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Richard Serra

Richard Serra, Splashing, 1968 Lead, c. 18 inches × 26 feet (45.7 cm × 7.92 m), installed in Nine at Castelli, Castelli Warehouse, New York, December 4–28, 1968© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Harry Shunk

Richard Serra, Splashing, 1968

Lead, c. 18 inches × 26 feet (45.7 cm × 7.92 m), installed in Nine at Castelli, Castelli Warehouse, New York, December 4–28, 1968
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Harry Shunk

Richard Serra, Verb List, 1967–68 Graphite on paper, 2 sheets, each: 10 × 8 ½ inches (25.4 × 21.6 cm), Museum of Modern Art, New York© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Verb List, 1967–68

Graphite on paper, 2 sheets, each: 10 × 8 ½ inches (25.4 × 21.6 cm), Museum of Modern Art, New York
© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Strike: To Roberta and Rudy, 1969–71 Hot-rolled steel, 8 feet 1 inch × 24 feet × 1 ½ inches (246.4 × 732 × 3.8 cm), Solomon R. Guggenheim Museum, New York© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Strike: To Roberta and Rudy, 1969–71

Hot-rolled steel, 8 feet 1 inch × 24 feet × 1 ½ inches (246.4 × 732 × 3.8 cm), Solomon R. Guggenheim Museum, New York
© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Abstract Slavery, 1974 Paintstick on Belgian linen, 9 feet 6 inches × 17 feet 8 inches (2.89 × 5.38 m), Kröller-Müller Museum, Otterlo, Netherlands© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Abstract Slavery, 1974

Paintstick on Belgian linen, 9 feet 6 inches × 17 feet 8 inches (2.89 × 5.38 m), Kröller-Müller Museum, Otterlo, Netherlands
© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Terminal, 1977 Weatherproof steel, 4 plates, each: 41 feet × 12 feet × 2 ½ inches (12.5 m × 3.7 m × 6.4 cm), installed at Centrol Station, Bochum, Germany, 1979© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Terminal, 1977

Weatherproof steel, 4 plates, each: 41 feet × 12 feet × 2 ½ inches (12.5 m × 3.7 m × 6.4 cm), installed at Centrol Station, Bochum, Germany, 1979
© 2018 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Clara-Clara, 1983 Weatherproof steel, 2 plates, 12 feet × 109 feet × 2 inches (3.7 m × 33.2 m × 5.1 cm), 12 feet × 107 feet 10 inches × 2 inches (3.7 m × 32.8 m × 5.1 cm), installed at Jarden des Tuileries, Paris, for Richard Serra, Centre Georges Pompidou, Paris, 1984© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Richard Serra, Clara-Clara, 1983

Weatherproof steel, 2 plates, 12 feet × 109 feet × 2 inches (3.7 m × 33.2 m × 5.1 cm), 12 feet × 107 feet 10 inches × 2 inches (3.7 m × 32.8 m × 5.1 cm), installed at Jarden des Tuileries, Paris, for Richard Serra, Centre Georges Pompidou, Paris, 1984
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Richard Serra, Afangar (Stations, Stops on the Road, To Stop and Look: Forward and Back, To Take It All In), 1990 Basalt, 18 stones; nine, each: 9 feet 10 inches × 21 ¾ inches × 21 ¾ inches (3 m × 55.2 cm × 55.2 cm); nine, each: 13 feet 1 ½ inches × 21 ¾ inches × 21 ¾ inches (4 m × 55.2 cm × 55.2 cm), permanently installed at Videy Island, Iceland© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Richard Serra, Afangar (Stations, Stops on the Road, To Stop and Look: Forward and Back, To Take It All In), 1990

Basalt, 18 stones; nine, each: 9 feet 10 inches × 21 ¾ inches × 21 ¾ inches (3 m × 55.2 cm × 55.2 cm); nine, each: 13 feet 1 ½ inches × 21 ¾ inches × 21 ¾ inches (4 m × 55.2 cm × 55.2 cm), permanently installed at Videy Island, Iceland
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Installation view, Richard Serra: Torqued Ellipses, Dia Center for the Arts, New York, 1997–98. Left: Torqued Ellipse I (1996), right: Torqued Ellipse II (1996), back: Torqued Ellipse (1997) Artwork © 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Installation view, Richard Serra: Torqued Ellipses, Dia Center for the Arts, New York, 1997–98. Left: Torqued Ellipse I (1996), right: Torqued Ellipse II (1996), back: Torqued Ellipse (1997)

