 x 54 x 2"; overall 54" x 36' x 2"
Akira Ikeda Gallery, Tokyo
 1983

4 103a

103a/b. Fassbinder. 1983

Cor-Ten steel, three plates, each
16'5"x7Tx2"
Westfalisches Landesmuseum for Kunst und
Kulturgeschichte, Miinster, West Germany

145
 104a— e. Clara-Clara. 1983
Cor-Ten steel, two elements, each
12 x 120' x 2"
Installed Place de la Concorde, Paris, 1983-84
City of Paris

146
104b

147
105a —C. Plumb Run: Equal Elevations. 1983
Cor-Ten steel, three plates, each 12 x 40' x 2Vi\
overall 12 x 40 x 731'
Installed Nassau County Museum of Fine Art,
Roslyn Harbor, New York
Collection the artist
 1982-1984

BSHpHjfl

* 106a 106b

106a— C. La Palmera. 1982-84

Concrete, two curves, each 9 x 165' x 10"
La Verneda, City of Barcelona, Spain
1983/1984

4 107

107. Bilbao. 1983 108. W.W.i. 1984

Steel, two ingots, 30" x 7'2 " x 30" and Cor-Ten steel, 55 x 64 x 8"
30 x 68 x 30" The Edward R. Broida Trust, Los Angeles
Private collection, Madrid
4 109a

109a/b. Weitmar. 1984 110. Following pages: Schulhofs Curve. 1984

Cor-Ten steel, 14'9" x 17'4V^"x 3W Cor-Ten steel, 36" x 40' x 3"
Galerie m, Bochum, West Germany Collection Mr. and Mrs. Rudolph B. Schulhof,
Kings Point, New York
J! y ™
...

1
 1980-1984

+ 111a 111c

111a— C. Slat. 1980-84

Indaten steel, five plates, each 40 x 12' x 2V2"
Installed Paris La Defense (a,c); view from
interior (b)
Etablissement Public pour L'Amenagement de
la Region de la Defense, Paris
 112. Opposite: Mies's Corner Extended. 1985 113a/b. Klein's Wall. 1985
3/i" Steel, two plates, 7'10!4"x I'lQiVi"x l/t" and Steel, two plates, each 9'4/4" x 6'6 x 1'
7'101/2"x 16'1" x I/4" Galerie m, Bochum, West Germany
Galerie m, Bochum, West Germany
... - - . : "'5 -V- v W/J. - -

< 114aOpposite
* 114b

1 14a/b. Tt^o 45° Anglesfor Mies. 1985

Steel, two plates, each 7'1014"x 24' x 114"
Galerie m, Bochum, West Germany
« 115 116

115. LoSavio. 1985

Hot rolled steel, three plates, each 12 x 8' x 2"
Galleria Stein, Milan, and collection the artist

116. Opposite: Pasolini. 1985

Forged steel, two blocks, 30 x 30 x 60" and
30 x 15 x 15",17' apart
Galleria Stein, Milan, and collection the artist
ii i niPiin-
117. State Street Consequence.1985
Forged steel, two blocks, 36 x 29 x 29" and
29 x 36 x 29"
Installed State Street, Chicago, 1985
Larry Gagosian Gallery, Los Angeles, and
collection the artist
 1985

118. Carnegie. 1984-85

Cor-Ten steel, 38' 10"high
Museum of Art, Carnegie Institute, Pittsburgh,
Museum purchase, Gift of Mrs. William R.
Roesch in memory of her husband
Chrnnoloev 1939 1966-67
November 2, born San Francisco to Tony and Makes series of rubber and neon-tubing works
Gladys Serra; father from Majorca, Spain, and scatter pieces. Meets Carl Andre, Liza
mother a RussianJew. Bear, Eva Hesse, Nancy Holt, Jasper Johns,
Joan Jonas, Donald Judd, Philip Leider, Bruce
1957-61 Nauman, Steve Reich, Robert Smithson, and
Studies at University of California at Berkeley Michael Snow. Begins working with Philip
and at Santa Barbara, graduating with B.S. in Glass and Chuck Close. Along with Robert
English literature. Works in steel mills to earn Fiore, Steve Reich, and Philip Glass, supports
a living. himself by moving furniture.

1961-64 1968-69
Studies at Yale University, New Haven, Con Begins cooperation with Leo Castelli. Makes
necticut, earning B.A., M.A., and M.F.A. series of molten- and cast-lead works (Splash-
During last year holds position as instructor. ings and Castings) and series of lead rolls
Works with Josef Albers on his book The and lead props. Props on exhibition at The
Interaction of Color (1963)and comes into con Solomon R. Guggenheim Museum, New York,
tact with artists of New York School: Philip in May 1969.Makes first studio films and
Guston, Robert Rauschenberg, Ad Reinhardt, begins linear drawings. Begins to work in steel. Installation of One Ton Prop (House of Cards)
and Frank Stella. Through Art & Technology Program of Los (pi. 33), Museum of Art, Rhode Island School
Angeles County Museum of Art, makes of Design, Providence, 1969
1964-65 Skullcracker series on grounds of Kaiser Steel
Spends year in Paris on YaleTraveling Fellow Corporation, Fontana, California. Starts series
ship. Meets Philip Glass. of large, interior steel installations and begins
working with structural engineers. Makes
1965-66 series of cut and sawed pieces. Participates in
Hitchhikes from Athens to Istanbul. Spends Word Location Project with Philip Glass at
year in Florence on Fulbright grant. Long Beach Island, New Jersey. Collaborates
In May has first one-man exhibition, "Animal with Joan Jonas on video, film, and perfor
Habitats," at Galleria La Salita, Rome. Student mance pieces. First one-man exhibition in
work, it anticipates activity of Arte Povera United States at Castelli Warehouse, New
movement. Travels to Spain and North Africa. York. Makes Splash Piece: Casting in Jasper
Moves to New York. Johns's studio, where it is preserved.

167
 1970 1979 1985
Visits Robert Smithson and Nancy Holt dur June 5, death of father. Commissioned by One-man exhibition at Mies van der Rohe-
ing construction of SpiralJetty, Great Salt General Services Administration to create designed Museum Haus Lange, Krefeld, West
Lake, Utah, and helps with its layout. permanent sculpture for Federal Plaza, New Germany. Public hearing called March 6, 7, 8
Travels to Japan with Joan Jonas. Participates York. During election campaign, West Ger to consider removal of Tilted Arc (1981)from
in Tokyo Biennale. Installs To EncircleBase man CDU party criticizes installation of Federal Plaza, New York. Overwhelming
Plate Hexagram, Right Angles Inverted, in Terminal (1977)in Bochum. Films Steelmill/ majority of those testifying favor retention, but
Ueno Park, Tokyo, and also works in Kyoto. Stahlwerk in Thyssen mill with Clara Acting GSA Administrator directs New York
ReceivesGuggenheim Fellowship.Carries out Weyergraf. Regional Administrator to seek possible alter
Sawing Device:Base Plate Measure involving
nate site. Requests National Endowment for
twelve fir trees, at Pasadena Art Museum, Pas 1980 the Arts to convene panel to approve or disap
adena, California. In the Bronx, New York, St. John's Rotary Arc and T.W.U. installed in prove proposed site. French government com
installs To EncircleBase Plate Hexagram, Right New York. Installation of Wright's Triangle at missions sculpture for national historic site at
Angles Inverted in the street. Whitney Annual Western Washington State University,Belling- Bourg-en-Bresse,sixteenth-century cloister at
exhibition catalog documents piece. Starts ham, and landscape work at Wenkenpark,
Richard Serra and Philip Glass at work on Brou. Named Chevalier dans l'Ordre des Arts
series of large outdoor urban and landscape Riehen/Basel, Switzerland.
Splash Piece: Casting (pi. 51), 1969-70,Jasper et des Lettres by the French. Clara-Clara
works with Pulitzer Piece: Stepped Elevation,
Johns's studio, New York St. Louis. installed Square de Choisy, Paris. Commis
1981 sioned to produce sculpture for hospital in
Tilted Arc installed at Federal Plaza, New Nagoya,Japan. Installs Carnegie, a vertical
1971 York. Marries Clara Weyergraf. ReceivesKai- sculpture, at Museum of Art, Carnegie
Initiates black canvas drawings. Begins work serring Award for sculpture from city of Gos- Institute, Pittsburgh.
ing summers in Cape Breton, Nova Scotia, lar, West Germany, and installs Gedenkstatte
Canada. there. Accepts commission for landscape
sculpture at Lousiana Museum, Humlebaek,
1972-74 Denmark, for installation in 1986.
Begins work with structural engineer Malcolm
Graff. After death of Robert Smithson, com 1982
pletes his Amarillo Ramp in Texas with Nancy Twain installed in St. Louis (project begun in
Holt and Tony Shafrazi. Travelsto Peru with 1974).Travelsto Spain and studies Mozarabic
Rudolph Wurlitzer. architecture. Installs sculpture in landscape at
Celle, Santomato di Pistoia, Italy. Works in
1975-76 Bilbao, Basque country of Spain.
ReceivesSculpture Award from Skowhegan
School of Painting and Sculpture. 1983
Films Railroad Turnbridge, Portland, Ore. Receiveshonorary fellowship from Bezalel
Plans first curved piece, for Centre Pompidou, Academy,Jerusalem. Travelsto Japan. One-
Paris. Begins cooperation with Alexander von man exhibition at the Musee National d'Art
Laying out To EncircleBase Plate Hexagram, Berswordt-Wallrabe of Galerie m, Bochum,
Right Angles Inverted (pi. 47), Ueno Park, Moderne, Centre Georges Pompidou, Paris,
West Germany. installing Clara-Clarain the Tuileries Gardens
Tokyo, 1970
at Place de la Concorde in conjunction with
1977 show. Installs Fassbinderin Westfalisches
February 14, mother commits suicide. Exhibits Landesmuseum, Munster, West Germany.
drawings at the Stedelijk Museum, Amster
dam. Accepts commission for project on Penn 1984
sylvaniaAvenue, Washington, D.C., from Installs La Palmera and designs plaza at La
which he will withdraw in 1978.Works at Verneda, Barcelona, Spain. Installation of Slat
Thyssen steel mill, Henrichshiitte, Hattingen, at La Defense, Paris, and Sean's Spiral in Dub
West Germany, on Berlin Blockfor Charlie lin street.
Chaplin for Nationalgalerie, Berlin.

