TABLE OF CONTENTS

Richard Serra

WHAT I HAVE BEEN EXPERIENCING in the past several weeks is fear, a fear without an object, an empty feeling, a disconnected anxiety which makes me shudder, take a deep breath, sigh involuntarily. I have been trying to understand Judd’s death, trying to deal with my incomprehension of this unexpected loss. A great sculptor has died. As an artist you measure yourself against other artists; as you grow older, you measure yourself against the people you have known who have died.

Some inventions are more important than others, more thoughtful, more conscious, more serious, more resolute, more radical, more influential, more articulate. By the time I arrived in New York, in the late ’60s, Judd’s invention had already transformed the historical context. Judd’s break had been so startling and abrupt that within three years Abstract Expressionism was out, Minimalism was in. Most sculptors of my

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the Summer 1994 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.