Richard Serra: Rounds, Wooster Street, New York, November 8–December 20, 1997

Works Exhibited

Richard Serra Willie Dixon, 1997. Paintstick on paper, 50 ¼ × 55 inches (127.6 × 139.7 cm) — Richard Serra
*Willie Dixon*, 1997
Paintstick on paper, 50 ¼ × 55 inches (127.6 × 139.7 cm)

Richard Serra Robert Frank, 1997. Paintstick on paper, 40 ½ × 42 inches (102.9 × 106.7 cm) — Richard Serra
*Robert Frank*, 1997
Paintstick on paper, 40 ½ × 42 inches (102.9 × 106.7 cm)

Richard Serra Burroughs, 1997. Paintstick on paper, 55 × 56 inches (139.7 × 142.2 cm) — Richard Serra
*Burroughs*, 1997
Paintstick on paper, 55 × 56 inches (139.7 × 142.2 cm)

Thumbnail - Richard Serra Willie Dixon, 1997. Paintstick on paper, 50 ¼ × 55 inches (127.6 × 139.7 cm)

Thumbnail - Richard Serra Robert Frank, 1997. Paintstick on paper, 40 ½ × 42 inches (102.9 × 106.7 cm)

Thumbnail - Richard Serra Burroughs, 1997. Paintstick on paper, 55 × 56 inches (139.7 × 142.2 cm)

About

Gagosian is pleased to present an exhibition of new drawings by Richard Serra. This series, initiated in the spring of 1996 and completed at the end of the summer of 1997, marks a departure for Serra’s works on paper. Although they use the same media as previous drawings, both the way in which the oilstick is employed and the resulting surface textures are dramatically different in these completed works. The surfaces are built-up, active, and dense; they appear to be virtually three-dimensional.

These drawings were created during the same time period in which Serra was fabricating Torqued Ellipses, which is currently on view at the Dia Center for the Arts in Chelsea. This new body of drawings represents Serra’s first in-depth investigation of round and elliptical forms and their relationship to the rectangular paper format.

A fully illustrated catalogue will accompany the exhibition.

Artist

Richard Serra

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From the Quarterly

Richard Serra: Steve Reich’s “Music for Pieces of Wood”

In this video, musical ensemble Sō Percussion performs Steve Reich’s “Music for Pieces of Wood” inside the exhibition Richard Serra: Running Arcs (For John Cage), 1992, at Gagosian, New York.

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

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).

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.

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.

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.

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.