168
 Exhibition dates are listed when known. An One-ManExhibitions 1973
Exhibitions asterisk in the entry indicates a published cata Galerie Ricke, Cologne, West Germany
log or brochure. 1966 January D -February 8
Galleria La Salita, Rome
Galleria Toselli, Milan
May 24-June
Ace Gallery, Los Angeles
1968
Castelli Graphics, New York
Galerie Ricke, Cologne, West Germany
October 16-November 25 1974
Ace Gallery, Los Angeles
1969
"Richard Serra: Large Scale Drawings."
Galleria Franqoise Lambert, Milan September 28-October 19. See bibl. 101
June School of Visual Arts, New York
Castelli Warehouse, New York October 1-November 7. See bibl. 72, 74, and 81
December 16,1969-January 10,1970.See bibl.
Leo Castelli Gallery, New York
56 and 85
October 12-26. See bibl. 69, 72, 74, and 81
1970
1975
Joseph Helman Gallery, St. Louis
Ace Gallery, Venice, Calif.
January
"Richard Serra: Delineator."July 1975—
University of California, San Diego February 1976.See bibl. 88 and 114
February 24-March 31
Portland Center for the Visual Arts,
Pasadena Art Museum, Pasadena, Calif. Pordand, Ore.
"Richard Serra."* February 26-March 1. See October 30-November 30. See bibl. 76
bibl. 48 and 100
1976
Ace Gallery, Los Angeles
December. See bibl. 99 Ace Gallery, Los Angeles
"Richard Serra: Drawings."Closed April 10
Galerie Ricke, Cologne, West Germany
1977
1972
Galerie Daniel Templon, Paris
Videogalerie Gerry Schum, Diisseldorf
January 29-March 2. See bibl. 65
Opened June 2
Galerie m, Bochum, West Germany
Ace Gallery, Los Angeles
March-June. See bibl. 62
November 17-December 31
169
 Stedelijk Museum, Amsterdam Monchehausmuseum, Goslar, West Germany 1984 Group Exhibitions
"Richard Serra: Drawings 1971-1977."* "Richard Serra."* September 12-November
November 18,1977-January 2, 1978. See bibl. 22. See bibl. 41 Leo Castelli Gallery, New York
37 and 90 February 18-March 10 1966
Castelli Graphics, New York Noah Goldowsky Gallery, New York
September 19-October 10 Galerie Nordenhake, Malmo, Sweden
1978 May 18-August "From Arp to Artschwager I"
Kunsthalle Tubingen, West Germany 1982 Galerie Daniel Templon, Paris Yale University Art Gallery, New Haven,
"Richard Serra."* March 8- April 2. See bibl. "Richard Serra: Sculpture." September 15- Conn.
52 and 90. Traveled to Staatliche Kunsthalle Gemini G.E.L., Los Angeles "Drawings"
"Richard Serra: Metal Wall Drawings, October 20
Baden-Baden. April 22-May 21. See bibl. 67
Lithographs."January 18-February 15 Larry Gagosian Gallery, Los Angeles 1967
Ace Gallery, Venice, Calif. December 18,1984-January 31,1985
"Richard Serra: Early Works in Steel and Leo Castelli Gallery, New York Noah Goldowsky Gallery, New York
Lead." April 26-May 31 "Richard Serra: Model for the St. Louis Project "From Arp to Artschwager 13"
and Large-ScaleDrawings."April 3-24 1985
Blum Helman Gallery, New York Museum Haus Lange, Krefeld, West Germany Purdue University, West Lafayette, Ind.
September 26-October 17. See bibl. 93 and 110 Leo Castelli Gallery, New York "Directions." November 1-30
"Richard Serra: 'Marilyn Monroe-Greta "Richard Serra."*January 27-March 24. See
Garbo,' 1981(A Sculpture for Gallery-Goers)." bibl. 44 Ithaca College Museum, Ithaca, N.Y
1979
April 3-24 Le Coin du Miroir, Dijon, France "Drawings 1967"
Matrix Gallery, University Art Museum, Uni January 29-March 2
versity of California, Berkeley The St. Louis Art Museum 1968
"Richard Serra: Matrix/Berkeley 20."* Febru "Richard Serra: Drawings and Studies."April Galerie Maeght Lelong, New York
ary 28-May 27 27-May 23 "Richard Serra: Vertical Structures (Models)." Noah Goldowsky Gallery, New York
March 8- April 13 "From Arp to Artschwager III"
Staadiche Kunsthalle Baden-Baden Carol Taylor Art, Dallas
"Richard Serra: Sculpture 1966-1978 Films." December 7-31 Gemini G.E.L., Los Angeles Noah Goldowsky Gallery, New York
March 10-April 16 "Large Silkscreens."Opened April 27 "Three Sculptors" (with Mark di Suvero and
1983 Walter de Maria). February 17-March 15. See
KOH Gallery, Tokyo Galleria Stein, Milan bibl. 96
"Richard Serra: Drawings."March 29-April 21 Blum Helman Gallery, New York. May
"Richard Serra: 'Around the Corner,' 1982." Galerie Ricke, Cologne, West Germany
Richard Hines Gallery, Seatde January 12-February 12. See bibl. 86 Akira Ikeda Gallery, Tokyo "Programm I." May 29-September 15
"Richard Serra Drawings."*June 20-July 31 Opened September 15
Larry Gagosian Gallery, Los Angeles Galerie Ricke, Kassel, West Germany
Galerie Alfred Schmela, Diisseldorf May 14-June 25 "Primary Structure, Minimal Art, Pop Art,
October 6-November 5 Anti-Form."June 27-July
Akira Ikeda Gallery, Tokyo
1980 "Richard Serra: New Sculpture."*June 6-July John Gibson Gallery, New York
30. Seebibl. 50 "Anti-Form."October 5-November 7
Museum Boymans-van Beuningen, Rotterdam
Galerie Reinhard Onnasch, Berlin American Federation of Arts
October 11-November 16
"Richard Serra: Skulpturen und Zeichnungen "Soft and Apparently Soft Sculpture."* Cir
The Hudson River Museum, Yonkers, N.Y. 1967-1983."*September 17- October 21. See culating exhibition, October 6, 1968-October
"Richard Serra: Elevator 1980."*Opened bibl. 38 and 102 12, 1969
November 15. See bibl. 53
Musee National d'Art Moderne, Centre Kunsthalle Cologne, West Germany
Georges Pompidou, Paris "Kunstmarkt 68."* October 15-20
1981
"Richard Serra."* October 26, 1983-January 2, Castelli Warehouse, New York
Blum Helman Gallery, New York 1984.See bibl. 28, 31,47, and 60 "Nine at Castelli."December 4-28. See
"Richard Serra: Recent Drawings." February bibl. 77
3-28 Galerie m, Bochum, West Germany
November-March 1984 Whitney Museum of American Art, New York
Leo Castelli Gallery, New York
Larry Gagosian Gallery, Los Angeles "1968 Annual Exhibition: Contemporary
"Richard Serra: 'Slice,' 1980."February 28-
American Sculpture."* December 17,1968-
April 4. See bibl.70
February 9, 1969
KOH Gallery, Tokyo
May
170
 1969 Museum of Contemporary Art, Chicago Dayton's Gallery 12, Minneapolis Art Gallery of Ontario, Toronto
"Anti-Form" "Castelli at Dayton's" "Recent Vanguard Acquisitions." 1971-72
Washington University Gallery of Art, Stein
berg Hall, St. Louis Joseph Helman Gallery, St. Louis Whitechapel Art Gallery, London
"Here and Now."*January 10-February 21 "3-00: New Multiple Art" 1972
Seatde Art Museum
The Museum of Modern Art, New York "557,087."*September 5-October 5 Galerie Ricke, Cologne, West Germany
1971 "Zeichnungen."April
"New Media: New Methods." Circulating Museum of Art, Rhode Island School of
exhibition, February 1969-August 1970 Paris Leo Castelli Gallery, New York
e Design, Providence "7 Biennale de Paris"
School of Visual Arts, New York "The George Waterman Collection."* October "Judd/Serra." May 20-June 10
"Series: Photographs" 22-November 23 Lalit Kala Akademi, New Delhi Museum Fridericianum, Kassel, West
"II Triennale India."* Exhibition organized Germany
Wallraf-Richartz Museum, Cologne, Musem of Contemporary Art, Chicago under the auspices of the International Coun
West Germany "Art by Telephone."*November 1-Decem- "Documenta 5."*June 30-October 8
cil of The Museum of Modern Art, New York.
"Kunst der sechzigerJahre (Art of the Six ber 14 January 31-March 31 RijksmuseumKroller-Miiller, Otterlo
ties)."*Opened February 28 University of California, Irvine "Diagrams & Drawings."*August 13-
The Solomon R. Guggenheim Museum, September 24
New Jersey State Museum Cultural Center, "Five Sculptors" New York
Trenton, N.J. Museum Folkwang, Essen, West Germany "Sixth Guggenheim International."* February Spoleto, Italy
"Soft Art."* March 1-April27 "Verborgene Strukturen" 11-April 11.See bibl. 89 "Spoleto Arts Festival"
Stedelijk Museum, Amsterdam Kaiser Wilhelm Museum, Krefeld, West Loeb Student Center, New York University, Irving Blum, Los Angeles
"Op Losse Schroeven, situaties en cryptostruc- Germany New York
turen (Square Pegs in Round Holes)."* March Margo Leavin Gallery, Los Angeles
"Body."February
15— April 27 1970 Castelli Graphics, New York
Louisiana Museum, Humlebaek, Denmark
Galerie Ricke, Cologne, West Germany Galerie Ricke, Cologne, West Germany "Amerikansk Kunst (American Painting) Galerie Ricke, Cologne, West Germany
"Sechs Kunsder (Six Artists)." March 15-31 "Programm HI" 1950-70" Leo Castelli Gallery, New York
Kunsthalle Bern Tokyo Metropolitan Art Gallery, Tokyo Walker Art Center, Minneapolis September 30-October 21
"When Attitudes Become Form."* March 22- "Tokyo Biennale '70 (Between Man and Mat "Works for New Spaces."*May 18-July 25
April 27. See bibl. 55. Traveled to Museum ter, 10th International Art Exhibition of 1973
Haus Lange, Krefeld, West Germany, and Galerie Ricke, Cologne, West Germany
Japan)."* May 10-30. Traveled to Kyoto "7 Neue Arbeiten" Whitney Museum of American Art, New York
Institute of Contemporary Art, London Municipal Art Museum, Kyoto, June 6-28; "1973 Biennial Exhibition, Contemporary
Whitney Museum of American Art, New York Aichi Prefectural Art Gallery, Nagoya,July Stadtische Kunsthalle, Diisseldorf American Art."* January 10-March 18
"Contemporary American Sculpture, Selec 15-26; Fukuoka Prefectural Culture House, "Prospect 71-Projection"*
tion 2."* Assembled by The Howard and Jean Fukuoka, August 11-16 Galerie Ricke, Cologne, West Germany
The Museum of Modern Art, New York "7 Lithographien."January 13-February 8
Lipman Foundation and the Whitney Museum Galerie Ricke, Cologne, West Germany "Projects: Pier 18."June 18-August 2
of American Art. April 15-May 5 "Zeichnungen Amerikanischer Kiinstler/ The New York Cultural Center
Park Sonsbeek, Arnhem, the Netherlands "3D into 2D: Drawing for Sculpture."*
Paula Cooper Gallery, New York Drawings of American Artists" "Sonsbeek 71, Sonsbeek buiten de perken."*
"No. 7." Opened May 18 January 19-March 11
Galleria Civica d'Arte Moderna, Turin June 19-August 15
Whitney Museum of American Art, New York "Conceptual Art/ Arte Povera/Land Art."* Kunstmuseum Basel
Centro de Arte y Comunicacion, en el Museo "Diagrams & Drawings."*January 20-
"Anti-Illusion: Procedures/Materials."* May June-July de Arte Moderno de la Ciudad de Buenos
19-July 6. See bibl. 46 March 4
The Museum of Modern Art, New York Aires
The Solomon R.Guggenheim Museum, "Information."* July 2-September 20 "Arte de Sistemas."*July The New York Cultural Center
New York "Soft as Art."* March 20-May 6. See bibl. 63
Kunstverein, Hanover Leo Castelli Gallery, New York