Artwork © 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Richard Serra, out-of-round X, 1999 Paintstick on Hiromi paper, 79 ½ × 79 inches (201.9 × 200.7 cm), Museum of Modern Art, New York© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, out-of-round X, 1999

Paintstick on Hiromi paper, 79 ½ × 79 inches (201.9 × 200.7 cm), Museum of Modern Art, New York
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Te Tuhirangi Countour, 2000–01 Weatherproof steel, 19 feet 8 inches × 843 feet 2 inches × 2 inches (6 m × 257 m × 5 cm), permanently installed at Gibbs Farm, Kaipara Harbour, New Zealand© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Richard Serra, Te Tuhirangi Countour, 2000–01

Weatherproof steel, 19 feet 8 inches × 843 feet 2 inches × 2 inches (6 m × 257 m × 5 cm), permanently installed at Gibbs Farm, Kaipara Harbour, New Zealand
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Dirk Reinartz

Richard Serra, Elevational Mass, 2006 Hot-rolled steel, 60 × 84 × 72 inches (152.4 × 213.4 × 182.9 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Peppe Avallone

Richard Serra, Elevational Mass, 2006

Hot-rolled steel, 60 × 84 × 72 inches (152.4 × 213.4 × 182.9 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Peppe Avallone

Richard Serra, Promenade, 2008 Weatherproof steel, 5 plates, each: 55 feet 9 ¼ inches × 13 feet 1 ½ inches × 5 inches (17 m × 4 m × 13 cm), installed at Monumenta 2008, Grand Palais, Paris, May 7–June 15, 2008© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Lorenz Kienzle

Richard Serra, Promenade, 2008

Weatherproof steel, 5 plates, each: 55 feet 9 ¼ inches × 13 feet 1 ½ inches × 5 inches (17 m × 4 m × 13 cm), installed at Monumenta 2008, Grand Palais, Paris, May 7–June 15, 2008
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Lorenz Kienzle

Richard Serra, Backdoor Pipeline, 2010 Weatherproof steel, 12 feet 6 inches × 12 feet 10 ⅜ inches × 49 feet 8 inches (3.8 × 3.9 × 15.1 m), plates: 2 inches (5 cm) thick© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Mike Bruce

Richard Serra, Backdoor Pipeline, 2010

Weatherproof steel, 12 feet 6 inches × 12 feet 10 ⅜ inches × 49 feet 8 inches (3.8 × 3.9 × 15.1 m), plates: 2 inches (5 cm) thick
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Mike Bruce

Richard Serra, Elevational Weights, Black Matter, 2010 Paintstick on handmade paper, 81 ¾ × 68 ¼ inches (207.6 × 173.4 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Elevational Weights, Black Matter, 2010

Paintstick on handmade paper, 81 ¾ × 68 ¼ inches (207.6 × 173.4 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, 7, 2011 Weatherproof steel, 7 plates, overall: 80 × 10 × 10 feet (24.38 × 3.05 × 3.05 m), permanently installed at Qatar Museums Authority, Doha© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, 7, 2011

Weatherproof steel, 7 plates, overall: 80 × 10 × 10 feet (24.38 × 3.05 × 3.05 m), permanently installed at Qatar Museums Authority, Doha
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, Double Rift #5, 2012 Paintstick on handmade paper, 114 × 211 ½ inches (289.6 × 537.2 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Double Rift #5, 2012

Paintstick on handmade paper, 114 × 211 ½ inches (289.6 × 537.2 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Inside Out, 2013 Weatherproof steel, overall: 13 feet 2 inches × 80 feet 9 inches × 40 feet 2 ½ inches (4 × 24.6 × 12.3 m), plates: 2 inches (5 cm) thick© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Lorenz Kienzle

