RICHARD SERRA

And certainly the history of public sculpture has been disastrous but that doesn't mean it ought not to continue and the only way it even has a chance to continue is if the work gets out into the public.

On the other hand, if there's an underlying core of poetry that I go to, I go to the sea. I've lived on the sea all my life. I live on the sea in Cape Breton.

I used to eat lunch with Billy Wilder when I first came out here.

I think different people have different problems and different relations to the exhibition of their work.

The thing about coming back to the Bay Area, it's like coming home for me.

I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.

Basically, what you really want to do is try to engage the viewer's body relation to his thinking and walking and looking, without being overly heavy-handed about it.

Work out of your work. Don't work out of anybody else's work.

I thought Out of Action was better as a catalogue than the honeycomb because the honeycomb was like walking into one compartment and then another compartment.

I started working for Bethlehem Steel when I was about 16 during the summers.

But what does interest me is the notion that if you do a lot of work it means there's a potential for other people to understand that a lot of things are possible with a sustained effort and that the broadening of experiences is possible and I think that's all art can be.

But you have to take all of those things, you have to take into consideration the paths, the roadways, how much cloud cover there is, how much foliage cover there is, whether there are streams, all of that comes into play.

But I'll try to immerse myself in as many of the formal characteristics of site as possible in the landscape.

Now when you have administrators deciding what sexuality is, and what's a taboo and what's not in terms of content, you got guys, like, Trent Lott who equates homosexuality with a disease.

But I don't think of any particular viewer in mind other than myself.

I think this, I think basically I'm not interested in people following my work or making work like my work.

They've also, the government's decided now, what sexual content is.

The thing about rigging is, you can learn it if you become a master rigger but there's no book on rigging.

If you get it out into the urban field it's going to be used or misused but it'll also probably provide a way of people acknowledging what the aesthetic is about because people have to confront it every day.

Every generation challenges the one that goes before.

It could be that people want to consume sculpture the way they consume paintings - through photographs... I'm interested in the experience of sculpture in the place where it resides.

I consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural form to make space distinct.

Time and movement became really crucial to how I deal with what I deal with - not only sight and boundary, but how one walks through a piece, and what one feels and registers in terms of one's own body in relation to another body.

Most of what you see in architecture are watered-down ideas of sculptors who have come before.

Play is a necessary ingredient in art because there is a kind of wonder that goes on when you play. You're directing your activity toward a conclusion that isn't prescribed by a particular method.