"Nine Young Artists, Theodoron Awards."* "Works on Film" (with Morris, Nauman, YaleUniversity Art Gallery, New Haven,
"Identifications"
May 23-July 27. See bibl. 112 Sonnier). September-October Conn.
Whitney Museum of American Art, New York "Options and Alternatives: Some Directions in
Galerie Ricke, Cologne, West Germany "1970 Annual Exhibition, Contemporary Lo Giudice Gallery, New York
"7 Objekte/69" Recent Art."* April 4-May 16
American Sculpture."* December 12,1970- November 28-January 29, 1972.See bibl. 97
The Aldrich Museum of Contemporary Art, February 7, 1971 Lo Giudice Gallery, New York
Los Angeles County Mueum of Art
Ridgefield,Conn. Joseph Helman Gallery, St. Louis "Art & Technology."*See bibl. 33 Amerika Haus, Berlin
"Highlights of the 1968-1969 Art Season."*
June 22-September 14
171
 Oberlin, Ohio Hayden Gallery, Massachusetts Institute of Serpentine Gallery, London Institute for Art & Urban Resources, PS. 1,
"Festival of Contemporary Arts" Technology,Cambridge, Mass. "The Video Show."May 1-26 Long Island City, New York
The Detroit Institute of Arts "Interventions in Landscapes." April 12- "Rooms."*June 9-26
May 11 Stadtisches Museum Leverkusen, Schloss
"Art in Space: Some Turning Points."*
Morsbroich, Leverkusen, West Germany Nationalgalerie, Berlin
May 15-June 24 John F. Kennedy Center for the Performing "U.S.A.: Zeichnungen 3."* May 15-June 29 "Amerikanische Kunst von 1945bis Heute"
Galleria Toselli, Milan Arts, Washington, D.C.
"Art Now 74."*May 30-June 16 Hayward Gallery, London Kunsthalle, Kiel, West Germany
Centre National d'Art Contemporain, Paris "The Condition of Sculpture: A Selection of "Amerikanische Druckgraphik aus offent-
Galerie Ricke, Cologne, West Germany Recent Sculpture by Younger British and
Whitney Museum of American Art, New York "Record as Artwork" lichen Sammlungen der Bundesrepublik
Foreign Artists."* May 29-July 13 Deutschland"
"American Drawings 1963-1973."*May 25-
July22 Diane Stimpson Gallery, Vancouver Whitney Museum of American Art, New York Heiner Friedrich, New York
"Work on Paper" "Projected Video."*June 5-18
YaleUniversity Art Gallery, New Haven, Conn. "An Exhibition for the War Resisters League"
"American Drawing 1970-73" Walker Art Center, Minneapolis National Collection of Fine Arts, Smithsonian Berlin Festival, Akademie der Kiinste, Berlin
"Prints from Gemini G.E.L."* August 17- Institution, Washington D.C.
Cusack Gallery, Houston "New York—Downtown Manhattan: Soho."
September 29. Traveled to Akron Art "Sculpture: American Directions 1945-1975."*
"Drawings" September 5-October 17. Traveled to Loui
Institute, December 15,1975-January 26, October 3-November 30. Traveled to Dallas siana Museum, Humlebaek, Denmark,
Galleria Franqoise Lambert, Milan 1976;Ackland Art Center, University of North Museum of Fine Arts, January 7-February 29, October 31-December 12
"Record as Artwork" Carolina, Chapel Hill, February 23-April 6; 1976;New Orleans Museum of Art, March 31-
The Winnipeg Art Gallery, May 4-June 15; May 16 Philadelphia College of Art, Philadelphia
Seatde Art Museum Denver Art Museum, July 13-August 24 "Private Notations: Artists' Sketchbooks II."
"American Art: Third Quarter Century."* 1976 October
August 22-October 14 Galerie Ricke, Cologne, West Germany
"4 x Minimal Art." August 19-September 1 The Museum of Modern Art, New York
Leo Castelli Gallery, New York 1977
John Berggruen Gallery, San Francisco "Drawing Now."*January 23-March 9.
September 29-October 20 Traveled to Kunsthaus Zurich, October Newport Art Association, Newport, R.I.
"Castelli at Berggruen"
Parcheggio di Villa Borghese, Rome 10-November 14; Staatliche Kunsthalle "Two Decades of Exploration: Homage to Leo
"Contemporanea."* November 1973— Centre National d'Art Contemporain, Paris Baden-Baden, November 25, 1976-January 16, Castelli on the Occasion of his 20th Anniver
February 1974 "Art/Voir" 1977;Graphische Sammlung Albertina, sary."February 13-March 27
Leo Castelli Gallery, New York Vienna, January 28-March 6; Sonja Henie- Whitney Museum of American Art, New York
1974 "In Three Dimensions." September 21- Niels Onstad Foundations, Oslo, March "1977 Biennial Exhibition, Contemporary
October 12 17-April 24; The Tel AvivMuseum, American Art."* February 19-April 3
National Gallery of Victoria, Melbourne May 12-July 2
"Some Recent Amerian Art."* Exhibition The Oakland Museum, Oakland, Calif. The Renaissance Society at the University of
organized under the auspices of the Interna "Public Sculpture/Urban Environment."* Fine Arts Building, New York Chicago
September 29-December 29 "Scale."February 14-24 "Ideas in Sculpture 1965-77." May 1-June 11
tional Council of The Museum of Modern Art,
New York, February 12-March 10.Traveled to Sable-CastelliGallery, Toronto
1975 Galerie Loyse Oppenheim, Nyon, Switzerland
Art Gallery of New South Wales, Sydney, "Survey: Part II." March D-April 3 "Eleven Artists in New York."May
April 5-May 5; Art Gallery of South Aus Daniel Weinberg Gallery, San Francisco
tralia, Adelaide, May 31-June 30; West Aus The Art Institute of Chicago Musee National d'Art Moderne, Centre
"Drawings" "Seventy-second American Exhibition."*
tralian Art Gallery, Perth, July 26- August 21; Georges Pompidou, Paris
Museo de Arte Moderno, Bogota March 13-May 9 "Paris-New York."*June 1-September 19
City of Auckland Art Gallery, Auckland,
October 14-November 17 "Color as Language."*Exhibition organized Whitney Museum of American Art, New York
under the auspices of the International Coun Kassel, West Germany
Leo Castelli Gallery, New York "200 Years of American Sculpture."* March "Documenta 6."*June24-October2. See bibl.
cil of The Museum of Modern Art, New York, 16-September 26
"Drawings" 62 and 109
February 24-November 23. Traveled to
The Art Museum, Princeton University, Museu de Arte de Sao Paulo; Museu de Arte The Renaissance Society at the University of Westfalisches Landesmuseum fur Kunst und
Princeton, N.J. Moderna, Rio de Janeiro; Museo de Bellas Chicago Kulturgeschichte, Miinster
Artes, Caracas; Museo de Arte Moderno, "Ideas on Paper." May "Skulptur Ausstellung in Miinster."*July 3-
"Line as Language: Six Artists Draw."*
February 23-March 31. See bibl. 49 Mexico City Greenwich Arts Council, Greenwich, Conn. November D
de Saisset Art Gallery, University of Santa The Baltimore Mueum of Art "Sculpture 76."*June-October Whitney Museum of American Art, New York
Clara, Santa Clara, Calif. "Fourteen Artists." April 15-June 1 "20th-century American Art from Friends'
"Videotapes: Six from Castelli" Collections."*July 27-September 27
172
 Museum of Contemporary Art, Chicago La Jolla Museum of Contemporary Art, Leo Castelli Gallery, New York Whitney Museum of American Art, New York
"A View of a Decade."* September 10- La Jolla, Calif. "Summer Group Show."June 23- "American Sculpture: Gifts of Howard and
November 10 "Selections from the Permanent Collection." September 15 Jean Lipman."* April 15-June 15
August La Jolla Museum of Contemporary Art, Hayward Gallery, London
The Museum of Modern Art, New York
"American Drawn and Matched."* September Stedelijk Museum, Amsterdam La Jolla, Calif. "Pier + Ocean."* May 8-June 22. Traveled to
20—December 4 "Made by Sculptors."* September 14- "Selections from the Permanent Collection." Rijksmuseum Kroller-Miiller, Otterlo, July
November 5 July 18-August 19 D-September 8
Sable-CastelliGallery, Toronto
"Drawings."October 1-22 Galerie Daniel Templon, Paris Sunne Savage Gallery, Boston Wenkenpark, Riehen/Basel, Switzerland
"Daniel Templon, Dix Ans."* October 7- "Thirty Years of Box Construction."* "Skulptur im 20. Jahrhundert."* May 10-
The New York State Museum, Albany November 16 November 2-30 September 14
"New York: The State of Art."* October 8-
November 27 Richard Hines Gallery, Seattle Brooks Memorial Art Gallery, Memphis Washington, D.C.
"Sculpture." December 15-February 10,1979 "American Masters of the 60s and 70s" "The Eleventh International Sculpture Con
John Weber Gallery, New York ference."June
"Drawings for Outdoor Sculpture 1946- Stadelsches Kunstinstitut, Frankfurt, Stedelijk Museum, Amsterdam
1977."*October 29-November 23. Traveled to West Germany "Gerry Schum." Whitney Museum of American Art, New York
Mead Gallery, Amherst College, Amherst, "Z.B. Skulptur" "50th Anniversary Gifts." June 3-August 31
Kunsthaus Zurich
Mass.; University of California Art Galleries, "Weich und Plastisch: Soft Art."* November Castelli Graphics, New York
Santa Barbara; La Jolla Museum of Contempo 1979 16-February 4, 1980 "Master Prints by Castelli Artists."June 7-28
rary Art, La Jolla, Calif; Hayden Gallery, Rosa Esman Gallery, New York
Massachusetts Institute of Technology, Venice
"Places to Be: Unreali2ed Monumental Sculp 1980 "La Biennale di Venezia"*
Cambridge, Mass.; Laguna Gloria Art Museum,
ture."January 2-February 10
Austin, Tex. The Bronx Museum of the Arts, New York Galerie Ricke, Cologne, West Germany
Galleriet, Lund, Sweden "Marking Black."*January 24-March 9 "Die ausgestellten Arbeiten sind zwischen
The University of Michigan Museum of Art,
January D-31 1966und 1972entstanden." July 8 -Septem
Ann Arbor Bell Gallery, Brown University, Providence,
"Works from the Collection of Dorothy and Museum Haus Lange, Krefeld, West Germany R.I. ber 17
Herbert Vogel."*November 11,1977-January "The Broadening of the Concept of Reality in "Brown Invitational Exhibition." February Richard Hines Gallery, Seattle
1,1978 the Art of the 60s & 70s."January 21-March 18 1-24 "Donald Judd, Bruce Nauman, Richard Serra:
Whitney Museum of American Art, New York Blum Helman Gallery, New York Sculpture."July-August
1978 "1979 Biennial Exhibition."* February 6- "Kelly/Serra." February 12-April 15 La Jolla Museum of Contemporary Art,
Julian Pretto Gallery, New York April 8 La Jolla, Calif.
"Atypical Works." January 4-31 Leo Castelli Gallery, New York
Castelli Graphics, New York "Leo Castelli: A New Space."Opened Febru "Selections from the Permanent Collections."
Blum Helman Gallery, New York "Drawings by Castelli Artists." March 3-24 ary 19 July 12-August 31
"Nauman, Serra, Shapiro, Jenney."February Museum of Contemporary Art, Chicago San Francisco Museum of Modern Art
Allen Memorial Art Museum, Oberlin Col
Worcester Art Museum, Worcester, Mass. "Selected Sculpture from the Permanent Col lege, Oberlin, Ohio "20 American Artists."*July 24-September 7
"Between Sculpture and Painting." February lection." March-April "From Reinhardt to Christo." February 20- Westfalisches Landesmuseum fur Kunst und