Richard Serra, Inside Out, 2013

Weatherproof steel, overall: 13 feet 2 inches × 80 feet 9 inches × 40 feet 2 ½ inches (4 × 24.6 × 12.3 m), plates: 2 inches (5 cm) thick
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Lorenz Kienzle

Richard Serra, East-West/West-East, 2014 Weatherproof steel, 4 plates; two, each: 54 feet 9 ½ inches × 13 feet 1 ½ inches × 5 ¼ inches (16.7 m × 4 m × 13.3 cm); two, each: 48 feet 2 ¾ inches × 13 feet 1 ½ inches × 5 ¼ inches (14.7 m × 4 m × 13.3 cm), permanently installed at Brouq Nature Reserve, Zekreet Desert, Qatar© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, East-West/West-East, 2014

Weatherproof steel, 4 plates; two, each: 54 feet 9 ½ inches × 13 feet 1 ½ inches × 5 ¼ inches (16.7 m × 4 m × 13.3 cm); two, each: 48 feet 2 ¾ inches × 13 feet 1 ½ inches × 5 ¼ inches (14.7 m × 4 m × 13.3 cm), permanently installed at Brouq Nature Reserve, Zekreet Desert, Qatar
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, Through, 2015 Forged steel, 3 slabs, overall: 9 feet 2 ¼ inches × 29 feet 6 ½ inches × 7 feet 8 ¼ inches (2.8 m × 9 m × 234.3 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, Through, 2015

Forged steel, 3 slabs, overall: 9 feet 2 ¼ inches × 29 feet 6 ½ inches × 7 feet 8 ¼ inches (2.8 m × 9 m × 234.3 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, Ramble 4–26, 2015 Litho crayon and pastel powder on paper, 35 ½ × 36 ¾ inches (90.2 × 93.3 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Ramble 4–26, 2015

Litho crayon and pastel powder on paper, 35 ½ × 36 ¾ inches (90.2 × 93.3 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Ramble 3-6, 2015 Litho crayon on paper, 22 × 30 inches (55.9 × 76.2 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Ramble 3-6, 2015

Litho crayon on paper, 22 × 30 inches (55.9 × 76.2 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Rounds: Equal Weight, Unequal Measure, 2016 Forged steel, 2 rounds, overall: 6 feet 10 ½ inches × 17 feet 4 ½ inches × 7 feet 4 ½ inches (209.6 cm × 5.3 m × 224.8 cm)© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Mike Bruce

Richard Serra, Rounds: Equal Weight, Unequal Measure, 2016

Forged steel, 2 rounds, overall: 6 feet 10 ½ inches × 17 feet 4 ½ inches × 7 feet 4 ½ inches (209.6 cm × 5.3 m × 224.8 cm)
© 2018 Richard Serra/Artists Rights Society (ARS), New York. Photo: Mike Bruce

Richard Serra, NJ-2, 2016 Weatherproof steel, 13 feet × 47 feet × 27 feet (4 × 14.5 × 8.3 m)© 2016 Richard Serra/Artists Rights Society (ARS), New York. Photo: Mike Bruce

Richard Serra, NJ-2, 2016

Weatherproof steel, 13 feet × 47 feet × 27 feet (4 × 14.5 × 8.3 m)
© 2016 Richard Serra/Artists Rights Society (ARS), New York. Photo: Mike Bruce

Richard Serra, Reverse Curve, 2005/19 Weatherproof steel, two plates, overall: 13 feet 1 ½ inches × 99 feet 9 inches × 19 feet 7 inches (4 × 30.4 × 6 m), plates: 2 inches (5 cm) thick© 2019 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, Reverse Curve, 2005/19

Weatherproof steel, two plates, overall: 13 feet 1 ½ inches × 99 feet 9 inches × 19 feet 7 inches (4 × 30.4 × 6 m), plates: 2 inches (5 cm) thick
© 2019 Richard Serra/Artists Rights Society (ARS), New York. Photo: Cristiano Mascaro

