Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"I never thought I'd work with steel. I always thought it was the most traditional material you could use, and that if you used steel you had to acknowledge the tradition of sculpture. But at a certain point I realized that I knew more about steel than probably any artist who had worked with it, and why not use it? Artists who had used steel before did not deal with its tectonic potential, its weight, its compression, its mass, its stasis-that wasn't knowledge that was in the art world. It was in the worlds of engineering and technology, but not the art world. I'd put trusses together as a kid and I'd stuck rivets and I'd seen steel being rigged, so I had no fear of ordering a two-and-a-half-inch plate eight by eight feet that weighted six or seven tons." Excerpted from a conversation with Kynaston McShine in Richard Serra: Sculpture: Forty Years, published by The Museum of Modern Art, New York.
Richard Serra was born in San Francisco in 1939 and received his BFA and MFA at Yale University. He has exhibited extensively in major museums and exhibitions throughout the world, and has created site-specific sculptures for both public and private venues in North America and Europe. His most recent projects include an exhibition at the Museo Archeologico and Piazza del Plebiscito in Naples (2004), and an eight-part permanent installation "The Matter of Time" at the Guggenheim Bilbao, which was inaugurated in 2005. Recent surveys include "Richard Serra Sculpture: Forty Years" at The Museum of Modern Art, New York (2007); and the drawing retrospective "Work comes out of work" at the Kunsthaus Bregenz (2008).
Published by David Zwirner Books / Steidl. Text by Richard Serra, Richard Shiff.
Published on the occasion of Richard Serra’s (born 1939) 2015 exhibition Equal at David Zwirner, New York, this catalogue is the first in-depth overview of the artist’s works in forged steel. While he had already become known for his works in vulcanized rubber, lead and steel, Serra first began using forged steel after encountering a large-scale forge at a steel mill in Germany in 1977. Unlike casting, wherein steel is heated until molten and poured into a mold, forging is the process of changing metal’s shape while in a solid state, through extreme heat and pressure. Serra’s first forged sculpture was "Berlin Block for Charlie Chaplin" (1977), installed outside of the Mies van der Rohe–designed Neue Nationalgalerie in Berlin. Since then, he has continued to use this material in different configurations and formats to create works that use forged blocks, rounds or lintels. Designed by McCall Associates in close collaboration with the artist, Richard Serra: Forged Sculpture presents a survey of Serra’s forged sculpture since 1977, featuring new scholarship by art historian Richard Shiff and an essay by Serra, along with beautifully illustrated photographs of the forging process. Bringing together over 40 detailed plates of forged works, this unique book not only introduces readers to an important aspect of Serra’s work, but uses these works to return to the eternal questions of weight, balance and perception in his practice.
Richard Serra was born in San Francisco in 1938. His first solo exhibitions were held at the Galleria La Salita in Rome in 1966 and at the Leo Castelli Warehouse in New York in 1969. His first solo museum exhibition was held at the Pasadena Art Museum, California (1970); subsequent solo museum shows have been held at the Stedelijk Museum, Amsterdam (1977); The Museum of Modern Art, New York (1986); Dia Center for the Arts, New York (1997); and The Pulitzer Foundation for the Arts, St. Louis (2003); among other venues. In 2005, eight large-scale works by Serra were installed permanently at the Guggenheim Museum Bilbao, and in 2007, The Museum of Modern Art, New York presented a retrospective of the artist’s work.
?Richard Shiff is the Effie Marie Cain Regents Chair in Art at The University of Texas at Austin, where he directs the Center for the Study of Modernism. His scholarly interests range broadly across the field of modern and contemporary art and theory, with publications that include Ce?zanne and the End of Impressionism (1984), Critical Terms for Art History (co-edited, 1996; second edition, 2003), Barnett Newman: A Catalogue Raisonne? (co-authored, 2004), Doubt (2008), Between Sense and de Kooning (2011), and Ellsworth Kelly: New York Drawings 1954–1962 (2014). Artists featured in Shiff’s recent essays have included Mark Bradford, Peter Doig, Marlene Dumas, Zeng Fanzhi, Ellen Gallagher, Jasper Johns, Donald Judd, Alex Katz, Per Kirkeby, Julie Mehretu, David Reed, Bridget Riley, Joel Shapiro, Keith Sonnier, Cy Twombly and Vincent van Gogh.