23-April 9 Institute for Art & Urban Resources, PS. 1, March 19 Kulturgeschichte, Miinster, West Germany
Ace Gallery, Vancouver Long Island City, New York Grand Palais, Paris "Reliefs."*Traveled to Kunsthaus Zurich.
e April 16-30 "Great Big Drawing Show."March 25-April 1 "91 Salon des Artistes Independants." March August 22-November 2
Art Gallery of Ontario, Toronto The Aldrich Museum of Contemporary Art, D -April 13 Ace Gallery, Venice, Calif.
"Structures for Behavior."*May 13-July 9. See Ridgefield, Conn. The Jacksonville Art Museum, Jacksonville, "Key Works from 1969."October 28-
bibl. 51 "The Minimal Tradition."* April 29- Fla. November 22
September 2 "The Norman Fisher Collection at The Jack Wiirttembergischer Kunstverein, Stuttgart,
Leo Castelli Gallery, New York
"Summer Group Show."July 5-September 23 The Museum of Modern Art, New York sonville Art Museum."* March 27-May 4 West Germany
"Contemporary Sculpture: Selections from the Hayden Gallery, Massachusetts Institute of "Donald Judd, Richard Serra: Skulpturen und
Whitney Museum of American Art, New York Collection of The Museum of Modern Art."* Zeichnungen"
"20th Century American Drawings: Five Years Technology,Cambridge, Mass.
May 18-August 7 "Mel Bochner/Richard Serra."* April 5-May A Space, Toronto
of Acquisitions."*July 28-October 1
The Art Institute of Chicago 11.See bibl. 40 "Selected Tapes." November 3-29
"73rd American Exhibition."* June 9- August 5
173
 Castelli Graphics, New York Sewall Art Gallery, Rice University, Houston Blum Helman Gallery, New York Institute of Contemporary Art, University of
"Amalgam."November 22-December 20 "Variants: Drawings by Contemporary Sculp "Johns, Kelly, Serra: New York."May 12- Pennsylvania,Philadelphia
The Brooklyn Museum, New York tors." November 2-December 12. Traveled to June 12 "Connections." March 11-April 24
"American Drawing in Black & White: Art Museum of South Texas, Corpus Christi;
Newcomb Gallery, Tulane University, New The British Museum, London Whitney Museum of American Art, New York
1970-1980."*November 22, 1980-January 18, "A Century of Modern Drawing."* Exhibition
Orleans; The High Museum of Art, Adanta "Minimalism to Expressionism: Painting and
1981 organized under the auspices of the Interna Sculpture since 1965from the Permanent
Leo Castelli Gallery, New York New Gallery of Contemporary Art, Cleveland tional Council of The Museum of Modern Art, Collection."*June 2-December 4
"Drawings to Benefit the Foundation for the "Insights: SmallWorks from the Past 15Years." New York. June 9- September 12
November 6-December 12 CDS Gallery, New York
Contemporary Performance Arts, Inc." Kassel, West Germany "Artists Choose Artists II." June 8-July 16
November 29-December 20 Stadtische Kunsthalle, Diisseldorf "Documenta 7."*June 19-September 28
"Schwarz" Mclntosh/Drysdale, Houston
1981 Hayden Gallery, Massachusetts Institute of "Monuments & Landscapes: The New Public
The Architectural League, New York Technology,Cambridge, Mass. Art." June 14-September 6
Galleriet, Lund, Sweden "Artists and Architects, Collaboration" "Great Big Drawings"*
January 17-February 4 Leo Castelli Gallery, New York
"Films by American Artists: One Medium The Solomon R. Guggenheim Museum,
Whitney Museum of American Art, New among Many."*Exhibition circulated by the "Summer Group Show."June-July
New York
York. Arts Council of Great Britain "The New York School: Four Decades."* Middelheim, Belgium
e "1981Biennial Exhibition."* January 20- July 1-August 22 "17 Biennale Antwerpen"
April 19 1982
Palacio de las Alhajas, Madrid Margo Leavin Gallery, Los Angeles
YaleUniversity Art Gallery, New Haven, Aktra Ikeda Gallery, Tokyo "Correspondencias: 5 Arquitectos, 5 Escul- "Black and White"
Conn. "Group Exhibit." January 30—February 20 tores."* October-November. See bibl. 24 and
"Twenty Artists: YaleSchool of Art 1950- Daniel Weinberg Gallery, Los Angeles
Whitney Museum of American Art, Fairfield 45
1970."Opened January 28 September 10-October 8
County, Conn. American Academy of Arts and Letters,
The Corcoran Gallery of Art, Washington, Flow Ace Gallery, Los Angeles
"Surveying the Seventies: Selections from the New York
D.C. Permanent Collection of the Whitney Museum "Aspects of Minimalism."September 30-
"Hassam and Speicher Fund Purchase November 5
"The 37th Biennial Exhibition of Contempo of American Art."* February 12-March 31 Exhibition"
rary American Painting."* February 19- Seibu Department Stores, Tokyo
April 5 Centre d'Arts Plastiques Contemporains de Nationalgalerie, Berlin
Bordeaux "Hommage to Leo Castelli."Opened Octo
"Kunst wird Material"* October 7-Septem- ber 7
Randolph-Macon Woman's College, "Arte Povera, Antiform, Sculptures 1966- ber 5
Lynchburg, Va. 69."* March 12-April 30 Delahunty Gallery, Dallas
"Seventeenth Annual Exhibition" Akira Ikeda Gallery, Nagoya,Japan "Contemporary Drawing." October 8-
Stedelijk Museum, Amsterdam "Group Exhibition." October 4-30
Gloria Luria Gallery, Bar Harbour Islands, November 9
"'60-'80: Attitudes/Concepts/Images."*
Fla. April 9-July 11 Leo Castelli Gallery, New York
Nassau County Museum of Fine Art, Roslyn
"Leo Castelli Selects for Gloria Luria Gallery." "Group Exhibition." October 16- Harbor, N.Y.
February 27-March 16 "Castelli and His Artists/Twenty-five Years."* November 6
"Sculpture: The Tradition in Steel."*October
Exhibition organized by the Aspen Center for
Museum Haus Lange, Krefeld, West Germany the Visual Arts, Aspen, Colo. Traveled to La Margo Leavin Gallery, Los Angeles 9, 1983-January 22, 1984
"Kounellis, Merz, Nauman, Serra."* March Jolla Museum of Contemporary Art, La Jolla, "Group Exhibition." December 4-30 The Art Museum of the Ateneum, Helsinki
15-April 26. See bibl. 43 Calif., April 23-June 6; Aspen Center for the "Ars 83 Helsinki."* October 14-December 11
Visual Arts, June 17-August 7; Leo Castelli 1983
Museen der Stadt, Cologne, West Germany Nippon Club Gallery, New York
"Westkunst."* May 30- August 16 Gallery, New York, September 11-October 9; Hillwood Art Gallery, C. W. Post Center, "Portfolios." October
Pordand Center for the Visual Arts, October Long Island University, Greenvale, N.Y.
Galerie Ricke, Cologne, West Germany 22-December 3; Laguna Gloria Art Museum, "Monumental Drawings by Sculptors."*Janu Mathews Hamilton Gallery, Philadelphia
"Einladung zur Eroffnung."July 10-Septem Austin, Tex., December 17,1982-February 13, ary 7-February 9. See bibl. 42 "Works on Paper." November 4-30
ber 10 1983
Daniel Weinberg Gallery, Los Angeles 1984
Margo Leavin Gallery, Los Angeles Whitney Museum of American Art, New York "Drawing Conclusions: A Survey of American
"Cast, Carved, and Constructed." August 1- "Abstract Drawings 1911-1981:Selections Drawings 1958-1983."January 29-February 26 Zilkha Gallery, WesleyanUniversity, Middle-
September 19 from the Permanent Collection."* May 5- town, Conn.
Julyll Castelli Graphics, New York "Large Drawings."January 26-March 9
"Black & White: A Print Survey."January
29-February 26
174
Whitney Museum of American Art, New York Hirshhorn Museum and Sculpture Garden, Illinois Not-for-Profit Organization, State
"American Art since 1970."Circulating exhibi Smithsonian Institution, Washington, D.C. Street Mall, Chicago
tion, March 10,1984-June2, 1985 "Content: A Contemporary Focus 1974- "Chicago Sculpture International MILE-4."*
1984."*October 4, 1984-January 6, 1985 May 9-June 9
Hirschl & Adler Galleries, New York
"The Skowhegan Celebration Exhibition." Blum Helman Gallery, New York Leila Taghinia-Milani, New York
Opened May 1 "Drawings."October 10-November 3 "Tension: Examples in Art; the 20th Century."
June 12-July 12
The Montreal Museum of Fine Arts Leo Castelli Gallery, New York
"Drawings by Sculptors: Two Decades of "Drawings."October D-November 3 Marian Goodman Gallery, New York
Non-Objective Art in the Seagram Collec "A Sculpture Show."June 18-July 12
Wiesbaden, West Germany
tion."* May 3-June 10.Circulating exhibition, "Wiesbadener Skulpturentage" Leo Castelli Gallery, New York
including showing at Seagram Building, New "Summer Group Show."June 20-July 26
York, December 12-February 10,1985 National Gallery of Art, Washington, D.C.
"Gemini G.E.L., Art and Collaboration."* ARCA, Marseilles
The Museum of Modern Art, New York November 18,1984-February 24, 1985 "New York 85."July 9-August 31
"Selections from the Permanent Collection,
Painting and Sculpture." May 17-August 15 Kunsthalle, Nuremberg, West Germany
1985 "Meister der Zeichnung." October
Merian-Park, Basel, Switzerland
"Skulptur im 20. Jahrhundert."* June 3- The Greenberg Gallery, St. Louis Museum of Art, Carnegie Institute, Pittsburgh
September 30 "On Paper."January 12-February 23 "Carnegie International"
Venice "Large Drawings."* Exhibition circulated by
"La Biennale di Venezia"* Independent Curators Incorporated, New
York. January 15,1985-May 8, 1986
Art Center College of Design, Pasadena, Calif.
"Castelli at Art Center— Sculpture at Art The Renaissance Society at the University of
Center."June 24-July 21 Chicago
"Large Scale Drawings by Sculptors."January
Hill Gallery, Birmingham, Mich. 27-February 23
June 30-July 28
Akira Ikeda Gallery, Tokyo
Margo Leavin Gallery, Los Angeles " 'Black': Jasper Johns, Frank Stella, Richard
"American Sculpture."July 17-September 15 Serra."* February 4-28
Stedelijk Museum, Amsterdam Visual Arts Museum, New York
"Summer Exhibition/20 Years of Collecting" "The Sculptor as Draftsman." February 11-
ROSC, Dublin March 2
August 24-November 17* Edith C. Blum Art Institute, The Bard College
Madrid Center, Annandale-on-Hudson, N.Y.
"Madrid-Madrid" "The Maximal Implications of the Minimal
Line."* March 24-April 28
Larry Gagosian Gallery, Los Angeles
Centro de Arte Moderna, Fundaqao Calouste
Leo Castelli Gallery, New York Gulbenkian, Lisbon
"Summer Group Show."September "Exhibition-Dialogue/Exposiqao-Dialogo."*
Fine Arts Center, University of Massachusetts March 28-June 16
at Amherst Leo Castelli Gallery, New York
"Prints and Drawings of the New York "Group Exhibition." March 30-April 13
School."September 15-October 26
The Museum of Modern Art, New York
Oil & Steel Gallery, New York "Philip Johnson Installation." April 11-
"Contemporary Paintings and Sculpture V: September
1957-1984."September 18-November 3
Akira Ikeda Gallery, Nagoya,Japan
"Black: Painting and Sculpture." October 1-30