Richard Serra, Nine, 2019 Forged steel, nine rounds, 7 feet × 6 feet 4 ¾ inches diameter (213.4 × 194.9 cm), 6 feet 6 inches × 6 feet 7 ¾ inches diameter (198.1 × 202.6 cm), 6 feet × 6 feet 11 inches diameter (182.9 × 210.8 cm), 5 feet 6 inches × 7 feet 2 inches diameter (167.6 × 218.4 cm), 5 feet × 7 feet 7 inches diameter (152.4 × 231.1 cm), 4 feet 6 inches × 8 feet diameter (137.2 × 243.8 cm), 4 feet × 8 feet 6 inches diameter (121.9 × 259.1 cm), 3 feet 6 ½ inches × 9 feet diameter (108 × 274.3 cm), 3 feet 2 ¼ inches × 9 feet 6 inches diameter (97.2 × 289.6 cm)© 2019 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Nine, 2019

Forged steel, nine rounds, 7 feet × 6 feet 4 ¾ inches diameter (213.4 × 194.9 cm), 6 feet 6 inches × 6 feet 7 ¾ inches diameter (198.1 × 202.6 cm), 6 feet × 6 feet 11 inches diameter (182.9 × 210.8 cm), 5 feet 6 inches × 7 feet 2 inches diameter (167.6 × 218.4 cm), 5 feet × 7 feet 7 inches diameter (152.4 × 231.1 cm), 4 feet 6 inches × 8 feet diameter (137.2 × 243.8 cm), 4 feet × 8 feet 6 inches diameter (121.9 × 259.1 cm), 3 feet 6 ½ inches × 9 feet diameter (108 × 274.3 cm), 3 feet 2 ¼ inches × 9 feet 6 inches diameter (97.2 × 289.6 cm)
© 2019 Richard Serra/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Richard Serra, Triptych #9, 2019 Paintstick, etching ink, and silica on 3 sheets of handmade paper, 47 ½ × 93 ⅛ inches (120.7 × 236.5 cm)© 2019 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Triptych #9, 2019

Paintstick, etching ink, and silica on 3 sheets of handmade paper, 47 ½ × 93 ⅛ inches (120.7 × 236.5 cm)
© 2019 Richard Serra/Artists Rights Society (ARS), New York

Richard Serra, Transmitter, 2020 Weatherproof steel, 13 feet 2 inches × 58 feet 2 inches × 59 feet 10 inches (4 × 17.7 × 18.2 m), plates: 2 inches (5 cm) thick© 2021 Richard Serra/Artists Rights Society (ARS), New York. Photo: Thomas Lannes

Richard Serra, Transmitter, 2020

Weatherproof steel, 13 feet 2 inches × 58 feet 2 inches × 59 feet 10 inches (4 × 17.7 × 18.2 m), plates: 2 inches (5 cm) thick
© 2021 Richard Serra/Artists Rights Society (ARS), New York. Photo: Thomas Lannes

About

Obsession is what it comes down to. It is difficult to think without obsession, and it is impossible to create something without a foundation that is rigorous, incontrovertible, and, in fact, to some degree repetitive. Repetition is the ritual of obsession. Repetition is a way to jumpstart the indecision of beginning. To persevere and to begin over and over again is to continue the obsession with work. Work comes out of work. In order to work you must already be working.
—Richard Serra

One of the most significant artists of his generation, he has produced large-scale, site-specific sculptures for architectural, urban, and landscape settings spanning the globe, from Iceland to New Zealand.

Born in 1938 in San Francisco, Richard Serra lives and works in New York and on the North Fork of Long Island. Serra attended the University of California, Berkeley before transferring to the University of California, Santa Barbara graduating with a BA in English literature; he then studied painting at Yale University, New Haven, Connecticut completing both a BFA and MFA. He began showing with Leo Castelli in 1968, and his first solo exhibition in New York was held at the Leo Castelli Warehouse the following year. His first solo museum exhibition was held at the Pasadena Art Museum, California, in 1970.

