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Richard Serra’s Promenade, 2008, being installed in the Grand Palais, Paris. Photo: Lorenz Kienzle.

Richard Serra

Richard Serra’s Promenade, 2008, being installed in the Grand Palais, Paris. Photo: Lorenz Kienzle.

1969

TECHNOLOGY IS a form of tool making (body extensions). Technology is not art—not invention. It is a simultaneous hope and hoax. It does not concern itself with the undefined, the inexplicable: It deals with the affirmation of its own making. Technology is what we do to the Black Panthers and the Vietnamese under the guise of advancement in a materialistic theology. (The names of the wars have changed.)

Skullcracker Stacking Series, 1969, at the skull cracker yard of Kaiser Steel in Fontana, California, was erected with an overhead magnetic crane. The structures were not conceived in advance. A hand language was learned. (Collaboration existed between the crane operator and myself.) The material primarily utilized: crop, the waste product of the hot roll mill. Cut from the ends of slabs, these large chunks of steel, fifteen to thirty feet in height and weighing 100 to

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