(
 Films and Videotapes Films Veil. 1971 Videotapes
Hand CatchingLead. 1968 16 mm, black and white, 6 min.
16 mm, black and white, 3 min. 30 sec. Collaborator: Joan Jonas Anxious Automation. 1971
Camera: Robert Fiore Black and white, sound, 4 min. 30 sec.
Match Match Their Courage. 1974
16 mm, color, sound, 34 min. China Girls. 1972
Hand Lead Fulcrum. 1968
Black and white, sound, 11min.
16 mm, black and white, 3 min. Railroad Turnbridge. 1976
Camera: Robert Fiore 16 mm, black and white, 19min. SurpriseAttack. 1973
Black and white, sound, 2 min.
Hands Scraping. 1968 Steelmill/Stahlwerk. 1979 Camera: Babette Mangolte
16 mm, black and white, 4 min. 30 sec. 16 mm, black and white, sound, 29 min.
Camera: Robert Fiore Collaborator: Clara Weyergraf TelevisionDelivers People. 1973
Color, sound, 6 min.
Hands Tied. 1968
16 mm, black and white, 3 min. 30 sec. Boomerang. 1974
Camera: Robert Fiore Color, sound, 10 min.
Frame. 1969 Prisoner's Dilemma. 1974
16 mm, black and white, sound, 22 min. Black and white, sound, 60 min.
Camera: Robert Fiore Collaborator: Robert Bell
Three untitled films. 1969
16 mm, black and white, 3 min. each
Tina Turning. 1969
16 mm, black and white, 2 min.
Camera: Robert Fiore
Untitled. 1969
16 mm, black and white, 25 min.
Untitled. 1969
16mm, black and white, 30 min.
Color Aid. 1970-71
16 mm, color, sound, 36 min.
Camera: Robert Fiore
Paul Revere. 1971
16 mm, black and white, sound, 9 min.
Collaborator: Joan Jonas

