[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:44.31,0:00:46.37,Default,,0000,0000,0000,,RICHARD SERRA:\NFor the most part, work comes out of work
Dialogue: 0,0:00:46.37,0:00:48.52,Default,,0000,0000,0000,,in terms of how I develop an idea.
Dialogue: 0,0:00:48.52,0:00:51.13,Default,,0000,0000,0000,,I never begin with an image\Nand I never begin with a drawing.
Dialogue: 0,0:00:51.13,0:00:53.19,Default,,0000,0000,0000,,I usually begin with a model.
Dialogue: 0,0:00:54.70,0:00:57.50,Default,,0000,0000,0000,,It’s a way of working from the inside out.
Dialogue: 0,0:01:01.39,0:01:04.18,Default,,0000,0000,0000,,I think I’m probably building upward of\N12 to 15 pieces
Dialogue: 0,0:01:04.18,0:01:05.92,Default,,0000,0000,0000,,right now, in various stages—
Dialogue: 0,0:01:05.92,0:01:09.80,Default,,0000,0000,0000,,I’m building a piece in St. Louis,\NI’m building a piece in Woodside, California,
Dialogue: 0,0:01:09.80,0:01:12.53,Default,,0000,0000,0000,,I’m building a piece in Sinagpore,\NI’m building a piece in Qatar,
Dialogue: 0,0:01:12.53,0:01:14.54,Default,,0000,0000,0000,,I’m building a piece in New Zealand—
Dialogue: 0,0:01:15.07,0:01:16.87,Default,,0000,0000,0000,,I’m building quite a lot of work right now.
Dialogue: 0,0:01:26.45,0:01:27.87,Default,,0000,0000,0000,,I never think in terms of metaphor,
Dialogue: 0,0:01:27.87,0:01:31.68,Default,,0000,0000,0000,,nor do I think in terms of what the image\Nis going to look like beforehand,
Dialogue: 0,0:01:32.38,0:01:35.37,Default,,0000,0000,0000,,What concerns me is\Nthe relationship of the elements
Dialogue: 0,0:01:35.37,0:01:39.36,Default,,0000,0000,0000,,that I happen to find interesting at that\Npoint.
Dialogue: 0,0:01:39.36,0:01:43.05,Default,,0000,0000,0000,,And if I think I can invent a new way of looking\Nat those elements,
Dialogue: 0,0:01:43.05,0:01:45.17,Default,,0000,0000,0000,,or make the possibility of walking in and\Nthrough
Dialogue: 0,0:01:45.17,0:01:49.00,Default,,0000,0000,0000,,and around a piece something that startles me,
Dialogue: 0,0:01:49.00,0:01:52.04,Default,,0000,0000,0000,,then I think that there’s a possibility\Nto proceed.
Dialogue: 0,0:01:54.68,0:01:56.10,Default,,0000,0000,0000,,With “Charlie Brown” in particular,
Dialogue: 0,0:01:56.10,0:02:00.00,Default,,0000,0000,0000,,the problem was how to \Nbend a shape as it elevated
Dialogue: 0,0:02:00.51,0:02:02.53,Default,,0000,0000,0000,,that leaned away from you and turned….
Dialogue: 0,0:02:05.64,0:02:09.17,Default,,0000,0000,0000,,and that came out of having worked with\Nthe “Ellipses” prior.
Dialogue: 0,0:02:26.97,0:02:31.79,Default,,0000,0000,0000,,I was surprised in that people who had absolutely\Nno information about sculpture were able
Dialogue: 0,0:02:31.79,0:02:37.92,Default,,0000,0000,0000,,to enter into these pieces\Nand find a certain amount of engagement
Dialogue: 0,0:02:37.92,0:02:42.03,Default,,0000,0000,0000,,with the sculpture in ways that they\Nprobably hadn’t before.
Dialogue: 0,0:02:42.76,0:02:45.91,Default,,0000,0000,0000,,The experience for a lot of them was fulfilling\Nbecause, in some sense,
Dialogue: 0,0:02:45.91,0:02:49.53,Default,,0000,0000,0000,,it was startling, because it was new,\Nbecause they couldn’t locate themselves.
Dialogue: 0,0:02:53.79,0:02:55.99,Default,,0000,0000,0000,,It had nothing to do with architecture,\Nit had nothing to do with landscape,
Dialogue: 0,0:02:55.99,0:02:59.60,Default,,0000,0000,0000,,it had nothing to do with buildings\Nor mountains or ravines,
Dialogue: 0,0:02:59.60,0:03:02.57,Default,,0000,0000,0000,,or anything that they could have a touchstone to.
