Things to remember

Richard Serra
Interview with Richard Serra

DS: With you in particular I suspect that what your work has been about above all has been curiosity, about your asking: What would happen if. . . ?

RS: Yes, I used to say that out loud: What would happen if...? And I think that’s one way to start a problem. For me, at least, that’s the case. WORK COMES OUT OF WORK. I CAN’T THINK MY WAY THROUGH A PROBLEM; I HAVE TO WORK MY WAY THROUGH A PROBLEM. AND THAT’S WHY I’M INTERESTED IN BUILDING THINGS, BECAUSE OFTEN WHAT HAPPENS IN THE PROCESS OF SUSTAINING THE EFFORT TO BUILD SOMETHING IS THAT YOU REALIZE THAT YOU COULD NOT HAVE FORESEEN THE CONCLUSION OF YOUR INTENTION. THE PHYSICAL FACTS COUNT FOR ALOT MORE TO ME THAN THE THOUGHT THAT DOESN’T TAKE A PHYSICAL MANIFESTATION. I NEED THE TRANSLATION INTO AMATERIAL SUBSTANCE, WITHOUT IT I WOULD DENY THE IMPORTANCE OF THE PHYSICAL EXPERIENCE. SO IT COUNTS FOR ALOT.

DS: You said in an early interview—it was in I973—and I think you’re saying it again now: “What I decided is that what I’m doing in my work right now has nothing to do with the specific intentions.” And the interviewer said: “What on earth do you mean?” And you said: “IFI DEFINE AWORK AND SUM ITUP WITHIN THE BOUNDARYOFADEFINITION, GIVEN MY INTENTIONS, THAT SEEMS TO BE A LIMITATION ON ME AND AN IMPOSITION ON OTHER PEOPLE OF HOW TO THINK ABOUT THE WORK.


Dave Hickey Quote
What advice would you give to emerging artists? Is there a difference between advice you might give as a teacher, as a curator, as a gallery owner, or as a critic/theorist?

My advice is always to make a lot of art; to make a lot of art, then look at what you have made and then think about what you have done. If you think first, you will never do anything or you will do something boring. Art doesn’t exist until the artist has finished making it. The differences between one’s responses as a critic, teacher, dealer and curator are as follows: As a critic I presume the art is finished and on purpose. As a teacher, I presume the art needs work. So the same work that I might like as a critic, I might find wanting as a teacher, simply because my rule for looking at student art is: if you’re not sick don’t call that doctor. As a dealer you’re looking for quality, of course, but you’re also looking for evidence of the artist’s work habits and commitment to a long-term career. As a curator you’re looking for what fits.



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