Throughout his career, the renowned American sculptor Richard Serra has kept a large number of notebooks and sketchbooks which by now fill an entire library in his studio. Contained within them are delicate sketches of his travels, of landscapes, architecture and ideas, some of which the artist has developed into sculptures and drawings. Serra has personally selected three of his sketchbooks, two of which were made in Iceland in 1989, plus a very recent one from Qatar, reproduced here in facsimile. Richard Serra was born in San Francisco in 1938. Since the 1960s he has exhibited extensively throughout the world. Serra has created a number of site-specific sculptures in public and private venues in both North America and Europe. His books include Sculpture 1985-1998 (1999), The Matter of Time (2005), Te Tuhirangi Contour (2005) and Notebooks (2011). He lives in New York and Nova Scotia.
Published by David Zwirner Books/Steidl. Text by Gordon Hughes.
Richard Serra (born 1939) began creating drawings in 1971, and they continue to constitute an autonomous part of his practice. Often large in scale, these drawings are typically made with a thick impasto of black paintstick (or, more recently, lithographic crayons melted into a brick), which is applied to a surface in broad, dense passages. Begun in 2013, Serra's Reversal drawings employ two identical rectangular sheets of paper that are adjoined in a vertical or horizontal format, with the black and white areas reversing themselves proportionally top to bottom (or left to right). Vertical and Horizontal Reversals, designed by McCall Associates in close collaboration with the artist and richly printed by Steidl, is the most extensive presentation of the Reversal drawings to be published. It reproduces all 33 drawings shown at David Zwirner in New York and futher documents the series as a whole.
Published by Steidl. Edited with text by Alfred Pacquement.
This publication accompanies Richard Serra's (born 1938) pair of exhibitions in Qatar in 2014, at the QMA Gallery at Katara and the Alriwaq Doha exhibition space, as well as his permanent installations 7 and East-West/West-East, both commissioned by the Qatar Museums Authority. Instead of retracing Serra's career chronologically, as is usual in the artist's exhibition catalogues, this book comprises eight thematic chapters that do not aim to investigate all of his work. Rather, this organization facilitates a closer examination of the development of specific bodies of work and thereby a fresh understanding of Serra's overall oeuvre. Each chapter is built around the works shown at the QMA Gallery and Alriwaq Doha, as well as 7, installed in MIA Park in Doha in 2011, and East-West/West-East, installed in 2014 at a site chosen by the artist in the Brouq Nature Reserve near Zekreet.
Richard Serra's reputation as one of the great sculptors of our time is well established, yet the role of sketches in his working practice is not known. This suite of books will change that. Serra keeps a large library of notebooks from throughout his career in his studio, hundreds in total. Contained within them are delicate sketches of his travels, of landscapes, architecture and of other ideas, some of which the artist developed into mature sculptures and drawings. Serra has personally selected five of these precious notebooks, which are reproduced here in facsimile.
Published by David Zwirner/Steidl. Edited by David Frankel. Text by Hal Foster.
This publication focuses on the early work of Richard Serra, one of the most influential artists working today. The works included in this volume represent the beginning of the artist’s innovative, process-oriented experiments with nontraditional materials, such as vulcanized rubber, neon and lead, in addition to key early examples of his work in steel and a selection of the artist’s films from this period. The interplay of gravity and material that was introduced early in Serra’s career set the stage for his ongoing engagement with the spatial and temporal properties of sculpture. This monograph aims to reconsider the groundbreaking practices and ideas that so firmly situate Serra in the history of twentieth-century art. The publication includes new scholarship by Hal Foster, in addition to archival texts and photographs from the years 1966 to 1972. Richard Serra was born in San Francisco in 1938. His first solo exhibitions were held at the Galleria La Salita, Rome, in 1966, and, in the United States, at the Leo Castelli Warehouse, New York, in 1969. His first solo museum exhibition was held at The Pasadena Art Museum in 1970; subsequent solo museum shows have been held at the Stedelijk Museum, Amsterdam, 1977; The Museum of Modern Art, New York, 1986; Dia Center for the Arts, New York, 1997; and the Pulitzer Foundation for the Arts, St. Louis, 2003. In 2005, eight large-scale works by Serra were installed permanently at the Guggenheim Museum Bilbao, and in 2007 The Museum of Modern Art, New York presented a retrospective of the artist’s work. A traveling survey of Serra’s drawings was on view in 2011–12 at the Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; and the Menil Collection, Houston.
Published by Richter Verlag. Edited by Silke von Berswordt-Wallrabe.