Dialogue: 0,0:03:35.42,0:03:39.42,Default,,0000,0000,0000,,This piece has a continuous movement\Neven if you remain stationary,
Dialogue: 0,0:03:39.42,0:03:41.02,Default,,0000,0000,0000,,so this piece has a very big stretch,
Dialogue: 0,0:03:41.02,0:03:43.15,Default,,0000,0000,0000,,and this piece makes you concentrate more
Dialogue: 0,0:03:43.15,0:03:49.15,Default,,0000,0000,0000,,on the elasticity of the steel itself\Nthan the physicality of the space.
Dialogue: 0,0:03:52.03,0:03:55.00,Default,,0000,0000,0000,,The steel in this piece becomes something\Nother than steel.
Dialogue: 0,0:03:55.00,0:03:58.57,Default,,0000,0000,0000,,It almost has a feeling\Nthat it’s being stretched like rubber.
Dialogue: 0,0:04:00.82,0:04:03.38,Default,,0000,0000,0000,,It becomes a band, not a plane.
Dialogue: 0,0:04:11.90,0:04:15.66,Default,,0000,0000,0000,,One of the things I also find gratifying \Nabout this piece
Dialogue: 0,0:04:16.35,0:04:20.24,Default,,0000,0000,0000,,is that the overhang on the piece\Nis upward of five or six feet,
Dialogue: 0,0:04:20.84,0:04:23.96,Default,,0000,0000,0000,,so you’re able to walk under the piece…
Dialogue: 0,0:04:27.61,0:04:30.11,Default,,0000,0000,0000,,where the overhand is almost like the hull\Nof a ship.
Dialogue: 0,0:04:31.78,0:04:35.38,Default,,0000,0000,0000,,Probably one of the most\Nprimal experiences I had,
Dialogue: 0,0:04:35.38,0:04:37.33,Default,,0000,0000,0000,,or generative experiences I had,
Dialogue: 0,0:04:37.33,0:04:38.66,Default,,0000,0000,0000,,is watching the launching of a ship
Dialogue: 0,0:04:38.66,0:04:41.03,Default,,0000,0000,0000,,when I was about four years old in Marin Shipyard—
Dialogue: 0,0:04:41.03,0:04:42.74,Default,,0000,0000,0000,,I went there with my father.
Dialogue: 0,0:04:45.75,0:04:51.78,Default,,0000,0000,0000,,To see a big, massive, obdurate shape\Nbeing launched where it becomes
Dialogue: 0,0:04:51.78,0:04:55.05,Default,,0000,0000,0000,,buoyant and free\Nand afloat and adrift—
Dialogue: 0,0:04:56.02,0:04:59.90,Default,,0000,0000,0000,,where it changes from something that’s massive\Nto something that’s weightless,
Dialogue: 0,0:04:59.90,0:05:03.50,Default,,0000,0000,0000,,was something that affected me, that I never\Nforgot about,
Dialogue: 0,0:05:03.50,0:05:06.58,Default,,0000,0000,0000,,and for a while, it really became a reocurring\Ndream.
Dialogue: 0,0:06:11.06,0:06:13.35,Default,,0000,0000,0000,,MAN: What do you do in that book all the time,\NRichard?
Dialogue: 0,0:06:13.35,0:06:16.19,Default,,0000,0000,0000,,SERRA: Um, I keep track of myself.
Dialogue: 0,0:06:16.19,0:06:17.68,Default,,0000,0000,0000,,MAN: Are you writing poetry?
Dialogue: 0,0:06:18.09,0:06:21.72,Default,,0000,0000,0000,,SERRA: No, it’s a way of keeping your eye\Nand hand together.
Dialogue: 0,0:06:21.72,0:06:23.75,Default,,0000,0000,0000,,I started drawing when I was very, very young
Dialogue: 0,0:06:23.75,0:06:26.48,Default,,0000,0000,0000,,in order to compete for, I guess, affection
Dialogue: 0,0:06:26.48,0:06:29.13,Default,,0000,0000,0000,,with my parents, because I had an older brother
Dialogue: 0,0:06:29.65,0:06:30.55,Default,,0000,0000,0000,,who was very articulate,
Dialogue: 0,0:06:30.55,0:06:31.98,Default,,0000,0000,0000,,and very good-looking, very tall—
Dialogue: 0,0:06:31.98,0:06:33.38,Default,,0000,0000,0000,,And I was like the little runt.
