The viewer becomes aware of himself and of his movement through the plaza. As he moves, the sculpture changes. Contraction and expansion of the sculpture result from the viewer's movement. Step by step the perception not only of the sculpture… — 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