Richard Serra has pursued a keen dialogue with the possibilities of printing since 1972, in the early stages of his work as an artist, and has now amassed a print oeuvre to rival his sculptural achievement. As with the sculptures, what he has sought to elicit from printing's potential is not simply the duplication of imagery on paper, but a furtherance of each technique's intrinsic material character. Whether the technique is etching, lithograph or silkscreen, the aim is to make an insistent physical presence to be encountered by the viewer's entire body--and consequently some of these works reach up to 80 inches square in surface area. Implementing such basic forces as gravity, instability and potential motion, Serra's graphic works assert space, and human activity in space. They may also be occasioned politically, as works referencing Malcolm X, Bill Clinton and, more recently, Abu Ghraib indicate. The printwork gathered in Catalogue of Works ranges from early lithographs related to Serra's "wall props" of the 1970s, which represent his first graphic experiments, to the large and sensual paintstick on screenprints of the 1980s to 1990s works such as the Hreppholar series, through to all works completed at the end of 2007. One of the most respected sculptors of the twentieth century, Richard Serra, born in 1939 in San Francisco, is famed internationally for his site-specific sculptural environments. While best known for these works, he has explored similar concerns with process, the body and mass in film, drawing and printmaking. Serra lives and works in both New York City and Nova Scotia
Published by Kunsthaus Bregenz. Text by Eckhard Schneider, James Lawrence.
With 2007's monumental retrospective at The Museum of Modern Art, New York Richard Serra's work in steel sculpture was affirmed as a decisive contribution to contemporary art. For more than 40 years he has been creating massive structures that guide and coerce the space around them, operating on equal terms with their environments instead of vanishing into them. But alongside these sculptures he has produced a large body of drawings whose specific material qualities and processual execution on flat surfaces suggest a material density and a physical presence comparable to sculpture. Serra sees drawing as one of the few activities in which he can comprehend the sources of his work-it allows him to "grasp the world." The exhibition Drawings-Work Comes Out of Work presents six groups of works from the last 10 years in large-format illustrations and includes tantalizing photographic glimpses of the artist at work in his studio. Art historian James Lawrence contributes an essay on this hitherto under-published aspect of Serra's oeuvre.
Published by The Museum of Modern Art, New York. Text by Kynaston McShine, Lynne Cooke, John Rajchman, Benjamin Buchloh.
The art of Richard Serra is internationally admired for its powerful material qualities and its searching exploration of the relationship between the work, the viewer and the site. Indeed, since his emergence in the mid-1960s, Serra is widely understood to have radicalized and extended the very definition of sculpture. Quite simply the most complete view to date of the work of one of the most important artists of the last half-century, Richard Serra Sculpture: Forty Years offers a detailed visual presentation and documentation of Serra's entire career, from his early experiments with materials like rubber, neon and lead to the environmentally scaled steel works of recent years--including three monumental new sculptures created for The Museum of Modern Art's 2007 retrospective, for which this volume was produced. The book contains major scholarly essays on the artist's work by Benjamin Buchloh, Lynne Cooke and John Rajchman, as well as an interview with the artist by Kynaston McShine, the Museum's Chief Curator at Large.
Published by Steidl. Artwork by Richard Serra. Photographs by Dirk Reinartz.
Located on the Kaipara harbor in New Zealand, 30 miles north of Auckland, Te Tuhirangi Contour is one of Richard Serra's latest site-specific works. The site is a vast open grass pasture with rolling elevations and curvilinear contours. The sculpture, made of hundreds of tons of steel, is located on one continuous contour, at a length of 843 feet. The particular contour was chosen for its location, differentiation, contraction and expansion in relation to the total volume of the landscape, and the elevation of the sculpture is perpendicular to the fall of the land, which generates its lean of 11 degrees. The work was first mocked-up full scale in wood to determine height and length. Serra's monumental sculpture is documented here in Dirk Reinartz's elegant black-and-white photography.
Published by Gagosian Gallery. Artwork by Richard Serra.
"Line drawings more so than others call up the history of the convention in that they contain a reservoir of memories. One sees drawings through the drawings one has seen. They bind the past with the present. The figure/ground relationship is both the definition and limitation of the convention but it is this limitation that makes the medium compelling to me, though it seems to be in the nature of line drawing no matter how abstract to drift toward the figural." --Richard Serra
PUBLISHER GAGOSIAN GALLERY
BOOK FORMAT Paperback, 8.25 x 10.75 in. / 74 pgs / 45 color
PUBLISHING STATUS PUB DATE 2/2/2003 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2003
PRODUCT DETAILS ISBN 9781880154809TRADE LIST PRICE: $40.00 CDN $50.00
AVAILABILITY Not Available
STATUS: Out of print | 4/24/2004
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