Serra’s sculptures and drawings have been celebrated with two retrospectives at the Museum of Modern Art, New York, twenty years apart: Richard Serra/Sculpture (1986) and Richard Serra Sculpture: Forty Years (2007). He has had solo exhibitions at the Stedelijk Museum, Amsterdam (1977–78); Kunsthalle Tübingen, Germany (1978); Staatliche Kunsthalle Baden-Baden, Germany (1978); Museum Boijmans Van Beuningen, Rotterdam, Netherlands (1980, 2014, and 2017); Centre Pompidou, Paris (1983–84); Museum Haus Lange, Krefeld, Germany (1985); Louisiana Museum, Humlebæk, Denmark (1986); Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany (1987); Städtische Galerie im Lenbachhaus, Munich (1987); Stedelijk Van Abbemuseum, Eindhoven, Netherlands (1988); Bonnefantenmuseum, Maastricht, Netherlands (1990); Kunsthaus Zürich (1990); CAPC Musée d’Art Contemporain, Bordeaux, France (1990); Museo Nacional Centro de Arte Reina Sofía, Madrid (1992); Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany (1992); Dia Center for the Arts, New York (1997); Centro de Arte Hélio Oiticica, Rio de Janeiro (1997–98); Trajan’s Market, Rome (1999–2000); Pulitzer Arts Foundation, St. Louis (2003); and Museo Archeologico Nazionale di Napoli, Naples, Italy (2004).

In 2005 The Matter of Time (1994–2005), a series of eight large-scale works, was installed permanently at the Guggenheim Museum Bilbao, Spain. For Monumenta 2008, the major site-specific installation Promenade was shown at the Grand Palais, Paris. Three years later the  large-scale, site-specific sculpture was permanently installed opposite the Museum of Islamic Art in Doha, Qatar. A major traveling retrospective dedicated to Serra’s drawings was presented at the Metropolitan Museum of Art, New York, San Francisco Museum of Modern Art, and the Menil Collection, Houston (the organizing venue), from 2011 to 2012.

In 2014 the Qatar Museums Authority presented a two-venue retrospective survey of Serra’s work, and East-West/West-East (2014) was permanently installed in the Brouq Nature Reserve, Zekreet, Qatar. In 2017 the Museum Wiesbaden, Germany, presented Richard Serra: Props, Films, Early Works; an overview of Serra’s work in film and video was shown at the Kunstmuseum Basel; and recent drawings were featured at the Museum Boijmans Van Beuningen.

Serra has participated in numerous major international exhibitions, including Documenta (1972, 1977, 1982, and 1987), and the Biennale di Venezia (1980, 1984, 2001, and 2013), and his work has been included in many Whitney Annuals and Biennials (1968, 1970, 1973, 1977, 1979, 1981, 1995, and 2006). He is the recipient of the Leone d’Oro for lifetime achievement, Biennale di Venezia, Venice (2001); Orden Pour le Mérite für Wissenschaften und Künste, Federal Republic of Germany (2002); Orden de las Artes y las Letras de España, Spain (2008); President’s Medal, Architectural League of New York (2014); Chevalier de l’Ordre national de la Légion d’honneur, Republic of France (2015); and J. Paul Getty Medal (2018).

Since 1983 Gagosian has presented more than thirty solo exhibitions of Serra’s work in the US and Europe.

Richard Serra

Photo: Jason Andrew/Getty Images

Anna Weyant’s Two Eileens (2022) on the cover of Gagosian Quarterly, Winter 2022

Now available
Gagosian Quarterly Winter 2022

The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.

Richard Serra: Johann Sebastian Bach, performed by Alina Ibragimova

Richard Serra: Johann Sebastian Bach, performed by Alina Ibragimova

Violinist Alina Ibragimova performs Bach’s Sonata for Solo Violin No. 1 in G Major: Adagio (BWV 1001, c. 1720) from within Richard Serra’s sculpture Transmitter (2020) at Gagosian, Le Bourget. Organized by Bold Tendencies, a nonprofit organization that commissions artists to produce site-specific projects and present performances, in collaboration with Gagosian, this recorded performance took place on May 8, 2022 before a live concert of Olivier Messiaen’s Quatuor pour la fin du temps (Quartet for the End of Time, 1941).

