Basically, what you really want to do is try to engage the viewer's body relation to his thinking and walking and looking, without being overly heavy-handed about it. — Richard Serra Copy Share Image
If your educe sculpture to the flat plane of the temporal experience of the work. (...) the experience of the work is inseparable from… — Richard Serra Copy Share Image
I think this, I think basically I'm not interested in people following my work or making work like my work. — Richard Serra Copy Share Image
If you reduce sculpture to the flat plane of the photograph, you're passing on only a residue of your concerns... You're not only reducing… — Richard Serra Copy Share Image
Your eye is a muscle, you have to keep it in shape and the more you draw, the more you see. — Richard Serra Copy Share Image
The thing about rigging is, you can learn it if you become a master rigger but there's no book on rigging. — Richard Serra Copy Share Image
It could be that people want to consume sculpture the way they consume paintings - through photographs... I'm interested in the experience of sculpture… — Richard Serra Copy Share Image
Time and movement became really crucial to how I deal with what I deal with, not only sight and boundary but how one walks… — Richard Serra Copy Share Image
I consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural… — Richard Serra Copy Share Image
Everything we choose in life for its lightness soon reveals its unbearable weight. — Richard Serra Copy Share Image
I think different people have different problems and different relations to the exhibition of their work. — Richard Serra Copy Share Image
Now when you have administrators deciding what sexuality is, and what's a taboo and what's not in terms of content, you got guys, like,… — Richard Serra Copy Share Image