176
 Statements, Writings, Interviews, 11. "Document: Spin Out '72—73for Bob 19. "St. John's Rotary Arc,"Artforum (New
Selected Bibliography Letters by the Artist Smithson" [interview by Liza Bear], Ava York), vol. 19, no. 1 (September 1980),
Arranged chronologicallyby publication date lanche (New York), no. 8 (Summer/Fall pp. 52-55. Reprinted in bibl. 53.
1973),pp. 14-15. Reprinted in bibl. 53. 20. "Richard Serra's Urban Sculpture" [inter
1. "Play it Again, Sam,"Arts Magazine (New
York) vol. 44, no. 4 (February 1970),pp. 12. "Prisoner's Dilemma" [interview by Liza view by Douglas Crimp], Arts Magazine
24-27. Reprinted in bibl. 53. Includes Bear], Avalanche (New York), no. 9 (New York), vol. 55, no. 3 (November
excerpts from bibl. 8, as printed in bibl. 33. (May-June 1974), pp. 26-28. Reprinted 1980), pp. 118-23. Reprinted in bibl. 53.
in bibl. 53. 21. [Interview by Liza Bear, 1976]. Printed
2. "The Artist and Politics: A Symposium,"
Artforum (New York), vol. 9, no. 1 (Sep 13. "Text: TelevisionDelivers People,"Art- 1980 in bibl. 53.
tember 1970), pp. 35-39. Rite (New York), no. 7 (Autumn 1974),
22. "Entretien avec Richard Serra" [interview
p. 5. by Bernard Lamarche-Vadel],Artistes
3. [Statement] Art Now: New York(New
York), vol. 3, no. 3 (September 1971). 14. "Richard Serra: Sight Point '71-75/Delin- (Paris), no. 7 (January-February 1981),
eator '74-76" [radio interview by Liza pp. 24-29. Edited by Clara Weyergraf
4. "Statements,"Artforum (New York), vol. Bear], Art in America (New York), vol. and printed in bibl. 53.
10, no. 1 (September 1971),p. 64. 64, no. 3 (May-June 1976), pp. 82-86.
23. "Portraits" [conversation with Kathy
5. Joan Jonas and Richard Serra. "Paul Reprinted as "Richard Serra: Faire l'expe-
Acker, Joseph Kosuth, Lawrence Weiner,
Revere,"Artforum (New York), vol. 10, rience de la sculpture," Art Press (Paris),
Sandro Chia, Philip Glass, Barbara
no. 1 (September 1971),pp. 65-67. no. 6 (April 1977), pp. 9-11. Also Kruger, David Salle], Artforum (New
reprinted in bibl. 53.
6. [Documents] Avalanche (New York), York), vol. 20, no. 9 (May 1982),
no. 2 (Winter 1971), pp. 20-21. Includes 15. [Interview by Lizzie Borden, 1977]. pp. 58-69.
"Verb List Compilation 1967-68," Printed 1977 in bibl. 37 and reprinted in
bibl. 52 and 53. 24. "Escultura para Callao (Sculpture for
reprinted in bibl. 34 and 53.
Callao)."Printed 1982 in bibl. 45.
7. "Proposal for Los Angeles County 16. "Skulptur als Platz" [interview by
Friedrich Teja Bach, 1975, 1976], Das 25. "Notes from Sight Point Road," Perspecta
Museum in Conjunction with Kaiser
Kunstwerk (Baden-Baden),vol. 31, no. 1 (Cambridge, Mass., and London), vol. 19
Steel" [statement 1969]. Printed 1971 in
(February 1978), pp. 3-14. Interview (1982), pp. 172-81.
bibl. 33, p. 298.
1975 reprinted in bibl. 53. 26. [Statement] Richard Serra at Gemini,
8. "Skullcracker Stacking Series" [state
17. "The Films of Richard Serra: An Inter 1980-1981. Los Angeles: Gemini G.E.L.,
ment 1969]. Printed 1971 in bibl. 33, pp.
view" [interview by Annette Michelson 1982.
299-300. See also bibl. 1.
and Clara Weyergraf], October (Cam 27. "Interview" [interview by Peter Eisen-
9. "Letters," Artforum (New York), vol. 10, bridge, Mass.), no. 10 (Fall 1979),pp. man], Skyline (New York), April 1983,
no. 7 (March 1972), p. 6. See bibl. 97. 68-104. Reprinted in bibl. 53. pp. 14-17.
10. Rosalind Krauss, ed. "Richard Serra: 18. "Rigging" [based on interview by Gerard 28. "Entretien avec Richard Serra" [interview
Shift,"Arts Magazine (New York), vol. 47, Hovagimyan], Cover (New York), vol. 2, by Alfred Pacquement]. Printed 1983 in
no. 6 (April 1973), pp. 49-55. Reprinted no. 1 (January 1980), pp. 41, 45-47. bibl. 47.
in bibl. 53. Edited and reprinted in bibl. 53.
177
 29. "Extended Notes from Sight Point Road." 39. Bochum. Galerie m. Richard Serra: 50. Tokyo. Aktra Ikeda Gallery. Richard 59. Bois, Yve-Alain. "The Meteorite in the
Printed 1985 in bibl. 39. Recent Sculpturein Europe 1977-1985. Serra: New Sculpture.June 6-July 30, Garden," Art in America (New York), vol.
1985. Monograph. Includes bibl. 29. 1983. Catalog. Text by Maki Kuwayama. 72, no. 6 (Summer 1984),pp. 108-13.
. General References 40. Cambridge, Mass. Hayden Gallery, Mas 51. Toronto. Art Gallery of Ontario. Struc 60 . "A Picturesque Stroll around
Arranged alphabetically sachusetts Institute of Technology.Mel turesfor Behaviour:New Sculpturesby Clara-Clara,"October (Cambridge, Mass.),
Bochner/RichardSerra. April 5-May 11, Robert Morris, David Rabinowitch, no. 29 (Summer 1984),pp. 32-62.
30. Celant, Germano. Art Povera. New York: 1980. Catalog. Introduction by Kathy Richard Serra and George Trakas.May Reprinted from bibl. 47 and translated by
Praeger Publishers, 1969. Halbreich. 13-July 9, 1978.Catalog. Introduction by John Shepley.
31. Krauss, Rosalind E. The Originality of the 41. Goslar. Monchehausmuseum. Richard Roald Nasgaard.
61. Buchloh, B.H.D. "Process Sculpture and
Avant-Garde and Other Modernist Myths. Serra (Trdgerdes Kaiserringpreisesder 52. Tubingen. Kunsthalle. Richard Serra: Film in Richard Serra's Work." Printed in
Cambridge, Mass., and London: The MIT Stadt Goslar 1981). September 12— Arbeiten 66-77/Works 66-77. March bibl. 52.
Press, 1985. Includes "Richard Serra: November 22, 1981. Catalog. 8—April 2, 1978.Catalog. Essays by Clara
A Translation,"reprinted from bibl. 47. Weyergraf, Max Imdahl, and B.H.D. 62. Catoir, Barbara. "Richard Serra" [exhibi
42. Greenvale, N.Y. Hillwood Art Gallery, tion reviews, Galerie m and "Documenta
. 32 . Passagesin Modern Sculpture. C. W. Post Center, Long Island Univer Buchloh; interview by Lizzie Borden. See
6"], Das Kunstwerk (Baden-Baden),vol.
New York: The Viking Press, 1977. sity.Monumental Drawings by Sculptors. bibl. 15, 61, 75, and 113.See also bibl. 37.
30, no. 4 (August 1977),pp. 83-84.
33. Los Angeles County Museum of Art. Art January 7-February 9, 1983.Catalog. 53. Yonkers, N.Y. The Hudson River
Text by Judith Van Wagner. 63. Collins, James. "Reviews:Soft as Art"
& Technology:A Report on the Art & Museum. Richard Serra: Interviews, Etc.
[exhibition review,The New York
TechnologyProgram of the Los Angeles 43. Krefeld. Museum Haus Lange. Kounellis, 1970-1980. Published 1980in connection
Cultural Center], Artforum (New York),
County Museum of Art 1967-1971. Essay Merz, Nauman, Serra. March 15-April 26, with the exhibition "Richard Serra:
vol. 11,no. 10 (June 1973),pp. 89-91.
by Gail R. Scott, pp. 298-305. New York: 1981. Catalog. Text by Gerhard Storck. Elevator 1980" at The Hudson River
The Viking Press, 1971.Includes bibl. 7 Museum. Written and compiled by 64. Cornwell, Regina. "Three by Serra,"
. and 8. See also bibl. 1. 44 . Richard Serra.January 27- Richard Serra in collaboration with Clara Artforum (New York), vol. 18, no. 4
March 24, 1985. Catalog. Text by Mar Weyergraf. Includes bibl. 1, 6, 10,11,12, (December 1979),pp. 28-32.
34. Miiller, Gregoire, and Gorgoni, ianne Stockebrand. 14,15,16,17,18,19,20, 21, and 22. See
Gianfranco. The New Avant-Garde: Issues alsobibl. 37. 65. Crichton, Fenella. "Paris Letter: Serra"
for the Art of the Seventies.New York, 45. Madrid. Palacio de las Alhajas. Corres- [exhibition review, Daniel Templon], Art
Washington, and London: Praeger Pub pondencias:5 Arquitectos,5 Escultores. International (Lugano), vol. 21, no. 2
lishers, 1972. Includes bibl. 6. October-November 1982. Catalog. (March-April 1977),pp. 59, 73.
Includes bibl. 24. Articles, Reviews, Essays
35. Pradel, Jean-Louis, ed. WorldArt Trends Arranged alphabetically 66. Crimp, Douglas. "Richard Serra: Sculp
1983/84. New York: Harry N. Abrams, 46. New York. Whitney Museum of Amer ture Exceeded," October (Cambridge,
ican Art. Anti-Illusion: Procedures/ 54. Amaya, Mario. "Toronto: Serra's Visit
1984. Mass.), no. 18 (Fall 1981),pp. 67-78.
Materials. May 19-July6, 1969. Catalog. and After," Art in America (New York),
Translation of "Richard Serra: Le
36. Rose, Barbara. "Richard Serra."Modern Essays by James Monte and Marcia vol. 59, no. 3 (May-June 1971),pp.
Depassement de la sculpture," Artistes