Richard Serra: Johann Sebastian Bach, performed by Mario Brunello

Richard Serra: Johann Sebastian Bach, performed by Mario Brunello

Cellist Mario Brunello performs Bach’s Cello Suite No. 1 in G Major: Prelude (BWV 1007, c. 1717–23) within Richard Serra’s sculpture Transmitter (2020) at Gagosian, Le Bourget. Organized by Bold Tendencies—a nonprofit that commissions artists to produce site-specific projects and present performances—in collaboration with Gagosian, this recorded performance took place on May 8, 2022, before a live concert of Olivier Messiaen’s Quatuor pour la fin du temps (Quartet for the End of Time, 1941).

Black square

From Richard Serra: Trevor Noah’s Message Against Racial Injustice

In response to enduring racial injustices and the recent widespread civil unrest, Richard Serra urges people to watch this video commentary by Trevor Noah, host of The Daily Show.

Richard Serra, Hands Scraping, 1968, film still.

The Art of Perception: Richard Serra’s Films

For eleven years, from 1968 to 1979, Richard Serra created a collection of films and videos that felt out the uncharted phenomenological boundaries of the medium. Carlos Valladares explores a selection of these works.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
Gagosian Quarterly Fall 2019

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

Glenstone Museum.

Intimate Grandeur: Glenstone Museum

Paul Goldberger tracks the evolution of Mitchell and Emily Rales’s Glenstone Museum in Potomac, Maryland. Set amid 230 acres of pristine landscape and housing a world-class collection of modern and contemporary art, this graceful complex of pavilions, designed by architects Thomas Phifer and Partners, opened to the public in the fall of 2018.

Fairs, Events & Announcements

Gagosian’s booth at Art Basel Miami Beach 2022. Artwork, left to right: © Gerhard Richter; © Amoako Boafo; © Richard Prince; © 2022 Judd Foundation/Artists Rights Society (ARS), New York; © Richard Diebenkorn Foundation; © The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York; © Stanley Whitney. Photo: Sebastiano Pellion di Persano

Art Fair

Art Basel Miami Beach 2022

December 1–3, 2022, booth D5
Miami Beach Convention Center
artbasel.com

Gagosian is pleased to present a selection of modern and contemporary works at Art Basel Miami Beach 2022. Returning to Miami for the fair’s twentieth anniversary, the gallery is honored to have participated each year the fair has been held.

Gagosian’s booth at Art Basel Miami Beach 2022. Artwork, left to right: © Gerhard Richter; © Amoako Boafo; © Richard Prince; © 2022 Judd Foundation/Artists Rights Society (ARS), New York; © Richard Diebenkorn Foundation; © The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York; © Stanley Whitney. Photo: Sebastiano Pellion di Persano

Richard Serra, Transmitter, 2020 © 2022 Richard Serra/Artists Rights Society (ARS), New York. Photo: Thomas Lannes

Performance

Quartet for the End of Time
In Richard Serra’s “Transmitter”

Sunday, May 8, 2022, 4pm
Gagosian, Le Bourget

Join Gagosian and Bold Tendencies, a nonprofit organization that commissions artists to produce site-specific projects and present performances, for a live concert of Olivier Messiaen’s Quatuor pour la fin du temps (Quartet for the End of Time). Written in 1941 during the French composer’s imprisonment in a German labor camp, the powerful piece comprises eight movements for clarinet, violin, cello and piano. It will be performed by musicians Nicolas Baldeyrou, Mario Brunello, Alina Ibragimova, and Samson Tsoy both within and beside Richard Serra’s sculpture Transmitter (2020), creating a dialogue between sound, material, and space. To attend the event, register at eventbrite.com.

Richard Serra, Transmitter, 2020 © 2022 Richard Serra/Artists Rights Society (ARS), New York. Photo: Thomas Lannes

Ed Ruscha, Boom Town, 2021 © Ed Ruscha

Support

The Met 150
Limited-Edition Print Portfolio

The Metropolitan Museum of Art, New York, has released The Met 150, a limited-edition print portfolio featuring works by twelve contemporary artists from around the world who have a strong history and connection with the museum, including Ed Ruscha, Richard Serra, and Sarah Sze. Commissioned in celebration of the museum’s 150th anniversary in 2020, the portfolios are produced in an edition of sixty by the renowned artists’ workshop Gemini G.E.L in Los Angeles. The twelve signed prints are housed together in a red linen clamshell box and are accompanied by essays written by the Met director Max Hollein and Sharon Coplan Hurowitz, copublisher. Proceeds from sales support the museum. To purchase a portfolio, contact the Mezzanine Gallery at the Met Store at + 1 212 650 2908.

