In August 1980, Serra and Glass joined forces in a deserted lot in Lower Manhattan, where they embarked on a daring experiment. Serra constructed a series of steel sculptures, comprising massive, curved plates that seemed to reverberate with the sounds of the city. Glass, meanwhile, composed a specially commissioned score for the installation, which featured a ensemble of musicians playing a unique blend of instrumental and environmental sounds.
If Serra were to build a “City,” it would not have streets or buildings. It would have , elevated walkways , and walls of weathering steel . richard serra philip glass meeting city
Glass looked closer. The steel was rusting, streaked with orange. It looked heavy, industrial, indifferent to the people rushing past it. There was no metaphor, no hidden meaning. It was just there , asserting its presence. In August 1980, Serra and Glass joined forces
Serra, intrigued by Glass's use of repetition and rhythm in his music, saw an opportunity to translate these sonic concepts into the realm of sculpture. Glass, meanwhile, was captivated by Serra's ability to craft immersive environments that manipulated the viewer's spatial awareness. Together, they hatched a plan to create a site-specific installation in New York City that would combine Serra's sculptural expertise with Glass's musical genius. If Serra were to build a “City,” it
It was 1965. The city was broke, loud, and violent, but for two young artists who had just come back from Paris, it was the only place that made sense.
Presence, Glass thought. That was the word.