Painting, Drawing & SculptureCollected Tucker. 122-23.
(Paris), no. 7 (January-February 1981),
by Louise and Joseph Pulitzer,Jr., vol. 3, 55. Ammann, Jean Christophe. "Schweizer pp. 30-37.
pp. 538-42. Cambridge, Mass.: Fogg Art 47. Paris. Musee National d'Art Moderne,
Centre Georges Pompidou. Richard Serra. Brief" [exhibition review, Kunsthalle
Museum, 1971. 67. Dienst, Rolf-Gunter. "Richard Serra"
October 26, 1983-January 2, 1984. Bern], Art International (Lugano), vol. 13,
[exhibition review, Staadiche Kunsthalle,
Catalog. Essays by Yve-AlainBois and no. 5 (May 20, 1969),pp. 47-50.
Baden-Baden], Das Kunstwerk (Baden-
Catalogs and Monographs Rosalind E. Krauss; interview by Alfred 56. Baker, Elizabeth C. "Critic's Choice, Baden), vol. 31, no. 3 (June 1978),
Arranged alphabetically Pacquement. See bibl. 28, 31, and 60. Serra" [exhibition review, Castelli Ware pp. 84-85.
37. Amsterdam. Stedelijk Museum. Richard 48. Pasadena, Calif. Pasadena Art Museum. house], Art News (New York), vol. 68, no.
68. Dippel, Rini. "Richard Serra,"Museum-
Serra: Tekeningen/Drawings1971-1977. Richard Serra. February 26-March 1, 10 (February 1970),pp. 26-27.
journaal (Amsterdam), series 21, no. 4
November 18, 1977-January 2, 1978. Cat 1970. Catalog. 57. Baker, Kenneth. " 'Shift,'" Studio Inter (August 1976),pp. 161-66.
alog. Interview by Lizzie Borden (see bibl. national (London), vol. 186,no. 959
15), reprinted in bibl. 52 and 53. 49. Princeton, N.J. The Art Museum, Prince 69. Dreiss, Joseph. "Richard Serra" [exhibi
ton University. Line as Language:Six Art (October 1973),p. 155.
tion review, Leo Castelli], Arts Magazine
38. Berlin. Galerie Reinhard Onnasch. ists Draw. February 23-March 31, 1974. 58. Becker, Wolfgang. "Richard Serra," Das (New York), vol. 49, no. 4 (December
Richard Serra: Skulpturen und Catalog. Text by Rosalind E. Krauss. Kunstwerk (Baden-Baden),vol. 25, no. 2 1974),p. 13.
Zeichnungen 1967-1983. September (March 1972),pp. 24-29.
17-October 21, 1983. Catalog. Text by
Michael Pauseback.
178
. 70. Frank, Elizabeth. "Reviewof Exhibitions: 82 . "Richard Serra: Utopian Con- 94. Pierre, Jose. "Les Grandes Vacancesde 106 . "Serra," Vogue(New York),
New York" [exhibition review,Leo Cas- structivist," Arts Magazine (New York), l'art moderne," L'Oeil (Paris), no. 173 vol. 160, no. 4 (September 1, 1972),pp.
telli], Art in America (New York), vol. 69, vol. 55, no. 3 (November 1980),pp. (May 1969), pp. 10-18, 72. 252-53, 303.
no. 6 (Summer 1981),p. 126. 124-29. 95. Pincus-Witten, Robert. "Entries: 107. Saunders, Wade. "Hot Metal,"Art in
. 71. Gilbert-Rolfe, Jeremy. "Capital Follies," 83 . "Richard Serra's City Piece,"Arts Oedipus Reconciled,"Arts Magazine America (New York), vol. 68, no. 6 (Sum
Artforum (New York), vol. 17, no. 1 (Sep Magazine (New York), vol. 49, no. 5 (Jan (New York), vol. 55, no. 3 (November mer 1980), pp. 90-91.
tember 1978),pp. 66-67. uary 1975),pp. 48-51. 1980), pp. 130-33. 108. Senie, Harriet. "The Right Stuff,"Art
.. 72 . "Reviews:Richard Serra" [exhi 84. Larson, Kay. "Ups and Downs," New York 96 . "New York" [exhibition review, News (New York), vol. 83, no. 3 (March
bition reviews,Leo Castelli and School of (New York), December 22, 1980,pp. Noah Goldowsky], Artforum (New 1984), cover and pp. 50-59.
Visual Arts], Artforum (New York), vol. 58-59. York), vol. 6, no. 8 (April 1968),p. 65. 109. Siegel,Jeanne. "Notes on the State of
. 13,no. 4 (December 1974),pp. 70-71. 85. Leider, Philip. "New York: Richard 97 . "New York" [exhibition review, Outdoor Sculpture at Documenta 6"
73. Hahn, Otto. "Richard Serra,"Art Press Serra" [exhibition review,Castelli Ware Lo Giudice], Artforum (New York), vol. [exhibition review, "Documenta 6"], Arts
(Paris), vol. 9 (February 1974),pp. 10-11. house], Artforum (New York), vol. 8, 10, no. 5 (January 1972), pp. 80-81. See Magazine (New York), vol. 52, no. 3
no. 6 (February 1970),pp. 68-69. bibl. 9. (November 1977), pp. 130-33.
74. Herrera, Hayden. "New York Reviews:
. Richard Serra, Drawings" [exhibition 86. Licht, Matthew. "Arts Reviews:Richard 98 . "Richard Serra: Slow Informa 110. Smith, Roberta. "Reviewof Exhibitions:
reviews,Leo Castelli and School of Visual Serra" [exhibition review, Blum Helman], tion," Artforum (New York), vol. 8, no. 1 Richard Serra at Blum Helman," Art in
Arts], Art News (New York), vol. 74, Arts Magazine (New York), vol. 57, no. 7 (September 1969), pp. 34-39. Reprinted America (New York), vol. 67, no. 2
no. 2 (February 1975),pp. 82-83. (March 1983),p. 39. in Robert Pincus-Witten. Postminimalism. (March-April 1979), p. 156.
New York: Out of London Press, 1977.
75. Imdahl, Max. "Serra's 'Right Angle Prop' 87. Linker, Kate. "Reviews:Paris" [review, 111. Thwaites, John Anthony. "Working Out,"
and 'Tot': Concrete Art and Paradigm." Jardin des Tuileries, Paris], Artforum 99. Plagens, Peter. "Los Angeles" [exhibition Art and Artists (London), vol. 8, no. 12
Printed in bibl. 52. (New York), vol. 22, no. 6 (February review,Ace Gallery], Artforum (New (March 1974), pp. 34-37.
1984),pp. 91-92. York), vol. 9, no. 1 (September 1970), 112. Wasserman, Emily. "New York" [exhibi
76. Kimbrell, Leonard B. "Richard Serra: p. 81.
Offering More with Less" [exhibition 88. Marmer, Nancy. "Reviews:Los Angeles" tion review,The Solomon R. Guggenheim
. review,Portland Center for the Visual [exhibition review,Ace Gallery, Venice, 100 . "Los Angeles: Craig Kauffman, Museum, New York], Artforum (New
Arts], Artweek (Oakland, Calif.), vol. 6, Calif.], Artforum (New York), vol. 14, Richard Serra" [exhibition review, York), vol. 8, no. 1 (September 1969),
no. 40 (November 22, 1975),p. 1. no. 10 (June 1976),p. 74. Pasadena Art Museum], Artforum (New pp. 58-59.
York), vol. 8, no. 8 (April 1970), pp. 84-86. 113. Weyergraf, Clara. "From 'Trough Pieces'
77. Kozloff, Max. "9 in a Warehouse: An 89. Monte, James. "Looking at the Guggen
. Attack on the Status of the Object" heim International" [exhibition review, 101 . "Reviews" [exhibition review, to 'Terminal': Study of a Development."
[exhibition review,Castelli Warehouse], The Solomon R. Guggenheim Museum, Ace Gallery, Los Angeles], Artforum Printed in bibl. 52.
Artforum (New York), vol. 7, no. 6 New York], Artforum (New York), vol. 9, (New York), vol. 13, no. 3 (November 114. Wortz, Melinda. "The Nation: Los
(February 1969),pp. 38-42. no. 7 (March 1971)pp. 28-31. 1974), pp. 74-75. Angeles: Magic and Mysteries" [exhibi
78. Krauss, Rosalind E. "Richard Serra: 90. Morschel, Jiirgen. "Richard Serra" [exhi 102. Pohlen, Annelie. "Reviews:West Berlin" tion review,Ace Gallery, Venice, Calif.],
Sculpture Redrawn,"Artforum (New bition reviews, Stedelijk Museum, [exhibition review, Reinhard Onnasch], Art News (New York), vol. 75, no. 5 (May
York), vol. 10,no. 9 (May 1972),pp. Amsterdam, and Kunsthalle Tubingen], Artforum (New York), vol. 22, no. 8 1976), pp. 83-84.
38-43. Das Kunstwerk (Baden-Baden),vol. 31, (April 1984), pp. 91-92. Translated by
no. 1 (February 1978),pp. 48, 53. Martha Humphreys.
. 79 . "Sense and Sensibility:Reflec
tion on Post '60s Sculpture," Artforum 91. Miiller, Gregoire. "The Scale of Man," 103. Pulitzer, Emily Rauh. "Space, Time, and
(New York), vol. 12,no. 3 (November Arts Magazine (New York), vol. 44, no. 7 Sculpture," Bryn Mawr Alumnae Bulletin
1973),pp. 43-53. (May 1970),pp. 42-43. (Bryn Mawr, Pa.), vol. 65, no. 1 (Fall
1983), pp. 8-10.
. 80 . "A View of Modernism," 92. Parent, Beatrice. "Le Neon dans l'art con-
Artforum (New York), vol. 11,no. 1 (Sep temporain," Chroniques de l'art vivant 104. Ratcliff, Carter. "Adversary Spaces,"
tember 1972),pp. 48-51. (Paris), no. 20 (May 1971), pp. 4-6. Artforum (New York), vol. 11, no. 2
(October 1972), pp. 40-44.
81. Kuspit, Donald B. "Reviewof Exhibi 93. Per rone, Jeff. "Reviews:New York"
tions: New York" [exhibition reviews, [exhibition review, Blum Helman], 105. Rose, Barbara. "Problems of Criticism,
Leo Castelli and School of Visual Arts], Artforum (New York), vol. 17, no. 4 VI: The Politics of Art, Part III,"
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(January-February 1975),pp. 85-86. (May 1969), pp. 46-51.

