Richard Serra

Constantin Brancusi (1876-1957), the most important sculptor of the first half of the 20th century, has been a fascinating and enduring influence on a generation of contemporary American artists. Insights into Brancusi’s legacy are presented by Carl Andre, Lynda Benglis, Ellsworth Kelly, Martin Puryear, Richard Serra, and Joel Shapiro, with additional commentary on Dan Flavin, Donald Judd, Roy Lichtenstein, Isamu Noguchi,and Claes Oldenburg. In 1995, Anne d’Harnoncourt, Director Emeritus of the Philadelphia Museum of Art, asked Checkerboard to document the PMA’s acclaimed retrospective on Brancusi for the Museum’s archive. The resulting footage became the genesis of the documentary.

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The film traces the rise of one of the world's premier architects, Norman Foster, and his unending quest to improve the quality of life through design.

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Sculptor and giant of modern art Richard Serra discusses his extraordinary life and work. A creator of enormous, immediately identifiable steel sculptures that both terrify and mesmerise, Serra believes that each viewer creates the sculpture for themselves by being within it. To this end, a Japanese family are reminded of the Temples of Kyoto, a Londoner finds sanctuary in the Serra near Liverpool Street station, and most movingly, a Holocaust survivor sees one piece as a wall separating the living from the dead. Contributors include Chuck Close, Philip Glass and Glenn D Lowry, Director of MoMA.

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The life and work of enigmatic Dutch/Californian conceptual artist Bas Jan Ader, who in 1975 disappeared under mysterious circumstances at sea in the smallest boat ever to cross the Atlantic. As seen through the eyes of fellow emigrant filmmaker René Daalder, the picture becomes a sweeping overview of contemporary art films as well as an epic saga of the transformative powers of the ocean.

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Charlie Rose joins sculptor Richard Serra at the Museum of Modern Art for a walk-through of a retrospective of the past four decades of Serra's work. Serra describes the destruction of his public sculpture "Tilted Arc" and reflects on his early artistic influences. Guest host Michael Kimmelman talks to Hal Foster, chairman of the art and archaeology department at Princeton University, about Serra's work.

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"Film Portrait of Richard Serra was shot during the making of The Camera: Je but I felt that the footage showed such complicity between Richard and me that I decided it was a film on its own. I shot the film title in 1977 but only finished the film in 2007 in digital video. Richard and I had met in Rome in 1972, and in January 1974 I moved into the building where he had lived and worked since the 1960s, so we were neighbors. We liked each other and the film shows that."

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CREMASTER 3 is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect...

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Home movies shot on Super 8mm by W+B Hein over 10 years.

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The Masters of Modern Sculpture series concludes with a look at post- World War II America, where sculpture became a deeply innovative art form. Using the objects at their disposal and the inspiration surrounding them, artists such as George Rickey, Claes Oldenburg, and Louise Nevelson cast sculptor in a new light. The New World observes the sculptors creatively utilizing wood, metals, and junkyard finds, bringing forth lively and shocking work. America's remote spaces, discarded objects and abundant materials enabled them to add to the concepts of European modernism in daringly unique ways.

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The protagonists’ astounding verbal gymnastics and often incomprehensible interactions tend to descend into nonsense, and with the syncopated rhythm of its action and dialogue, this film is reminiscent of the playful and parodying elements of the Beat fantasy Pull My Daisy. The interweaving of documentary and fiction with the syncopated rhythm of its action and dialogue presents an absurd buzz of activity reminiscent of Beckett’s abstract comic grotesque.

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Like the three "Hands" films by Richard Serra (1968), the subject of "Color Aid" are fingers as actors of real time activity. Monochrome colour cards lying on top of each other and filling the whole screen are being pulled away individually with a swishing sound by a single finger, each time bringing a new colour into view.

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In "Hands Scraping" we see two male pairs of hands, those of Serra and Phil Glass, sweeping up steel filings strewn on the wooden floor with their bare hands, and carrying the gathered heap in their hands out of the picture.

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Echoing the vertical movement of the film through the projector, pieces of sheet lead fall into the image field. Serra’s hand opens and closes as it tries to catch them, and when it succeeds, immediately lets them go again.

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