By Hal Foster
Richard Serra is taken into account by means of many to be crucial sculptor of the postwar interval. The essays during this quantity hide the entire span of Serra's paintings up to now -- from his first experiments with fabrics and methods via his early motion pictures and location works to his present sequence of "torqued ellipses." there's a certain emphasis on these moments while Serra prolonged aesthetic conference and/or challenged political authority, as within the well-known fight with the overall companies management over the site-specific piece Tilted Arc.October documents October records is a brand new sequence of cheap paperback books. every one publication will deal with a physique of paintings through an artist of the postwar interval who has altered our knowing of artwork in major methods and caused a serious literature that's refined and sustained. each one booklet will hint not just the improvement of a major oeuvre yet additionally the development of the serious discourse encouraged through it. The sequence editors are Hal Foster, Benjamin H. D. Buchloh, Annette Michelson, Yve-Alain Bois, and Rosalind Krauss.
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Additional info for Richard Serra (October Files)
As a kid growing up I’d worked steel mills, and I knew that Glass, who was a friend of mine, had also worked steel mills. There is a generation of American artists who had grown up that way. Andre had worked the railroad and Morris had worked steel mills, or railroads. So we came from a postwar, post-Depression background, where kids grew up and worked in the industrial centers of the country. The first films I saw that connected with that working experience were Eisenstein’s films. That hadn’t happened before.
Then I went with Carlotta Schoolman to Channel 13 [WNET, New York] where we got a character generator. I figured how much space I would want between each sentence. I asked the people at Channel 13 what color would be most effective for a readout, and they said yellow and blue. We sat down in the morning with four cans of beer and made it. When it first went on the air—it was put on briefly as a sign-off in Amarillo, Texas—the reaction to it prompted me to send it to the government for censorship verification.
If you really confront the situation of the American steel mill, I’m pretty sure that it is no different from the German steel mill. I just think that you happened to have had a personal experience in a German steel mill. It was a learning process that everybody went through while this piece was being forged. I remember that the first time we went to the mill something made me very angry, and that was the fact that you projected your fascination with your work onto the workers. You kept telling me that they were totally into their jobs, that they did their jobs in a fantastic way, and that they really seemed to like doing their jobs.