179
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 Works in the Exhibition
1. One Ton Prop (House of Cards). 1969
Lead antimony, four plates, each 48 x 48"
Collection the Grinstein Family,Los Angeles

2. Casting. 1969-86
Lead, size variable
Collection the artist

3. 1-1-1-1.1969-86
Steel, four plates, each 48 x 48"; pole 7'
Saatchi Collection, London

4. Five Plates, Two Poles. 1971

Cor-Ten steel, plates, each 8 x 8' x 2";
poles, each 12' x 7" diameter; overall 8 x 23 x 18'
Walker Art Center, Minneapolis,
Gift of Mr. and Mrs. Kenneth N. Dayton

5. Circuit, II. 1972-86

Steel, four plates, each 10 x 20' x 1"
Galerie m, Bochum, West Germany

6. Equal Parallel and Right Angle Elevations.

1973-83
Hot rolled steel, four elements,
1/2" two 35 x 18'4W x 6"; two 35 x 33 x 6"
Galerie m, Bochum, West Germany

7. Delineator, II. 1974-86

Steel, two plates, each 10 x 20' x 1"
Galerie m, Bochum, West Germany

8. Modern Garden Arc. 1986

Steel, 12 x 13' x 3"
Leo Castelli Gallery, New York,
and collection the artist

9. Two Corner Curve. 1986

Steel, 10 x 60' x 1"
Collection the artist

10. Two Plate Prop. 1986

Steel, two plates, 6 x 10' x 2" and 54 x 54 x 2"
Collection the artist

Preliminary plans for exhibition installation,

The Museum of Modern Art, New York, 1986
Engineering drawings by Malcolm Graff
Associates,New York
 Photo Credits Front cover: Plates: 88a: © Jon Abbott, New York
© 1985 Susan Swider, New York 15: © Shunk-Kender, New York
Photographs reproduced in this volume have 88b—c: © 1980Jon Abbott, New York
16:Eric Pollitzer, New York 89a: Gwen Thomas, New York
been provided in the majority of cases by the 20: © Harry Shunk, New York
owners or custodians of the works indicated 89b: © Gianfranco Gorgoni, New York
Pages: 22: © Harry Shunk, New York
in the captions. The following list, keyed to 90a-b: Gwen Thomas, New York
14: © Gianfranco Gorgoni, New York 25: Gian Sinigaglia,Milan
page or plate number, applies to photographs 90c: © Gianfranco Gorgoni, New York
21: Courtesy Paula Cooper Gallery, New York 40: Courtesy National Museum of American Art, 90d: © Jon Abbott, New York
for which an additional acknowledgment is 23: top left: Eric Mitchell, Philadelphia Smithsonian Institution, Washington, D.C.
due. Individual works of art appearing here 91a: Glenn Steigelman, Inc., New York
27: top: Malcolm Lubliner Photography, 47: Kuwashi Maruyama, Tokyo 93a: Glenn Steigelman, Inc., New York
may be additionally protected by copyright Los Angeles 55: Malcolm Lubliner Photography, Los Angeles
in the United States of America or abroad, 93b: Kim Steele, New York
36: © Gianfranco Gorgoni, New York 57: Wolfgang Keseberg 93c: Robert R. McElroy, New York
and may not be reproduced in any form or 40: © Knut Garthe, Diisseldorf 58: The Museum of Modern Art (Mali Olatunji)
medium without the permission of the 93d: Michael Abramson, New York
47: top: © 1980Jon Abbott, New York 59b: © Shunk-Kender, New York 93e, g: © 1985Susan Swider, New York
copyright owners. 47: bottom: Dirk Reinartz, Buxtehude 59c, e, f: © Harry Shunk, New York 94a-b: Robert Pettus, St. Louis
48: © 1981Gianfranco Gorgoni, New York 62: Brad Iverson, Huntington Woods, Michigan 94c: David Finn and Amy Binder, New York
49: © Gianfranco Gorgoni, New York 65: © Harry Shunk, New York 95: Aurelio Amendola, Pistoia, Italy
52: Michael Abramson, New York 69: Gwen Thomas, New York 96: Rafael S. Lobato, Madrid
71b: Claes Oldenburg, New York 97: Hermann Kiessling,Berlin
74: Gordon Matta-Clark 98: © Douglas M. Parker, Los Angeles
75: © Tina Girouard 99: Akiyoshi Terashima, Tokyo
76a: Jim Ball, Seattle 101:© Douglas M. Parker, Los Angeles
76b: Don Anderson, Bellingham, Washington 102:Akiyoshi Terashima, Tokyo
76c: Jim Ball, Seattle 104a,c-e: Dirk Reinartz, Buxtehude
77a-f, h: Dieter Schwille, Cologne 105a,c: Gwen Thomas, New York
78: Babette Mangolte, New York 105b: Tom Bills, New York
80: © Reinhard Friedrich, Berlin 108: David Dufor, Los Angeles
83: Dirk Reinartz, Buxtehude 109a:Gerd Geyer, Hattingen
84a-c: © Andreas F. Voegelin, Basel 109b: © Kurt Wyss, Basel
84d: © Kurt Wyss, Basel 110:Otto E. Nelson, New York
86a: © Cor van Weele, Amsterdam 111a,c: J. P. Salomon, Courbevoie, France
86b: Dick Wolters, Overzande, Holland 117: Michael Tropea, Chicago
87a-d: © 1981Gianfranco Gorgoni, New York 118:Kevin Brunelle, Pittsburgh

182
Front cover:
TiltedArc. 1981
Cor-Ten steel, 12 x 120' x 2Vi
Installed Federal Plaza, New York
General Services Administration, Washington, D.C.
Photo: Susan Swider

Back cover:
One Ton Prop (House of Cards). 1969
Lead antimony, four plates, each 48 x 48"
Collection the Grinstein Family,Los Angeles
Photo: Peter Moore

The Museum of Modern Art

11West 53 Street
New York, New York 10019

Printed in Japan