Dialogue: 0,0:06:33.38,0:06:36.47,Default,,0000,0000,0000,,And in order to kind of capture my parents’\Nimagination,
Dialogue: 0,0:06:36.47,0:06:38.23,Default,,0000,0000,0000,,after dinner I could make drawings every night.
Dialogue: 0,0:06:38.23,0:06:40.12,Default,,0000,0000,0000,,And they would support those drawings.
Dialogue: 0,0:06:40.12,0:06:44.44,Default,,0000,0000,0000,,And so it became something that I could do\Nthat was personal and private to me
Dialogue: 0,0:06:44.44,0:06:49.54,Default,,0000,0000,0000,,as a way of keeping my hand and eye coordinated\Nin relation to what I would see.
Dialogue: 0,0:06:49.54,0:06:52.91,Default,,0000,0000,0000,,So if my father and my brother were taking\Nthe car apart,
Dialogue: 0,0:06:52.91,0:06:54.59,Default,,0000,0000,0000,,I would draw the parts.
Dialogue: 0,0:06:54.59,0:06:58.16,Default,,0000,0000,0000,,So I’ve always done it, and it’s a way\Njust to keep
Dialogue: 0,0:06:58.16,0:07:02.29,Default,,0000,0000,0000,,in touch with, \Nnot only everyday life for me,
Dialogue: 0,0:07:02.29,0:07:05.44,Default,,0000,0000,0000,,in a diaristic notion,\Nbut in order to enable me to see.
Dialogue: 0,0:07:05.44,0:07:08.31,Default,,0000,0000,0000,,And I think the eye is king og a muscle.
Dialogue: 0,0:07:08.31,0:07:11.17,Default,,0000,0000,0000,,And the more you draw, the better shape\Nthe muscle’s in,
Dialogue: 0,0:07:11.17,0:07:12.38,Default,,0000,0000,0000,,actually, the better you see.
Dialogue: 0,0:07:12.100,0:07:16.76,Default,,0000,0000,0000,,I don’t particularly think of notation drawing\Nthat I do every day as drawing per se—
Dialogue: 0,0:07:16.76,0:07:20.40,Default,,0000,0000,0000,,I make other drawings in which I deal with\Nautonomous things in the world,
Dialogue: 0,0:07:20.40,0:07:21.61,Default,,0000,0000,0000,,and the history of drawing.
Dialogue: 0,0:07:21.81,0:07:26.47,Default,,0000,0000,0000,,But in terms of just informing myself,\Nas a way of keeping a dialogue doing,
Dialogue: 0,0:07:26.47,0:07:28.94,Default,,0000,0000,0000,,unlike Woody Allen talking into \Na tape recorder, I draw.
Dialogue: 0,0:07:33.37,0:07:35.22,Default,,0000,0000,0000,,MAN: You’re not going to clear it.
Dialogue: 0,0:07:37.67,0:07:39.01,Default,,0000,0000,0000,,SERRA: It’s this way, yeah?
Dialogue: 0,0:07:39.01,0:07:41.01,Default,,0000,0000,0000,,Take it back up, take it back up.
Dialogue: 0,0:07:48.14,0:07:50.48,Default,,0000,0000,0000,,That’s the moment,\Nit’s called a 5-millimeter moment—
Dialogue: 0,0:07:52.79,0:07:56.28,Default,,0000,0000,0000,,it’s where you have to set it\Nand you have to get it within 5 millimeters.
Dialogue: 0,0:07:57.76,0:07:58.68,Default,,0000,0000,0000,,MAN: Hey, John…
Dialogue: 0,0:08:03.09,0:08:06.94,Default,,0000,0000,0000,,This is going to be a nightmare,\Ntrying to weld these…
Dialogue: 0,0:08:06.94,0:08:08.56,Default,,0000,0000,0000,,I didn’t tell it to rain, come on.
Dialogue: 0,0:08:09.49,0:08:11.27,Default,,0000,0000,0000,,Blame it on Tony, he picked the date.
Dialogue: 0,0:08:12.71,0:08:14.04,Default,,0000,0000,0000,,MAN: It’s a real collaboration—
Dialogue: 0,0:08:14.85,0:08:19.14,Default,,0000,0000,0000,,for all the steelworkers putting this together\Nand everybody that’s involved—
Dialogue: 0,0:08:19.27,0:08:22.41,Default,,0000,0000,0000,,and I think the art is the process\Nas well as the piece.
