I think different people have different problems and different relations to the exhibition of their work. Richard Serra More Quotes by Richard Serra More Quotes From Richard Serra When I moved into making sculpture, I could handle steel the way it had been handled in the technological revolution. I could use it the way bridge builders used it; I could use it the way they used it in industry and building and not the way it had been used in art. Richard Serra bridges way art But I don't think of any particular viewer in mind other than myself. Richard Serra particular mind thinking And certainly the history of public sculpture has been disastrous but that doesn't mean it ought not to continue and the only way it even has a chance to continue is if the work gets out into the public. Richard Serra sculpture mean way I think this, I think basically I'm not interested in people following my work or making work like my work. Richard Serra not-interested people thinking Promenade was totally driven by the context. The internal relationships of measurement and placement related to the central axis of the site. The placement of the rectangular plates followed a strict logic in that the plates tilted away and towards the center line in an asymmetrical counterpoint. However, the perception of the sculpture contradicts the logic of its relation to the site. As you walk inbetween the plates you see fragments, you see the work in part, you cannot grasp the whole. Richard Serra sculpture axes perception Most photographs take their cues from advertising, where the priority is high image content for an easy Gestalt reading. Richard Serra gestalt priorities reading But you have to take all of those things, you have to take into consideration the paths, the roadways, how much cloud cover there is, how much foliage cover there is, whether there are streams, all of that comes into play. Richard Serra path play clouds If your educe sculpture to the flat plane of the temporal experience of the work. (...) 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. Richard Serra sculpture planes deception On the other hand, if there's an underlying core of poetry that I go to, I go to the sea. I've lived on the sea all my life. I live on the sea in Cape Breton. Richard Serra capes sea hands I thought Out of Action was better as a catalogue than the honeycomb because the honeycomb was like walking into one compartment and then another compartment. Richard Serra catalogues action walking Now when you have administrators deciding what sexuality is, and whats a taboo and whats not in terms of content, you got guys, like, Trent Lott who equates homosexuality with a disease. Richard Serra sexuality disease guy The thing about coming back to the Bay Area, it's like coming home for me. Richard Serra bay-area coming-back home The thing about rigging is, you can learn it if you become a master rigger but there's no book on rigging. Richard Serra masters ifs book If you get it out into the urban field it's going to be used or misused but it'll also probably provide a way of people acknowledging what the aesthetic is about because people have to confront it every day. Richard Serra fields people way I used to eat lunch with Billy Wilder when I first came out here. Richard Serra advertising lunch firsts They've also, the government's decided now, what sexual content is. Richard Serra content now decided government
