--- title: Philip Glass and Richard Serra Exhibit: Interview Post description: The iconic composer talks about his longstanding friendship with sculptor Richard Serra, his recent performance inside an art installation and his advice for young artists canonical: https://time.com/3942230/philip-glass-richard-serra-performance-video/ author: Diane Tsai article:opinion: false article:content_tier: free article:published_time: 2015-07-01T16:47:53.000Z article:modified_time: 2026-10-05T08:25:59.095Z article:section: Entertainment og:title: Philip Glass and Richard Serra Exhibit: Interview Post og:description: The iconic composer talks about his longstanding friendship with sculptor Richard Serra, his recent performance inside an art installation and his advice for young artists og:url: https://time.com/3942230/philip-glass-richard-serra-performance-video/ og:site_name: TIME og:image: https://static.time.com/v3/assets/bltea6093859af6183b/blte1cc9d2485bf5635/69885955a988ca0b9a6b34c3/philipglass_1280.jpg?branch=production&width=1200&quality=75&auto=webp&crop=16:9 og:image:width: 1280 og:image:height: 720 og:image:alt: Philip Glass Richard Serra og:type: article twitter:card: summary_large_image twitter:title: Philip Glass and Richard Serra Exhibit: Interview Post twitter:description: The iconic composer talks about his longstanding friendship with sculptor Richard Serra, his recent performance inside an art installation and his advice for young artists twitter:image: https://static.time.com/v3/assets/bltea6093859af6183b/blte1cc9d2485bf5635/69885955a988ca0b9a6b34c3/philipglass_1280.jpg?branch=production&width=1200&quality=75&auto=webp&crop=16:9 ---  # Watch Philip Glass Look Back on Decades of Bringing Music to Art > Sponsored content. 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Terms and conditions apply. * Savings buckets are a feature of Ally Bank's Savings Account. * No ATM fees from Ally Bank at Allpoint and Moneypass ATMs plus we reimburse for fees charged by other ATM owners nationwide up to $10 per statement cycle. * Early direct deposit offers eligible direct deposits up to two days sooner. * Spending buckets are a feature of Ally Bank's Spending Account. ## Video: Philip Glass on Decades of Bringing Music to Art [Watch (HLS stream): Philip Glass on Decades of Bringing Music to Art](https://cdn.jwplayer.com/manifests/54KpjpwE.m3u8) (4:01)  _Published 2015-07-01. The iconic composer talks about his longstanding friendship with sculptor Richard Serra, his recent performance inside an art installation, and his advice for young artists_  by [Diane Tsai](https://time.com/author/diane-tsai/)  ## Diane Tsai Jul 1, 2015 4:47 PM UTC  by [Diane Tsai](https://time.com/author/diane-tsai/)  ## Diane Tsai Jul 1, 2015 4:47 PM UTC Early in his career, Philip Glass gave intimate performances in art galleries and downtown New York City lofts. Today, at the age of 78, the acclaimed composer still hasn’t stopped playing in unconventional spaces. “The kind of music that I was doing, that my friends were doing, was not welcomed in the concert halls,” says Glass. “But we had no problem playing in museums and galleries, so that’s where we went. And then we never really left them.” Glass recently partnered with sculptor and longtime friend Richard Serra to organize a concert in which Glass and violinist Tim Fain perform inside Serra’s exhibition, [_Equal_](http://www.davidzwirner.com/exhibition/equal/). The installation, currently on view at the David Zwirner Gallery in New York and [recently acquired by MoMA](http://www.artnews.com/2015/06/12/moma-acquires-richard-serras-new-sculpture-at-david-zwirner/), is composed of four pairs of stacked 40-ton steel cubes. “His work possesses a very strong presence and identity,” says Glass. “So when we put music into a sculptural environment that his work is, it’s a real encounter.” Yet Glass and Serra don’t talk explicitly about the relationship between music and sculpture. “We’ve never discussed it, actually,” says Glass. “Yet over the last 30, 40 years—it’s a long time—there have been many times when we have put the music and sculpture together.” One recent notable performance was in 2008, when Glass performed a [solo piano concert](http://www.nytimes.com/2008/05/07/arts/design/07serr.html) at the Grand Palais in Paris inside another Serra exhibit. For their latest collaboration, the decision to put together the concert was simple. Serra had invited Glass to watch the process of installing his new work in the gallery—something Glass often does—and mentioned the idea to him. “Richard said, ‘What would you think about playing here?’ And I said, ‘I think that’s a good idea,'” says Glass with a laugh. “That was it!” They agreed to make the event a benefit concert to support [House with Heart](http://www.housewithheart.org/), an organization for women and abandoned children in Nepal that needed funds to rebuild their facilities following the earthquake in April. As is evident in his relationship with Serra, Glass values collaborating with his peers in various fields. He advises young artists to do the same. “When I talk to young composers, I always encourage them to find people their age who make music and make dance,” he says. “Don’t work with the older people. Work with the people your age, because then you’ll grow old with them. You’ll have them for your lifetime.” ## Transcript What I'm interested is the interfacing of the music and the sculpture. His work produces a very strong presence in identity. So when we put music into a sculptural environment that is work Because it's a real encounter. [ MUSIC ] We've known each other for a long time, Richard and I, and we never really talked about what the relationship is between us, we've never discussed it, actually. Yet over the last 30, 40 years It's a long time. There have been many times when I have, when we have put the music and the sculpture together. I got a call from Richard that day, there was an installation going on, and I could come over. He didn't say much about when I came here there was a one big truck with these big cubes Saw it. I watch a lot of things. With operas, I go to rehearsals. If I'm working on a film, I'll go watch the film being made. I go to dance rehearsals sometimes. You can say it's a regular practice of mine, to see how things are made. [ MUSIC ] I conceptually know what would be, but what I thought now, I thought oh it's extremely composed and very solid and very, the word I would use would be, contemplative. It provokes, immediately a conversation between this sculpture and this rhombus. It always does that. Even when it's outside [ INAUDIBLE ] This is an afternoon of solo work. First of all there's this work, that we're very pleased and honored to be playing with. Then there's a violinist who's a wonderful player, he's a soloist. And then there's the composer, that's me. So the three solos and we haven't done this before so we are hearing it And singing it for the first time. We're all just doing that together. Thank you for coming. [ MUSIC ] What we're doing is that we're taking pieces that were made separately and we're putting them together in a way that we never thought we would do it. I mean I doubt very much we said, I wonder what it would sound like Like if I do music [ INAUDIBLE ]. Have we ever disagreed? That's an interesting question. To disagree, we would have to have aired a disagreement and that's never happened, but that doesn't mean we agree. [ LAUGH ] I think when it comes to material. And work, I would say the answer is no. So, we were doing something which neither he nor I anticipated, what would seem to be something we both wanted to do was just to put music into the place with the sculpture. When I talk to young composers, I always encourage them to find a People their age who make movies and make dance. They don't work with the older people work with the people your own age because then you grow up with them. You'll have them for your lifetime. You don't work with someone who's gonna be dead in ten years. [ LAUGH ] You cant see the work call. 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