Dialogue: 0,0:08:26.52,0:08:29.21,Default,,0000,0000,0000,,But I like the way it’s coming together.
Dialogue: 0,0:08:29.21,0:08:32.07,Default,,0000,0000,0000,,MAN: Definitely, and it’s like omnipresent.
Dialogue: 0,0:08:32.07,0:08:33.57,Default,,0000,0000,0000,,SERRA: Yeah, yeah, you can’t get away from\Nit.
Dialogue: 0,0:08:33.57,0:08:34.79,Default,,0000,0000,0000,,Oh, yeah, it’s right there.
Dialogue: 0,0:08:42.85,0:08:45.00,Default,,0000,0000,0000,,MAN: Nice job, very nice job.
Dialogue: 0,0:08:50.97,0:08:52.63,Default,,0000,0000,0000,,SERRA: It’s almost like a pneumatic structure.
Dialogue: 0,0:08:52.63,0:08:53.13,Default,,0000,0000,0000,,MAN: Pneumatic?
Dialogue: 0,0:08:53.13,0:08:56.27,Default,,0000,0000,0000,,SERRA: Yeah, because it seems like it’s\Nbeing stretched
Dialogue: 0,0:08:56.40,0:08:57.66,Default,,0000,0000,0000,,and pumped from the inside.
Dialogue: 0,0:09:02.48,0:09:03.61,Default,,0000,0000,0000,,MAN: Where do you want to weld that now?
Dialogue: 0,0:09:03.61,0:09:04.53,Default,,0000,0000,0000,,MAN: Here.
Dialogue: 0,0:09:05.77,0:09:06.34,Default,,0000,0000,0000,,MAN: John…
Dialogue: 0,0:09:10.24,0:09:12.62,Default,,0000,0000,0000,,SERRA: To be able to contain space and hold\Nspace
Dialogue: 0,0:09:12.62,0:09:17.18,Default,,0000,0000,0000,,and make space the content of the work\Nthat you’re dealing with
Dialogue: 0,0:09:18.02,0:09:21.01,Default,,0000,0000,0000,,comes with a certain kind of acuity of understanding
Dialogue: 0,0:09:21.01,0:09:23.01,Default,,0000,0000,0000,,your relationship to a volume.
Dialogue: 0,0:09:23.44,0:09:26.40,Default,,0000,0000,0000,,Very simple if I said it’s very different\Nthan walking into a telephone booth
Dialogue: 0,0:09:26.40,0:09:29.06,Default,,0000,0000,0000,,than a football stadium and say, “Oh, yes,\NI understand—
Dialogue: 0,0:09:29.06,0:09:32.06,Default,,0000,0000,0000,,telephone booth, claustrophobic; \Nfootball stadium, vast.”
Dialogue: 0,0:09:32.06,0:09:34.73,Default,,0000,0000,0000,,If you take something in between\Nthe telephone booth
Dialogue: 0,0:09:34.73,0:09:36.05,Default,,0000,0000,0000,,and the football stadium, you say,
Dialogue: 0,0:09:36.05,0:09:38.81,Default,,0000,0000,0000,,“I’m dealing with the subtleties of walking\Nacross the room,
Dialogue: 0,0:09:38.81,0:09:39.83,Default,,0000,0000,0000,,“about what’s on the right-hand side,
Dialogue: 0,0:09:39.83,0:09:43.05,Default,,0000,0000,0000,,“And if you turn around and walk back,\Nwhat’s on the right-hand side.”
Dialogue: 0,0:10:09.50,0:10:12.01,Default,,0000,0000,0000,,This piece is generative in that it’s a\Nnew piece for me,
Dialogue: 0,0:10:12.01,0:10:13.66,Default,,0000,0000,0000,,it opens a whole other body,
Dialogue: 0,0:10:13.66,0:10:15.17,Default,,0000,0000,0000,,a whole other series of work for me.
Dialogue: 0,0:10:15.17,0:10:17.25,Default,,0000,0000,0000,,I don’t know how that’s going to spill\Nout,
Dialogue: 0,0:10:17.25,0:10:19.44,Default,,0000,0000,0000,,I don’t know what kinds of works are going\Nto come out of it,
Dialogue: 0,0:10:19.44,0:10:21.52,Default,,0000,0000,0000,,but there’s still a kind of wonder in that,
Dialogue: 0,0:10:21.52,0:10:24.51,Default,,0000,0000,0000,,because that piece hasn’t reached closure for me.