new-york

Richard Serra

Blum Heiman Gallery

You wouldn’t expect Richard Serra—an artist consistently conscious in his sculpture of what sculpture is—to want to carry his sculptural thinking over into his drawings, which would emphasize the parameters and possibilities of drawings. Yet he cannot act as if he didn’t make sculpture, and neither can we. Serra is a master of sculptural space and construction, but I don’t think he has been able to unknot the problems of pictorial space, and he often tries deliberately to pervert them. This cannot be done by eliminating the trappings of pictorialism, or by pretending they are not necessary, through sheer willpower. Sculpture is something we respond to as whole bodies; drawing is not, but Serra seems to force it to function as something bigger than ourselves. The immense size of Serra’s drawings disturbs us first, for it makes drawing something available only at a distance, placing a highly

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