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Richard Serra: The Complete Films and Videos
Anthology Film Archives
New York City, NY
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Richard Serra: The Complete Films and Videos

October 17-23

To buy tickets for the screening with the panel discussion featuring Søren Grammel, Chrissie Iles, and Jeffrey Weiss, moderated by art historian Benjamin Buchloh, choose the Sat, Oct 19, 6:00pm screening

This fall Gagosian will present three exhibitions featuring recent sculptures and drawings by Richard Serra: Forged Rounds (September 17-December 7, at 555 West 24th Street) will showcase four new works from Serras Rounds series, forged-steel sculptures composed of multiple 50-ton elements of differing diameters and heights; for Reverse Curve (September 17, 2019-February 1, 2020, at 522 West 21st Street) the gallery will be bisected by the eponymous 99-foot-long and 13-foot-high sculpture, a work originally conceived in 2005 for a public project in Reggio Emilia, Italy, but only now realized for the first time; and Triptychs and Diptychs (September 16-November 2, at 980 Madison Avenue) will comprise a series of new drawings.

In conjunction with these exhibitions, Anthology joins forces with Gagosian to present a complete retrospective of Serras films and videos. Though certain of these works have become seminal pieces within the realms of artist cinema and video art  in particular, TELEVISION DELIVERS PEOPLE (1973) and BOOMERANG (1974)  this retrospective represents the first time that all of his films and videos have been shown together, and includes titles that have not been screened in NYC for decades.

In addition to the four programs of films and videos, the screening on Saturday, October 19 will be followed by a panel discussion between curators Søren Grammel, Chrissie Iles, and Jeffrey Weiss, moderated by art historian Benjamin Buchloh.

"Serra is usually associated with the monumental outdoor sculptures in steel that have often provoked public debate since the 1970s, or with countless indoor sculptures like his Splash and Prop Pieces, as well as site-specific works on paper. This may be one reason why people have repeatedly attempted to link Serras films with a kind of sculptural principle  a view the artist himself vehemently rejects: I did not extend sculptural problems into film or video. I began to make sculptures, film, and video at about the same time, so it cant be a question of developing one form into the other. My involvement with different media is based on the recognition of the different material capacities and it is nonsense to think that film or video can be sculptural. [] Beginning in 1968, Serra developed his film oeuvre in New York in a situation of active learning and exchange whose intellectual and aesthetic epicenter was Anthology Film Archives. [] As well as Warhol, Serra refers above all to Yvonne Rainer and Michael Snowas his own sources of inspiration. But he also drew on input from a whole group of people who were actively involved in his filmmaking, including Joan Jonas, Nancy Holt, Babette Mangolte, Robert Fiore, his friend the omnipresent Philip Glass, and his wife Clara Weyergraf." Søren Grammel, Richard Serra: Films and Videotapes, KUNSTMUSEUM BASEL (2017)

Co-presented by Gagosian (https://gagosian.com). Special thanks to Richard Serra; Joan Jonas; Sarah Jones (Gagosian); Trina McKeever (Richard Serra Studio); Kitty Cleary (MoMA); and Silke von Berswordt-Wallrabe & Alexander von Berswordt (Stiftung Situation Kunst, Bochum, Germany).

This program sees Serra moving from the task-based minimalism of his earliest films  all of which depict a hand engaged in simple actions  to films that explore the various ways that the medium of film can transform the reality being photographed, whether its through the imposition of a border in FRAME, the way motion is rendered in TINA TURNING, or the capturing of color and two-dimensional space in COLOR AID.

HAND CATCHING LEAD 1968, 3.5 min, 16mm, silent
HANDS SCRAPING 1968, 4.5 min, 16mm, silent. Made in collaboration with Philip Glass.
HANDS TIED 1968, 3.5 min, 16mm, silent
HAND LEAD FULCRUM 1968, 3 min, 16mm, silent
FRAME 1969, 22 min, 16mm
TINA TURNING 1969, 2 min, 16mm, silent
COLOR AID 1970/71, 36 min, 16mm
Total running time: ca. 80 min.
Thurs, Oct 17 at 7:00 and Sun, Oct 20 at 6:00.