Ed Ruscha, Boom Town, 2021 © Ed Ruscha

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Museum Exhibitions

Ed Ruscha, Victory, 1987, Carnegie Museum of Art, Pittsburgh © Ed Ruscha

On View

The Milton and Sheila Fine Collection

Through March 17, 2024
Carnegie Museum of Art, Pittsburgh
carnegieart.org

Milton and Sheila Fine have been longtime advocates and supporters of the arts in their philanthropy throughout the Pittsburgh region. Promised to Carnegie Museum of Art in 2015, their collection of contemporary painting, sculpture, photography, and drawing reflects their interest in American and German art from the 1980s to the 2000s. This exhibition, which is presented as a celebration and remembrance of Milton Fine, who passed away in 2019, foregrounds the importance and impact of the gift. Work by Richard Artschwager, Georg Baselitz, Mark Grotjahn, Donald Judd, Brice Marden, David ReedEd Ruscha, Richard SerraJeff Wall, and Christopher Wool is included.

Ed Ruscha, Victory, 1987, Carnegie Museum of Art, Pittsburgh © Ed Ruscha

Richard Serra, Calvino, 2009 © 2023 Richard Serra/Artists Rights Society (ARS), New York

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Favoloso Calvino

October 13, 2023–February 4, 2024
Scuderie del Quirinale, Rome
scuderiequirinale.it

Favoloso Calvino, which translates to Fabulous Calvino, celebrates the centenary of the birth of the Italian author Italo Calvino (1923–1985), and examines his creative path by displaying art that inspired his imagination, writings, and theories. The exhibition comprises more than two hundred works including medieval illuminated manuscripts and tapestries as well as paintings, sculptures, and drawings by artists from the Renaissance to today, presented alongside original volumes and first editions of Calvino’s books. Work by Giuseppe Penone and Richard Serra is included.

Richard Serra, Calvino, 2009 © 2023 Richard Serra/Artists Rights Society (ARS), New York

Nancy Rubins, Diversifolia #1, 2017 © Nancy Rubins

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After “The Wild”
Contemporary Art from the Barnett and Annalee Newman Foundation Collection

March 24–October 1, 2023
Jewish Museum, New York
thejewishmuseum.org

Barnett Newman (1905–1970) was a generous supporter of his colleagues, who befriended and mentored countless younger artists. After his death, Annalee Newman, his widow, created the Barnett and Annalee Newman Foundation to help further the spirit of great art by providing grants. Diverse in style, training, background, and age, the foundation’s grantees—whose works make up this exhibition—share Newman’s seriousness of purpose, as well as his unrelenting drive to explore the outer limits of his own ideas. Work by Michael Heizer, Nancy Rubins, Richard Serra, and Sarah Sze is included.

Nancy Rubins, Diversifolia #1, 2017 © Nancy Rubins

Chris Burden, Small Skyscraper (Quasi Legal Los Angeles County), 2002 © 2023 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Brian Guido

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Escala: Escultura (1945–2000)

March 31–July 2, 2023
Fundación Juan March, Madrid
www.march.es

This exhibition, whose title translates to Scale: Sculpture, begins with a reflection on the effects of the Second World War on a number of artists and their conception of sculptural space as refuge. The role of scale in sculpture is examined, and in an echo of the expanded meaning of sculpture today, the exhibition extends beyond the gallery walls, into the gardens and the surrounding streets. Work by Chris Burden, Alberto Giacometti, Donald Judd, Henry Moore, and Richard Serra is included.

Chris Burden, Small Skyscraper (Quasi Legal Los Angeles County), 2002 © 2023 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Brian Guido

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Press

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