A Quote by Richard Serra

It could be that people want to consume sculpture the way they consume paintings - through photographs... I'm interested in the experience of sculpture in the place where it resides.
First of all I think of puppets as sculpture. They are sculpture that moves. You could label it any way you want, but for me it always starts in my mind as a sculpture.
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.
Appropriation is the idea that ate the art world. Go to any Chelsea gallery or international biennial and you'll find it. It's there in paintings of photographs, photographs of advertising, sculpture with ready-made objects, videos using already-existing film.
The paintings to me are always canvas, sculpture has always been metal, though I have made sculpture in wood also.
The paintings to me are always canvas; sculpture has always been metal, though I have made sculpture in wood, also.
I really don't have a theme when I start a sculpture. The rock guides me to the final sculpture. I think that is true for many creative sculpture artists.
In twenty-first-century America, our stories have become one and the same: we work to consume, we live to consume, we are what we consume.
It seems that we have been born only to consume and to consume, and when we can no longer consume, we have a feeling of frustration, and we suffer from poverty, and we are auto-marginalized.
I consume music the way other people consume movies.
In Giacometti's work, the armature has once again become the life-line of the sculpture, and also, he's brought back to sculpture a nervous sensitivity which the 'pure carving' side of sculpture can lose sight of altogether.
Sculpture is more divine, and more like Nature, That fashions all her works in high relief, And that is Sculpture. This vast ball, the Earth, Was moulded out of clay, and baked in fire; Men, women, and all animals that breathe Are statues, and not paintings.
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 but of the entire environment changes.
I really have to think of myself as a painter first because sculpture came much, much later. As a student at the Art Institute in Chicago, I simply never became involved in sculpture. I did prints, and I did paintings.
I don't want to make plop art — sculpture that just gets plopped down in places. I wouldn't want to litter every corner of the world with my sculpture.
I love sculpture, and minimal sculpture is really my favorite stuff, but I wasn't very good at it, and I don't think in a three-dimensional way.
We do need sculpture. People always say: 'Well, that sculpture could have paid for a cot in a maternity ward.' But if the world had been run on those lines, there'd only be about four books, and they'd be seed-drill manuals.
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