This program includes Serras classic experiments with video, TELEVISION DELIVERS PEOPLE and BOOMERANG, which explore the mediums ability to critique commercial television and to use feedback to interrogate videos impact on the self  as well as the considerably lesser-known works that immediately preceded them: his three collaborations with Joan Jonas; CHINA GIRL, made with Gerry Schum, an important figure in the realm of artist television; and SURPRISE ATTACK, a work shot by Babette Mangolte that hearkens back to Serras first, task-based films.

PAUL REVERE 1971, 9 min, 16mm. Made in collaboration with Joan Jonas.
ANXIOUS AUTOMATION 1971, 4.5 min, video. Made in collaboration with Joan Jonas and Gerry Schum. Soundtrack by Philip Glass.
VEIL 1971, 6 min, 16mm, silent. Made in collaboration with Joan Jonas.
CHINA GIRL 1972, 11 min, video. Made in collaboration with Gerry Schum. Courtesy of Stiftung Situation Kunst, Bochum, Germany.
SURPRISE ATTACK 1973, 2 min, video. Camera: Babette Mangolte.
TELEVISION DELIVERS PEOPLE 1973, 6.5 min, video. Made in collaboration with Carlotta Schoolman.
BOOMERANG 1974, 11 min, video
Total running time: ca. 55 min.
Fri, Oct 18 at 6:30 and Sun, Oct 20 at 8:00.

MATCH-MATCH THEIR COURAGE 1974, 34 min, 16mm. Made in collaboration with Nancy Holt & Charlemagne Palestine.
A kinescope of a tape made in a television studio where a delayed audio feedback system allows an immediate reciprocity between the processes of thinking and the verbalizations of thoughts. While the tape is similar to BOOMERANG in this respect, the interaction is complicated because there are two performers, Nancy Holt and Charlemagne Palestine, shot with two cameras and seen on a split screen. Castelli-Sonnabend Catalog (1979)

PRISONERS DILEMMA 1974, 40 min, video. Made in collaboration with Robert Bell. With Spalding Gray, Richard Schechner, Kathryn Bigelow, Leo Castelli, and Bruce Boice.
A two-part tape of a video performance done on January 22, 1974, at 112 Greene Street (as part of the Video Performance Exhibition), structured on a problem in game theory, a non-zero sum game, in which both players can win or lose at the same time, one can win more than the other, and one can win at the others expense. Serra and Bell have used game theory as a way of dealing with genres of commercial TV  cops and robbers in the first part, and a quiz program in the second. Castelli-Sonnabend Catalog (1979)

Total running time: ca. 80 min.
Fri, Oct 18 at 8:00 and Wed, Oct 23 at 7:00.

RAILROAD TURNBRIDGE 1976, 19 min, 16mm, silent
It is the bridge that causes both the landscape and the film itself to speak: the film follows the sequence of its procedures  turning, opening for the passing ship, turning again, closing for the passing train. The mechanics of the bridge become the grammar of the film. Richard Serra: Films and Videotapes, KUNSTMUSEUM BASEL (2017)

STEELMILL/STAHLWERK 1979, 29 min, 16mm. Made in collaboration with Clara Weyergraf.
Serras film about the production of his sculpture Berlin Block (for Charlie Chaplin) (1977) at the Henrichshütte Hattingen steelworks in the Ruhr Valley, begun roughly one year before the first major wave of strikes in the German steel industry since the warcombines conventions from documentary film, agitprop, black-and-white photographic studies, and architectural film. Tom Holert, Richard Serra: Films and Videotapes, KUNSTMUSEUM BASEL (2017)

Total running time: ca. 50 min + panel discussion.
Sat, Oct 19 at 6:00 and Wed, Oct 23 at 9:00.

On Sat, Oct 19, the screening will be followed by a panel discussion between curators Søren Grammel, Chrissie Iles, and Jeffrey Weiss, moderated by art historian Benjamin Buchloh.


Anthology Film Archives (View)
32 Second Avenue
New York City, NY 10003
United States



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Non-Smoking: Yes!


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