Born in the Bronx, New York, in 1942 and educated there, Lawrence ference between Weiner's work and what had come before it. By Weiner made what he considers his first work as a mature artist in expressing his work exclusively in words, Weiner had explicitly rede­ Mill Valley, California, in 1960. This was a series of explosions set off fined art, at least in his own practice, so that it was not limited to a in the soil, together with the resultant craters, which would seem to particular object made by an artist or according to his instructions but link Weiner with the earthworks that were made by other artists over was instead a structure of relations dependent upon the receiver or the next decade. He soon returned to New York, however, where for observer. In doing so, Weiner was one of the inventors of what has several years he produced only paintings. These were quite different since been termed Conceptual Art. from most work in that medium because he deliberately and repeated­ When we first encounter a work by Lawrence Weiner, for example ly made them as banal and generic as possible, basing the composition painted as it is here on the gallery walls, a certain confusion inevitably on the image of a television test pattern. By 1966, Weiner was making ensues because we have never before come across anything quite like paintings without making decisions, producing the work in front of an it. Perhaps, we think, it's poetry, but that turns out not to be the case audience whose instructions he solicited as to size, color, and paint because the work is both too big and too small. In its painted form on application. the wall it is much too large in scale to conceivably be a poem, yet it is CHAINS WRAPPED AROUND ONE THING & ANOTHER

Early in 1969 he clarified the basis of his art in an often-quoted decla­ too brief to be even the shortest lyric. It is unlike poetry as well in that ration of intent, which set forth principles to which he has adhered it lacks poetic diction-its language is resolutely ordinary. Perhaps, ever since: we think, it is a sign; yet there is no imperative, no instruction, and it points the way toward no goal we are aware of seeking, no luggage, no 1. THE ARTIST MAY CONSTRUCT THE WORK exit. Maybe, then, it's a message, but from whom? A description, 2. THE WORK MAY BE FABRICATED then, but to what end, since it lacks specifics? In the present work 3. THE WORK NEED NOT BE BUILT Weiner declines to tell us what kind of chains are involved, how big EACH BEING EQUAL AND CONSISTENT WITH THE INTENT they are, what they are made of, and, most significantly, what they are OF THE ARTIST THE DECISION AS TO CONDITION RESTS attached to. And how, exactly, does time pass? How long does it go on? WITH THE RECEIVER UPON THE OCCASION OF RECEIVER­ we wonder as we stand in the museum. At about this point, we decide SHIP that since it is in a museum it must be art, and we are also forced to the perhaps reluctant conclusion that even if we don't know what it is, The work Weiner produced at this time took the form of words, which we do understand exactly what it says. Indeed, Weiner's work is per­ described activities that could be associated with either painting or haps unique in contemporary art in that it is impossible not to under­ sculpture, for example, ONE QUART EXTERIOR GREEN ENAMEL stand it. THROWN ON A BRICK WALL, or A 2" WIDE 1" DEEP TRENCH Embodied as they are in language, Weiner's works have no particu­ CUT ACROSS A STANDARD ONE CAR DRIVEWAY. Some of them, lar physical form. They have appeared in books, on posters, typewrit­ such as A FIELD CRATERED BY STRUCTURED SIMULTANEOUS ten on sheets of paper, as recordings, and, in recent years, as words TNT EXPLOSIONS, related to work Weiner had done in the past, but, painted directly on a wall. Dependent on the mind of the observer for as he said in the third part of his statement, he never felt compelled its completion, Weiner's art has always derived part of its meaning actually to carry out the activities described by his words. It was this from the context in which it is seen. Although complete in itself as a dictum, "the piece need not be built," that constituted the essential dif- particular statement or description, the meaning of the work is never- theless supplemented by the circumstances in which it is received. associations as well, such as the broken glass of Kristallnacht, the MORTAR STONE AND SUCH/SET AS A MEANS OF BLOCK­ infamous night in November of 1939 when Hitler's supporters destroy­ ING/THE INEVITABLE SLIDE OF/THE LAND BACK INTO THE ed property all over Germany that belonged to Jews. SEA is currently installed on a steep hill over the Pacific Ocean just The work in the current exhibition, CHAINS WRAPPED AROUND south of Los Angeles. The work is painted in large yellow letters at the ONE THING & ANOTHER/BROKEN ONE BY ONE WITH THE PAS­ scale of a billboard on the back of a large garage structure at the top of SAGE OF TIME/{RUSTED FREE)/(BUSTED OPEN)/(PULLED an enclosed garden leading to an art collector's house and, far below it, APART)/(MELTED LOOSE) suggests an entirely different set of possi­ the ocean. Entering the space through a small gate, we are at first bilities, in this case those of freedom rather than destruction. The aware of Weiner's work almost subliminally, as a slight disturbance in words imply various ways that freedom can be gained, the sometimes our peripheral vision. But, about halfway down the steep slope, it active, sometimes protracted process that it might entail, and the sug­ becomes apparent that something is there, and, turning, we encounter gestion that it is an inevitable end. Depending on what happens in the a more or less exact description of our own situation and that of the mind of an observer, the work can be taken to refer to slavery or to house below and the people who live in it. The work itself, which was political or personal freedom, but it can also evoke purely physical pro- BROKEN ONE BY ONE WITH THE PASSAGE OF TIME

created without any particular location in mind, might in another con­ cesses as well. On first encountering it, the present writer thought of text be read as an illustration of the general tendency of matter to the chains that ancient city-states sometimes strung across their har­ resume a state of entropy. Here it takes on sharply particular mean­ bors to prevent entry by enemy fleets, and the accompanying image ings. As a visitor going down the steep slope, we see in a new way the was of a Phoenician city in the Mediterranean. A visitor to the muse­ precarious beauty of a particular kind of California life, combined per­ um from Eastern Europe, on the other hand, might see Weiner's work haps with a slight apprehension about our own safety in the event of from an entirely different historical perspective, as would a South an earthquake. The work's owners, on the other hand, typically expe­ African. rience it in the morning, as they leave their house and ascend the hill. The freedom from restrictions, the bursting of chains that is implied For them the encounter with its yellow letters gleaming in the sun­ by this work, can be seen as typical of Weiner's art as a whole and the light must provoke a rather different sense of danger past, of a sort of process by which he-and we-create it. By liberating himself and us daily triumph over the risks of life. from the limitations of the particular art object, Weiner has made a Because Weiner's work exists, finally, in our minds, it has an imme­ real and important advance in the expressive possibilities of art. His diacy and purity, what he once termed a "real reality," that previous work allows us to experience a multiplicity of meanings, and even works of art never had. A recent piece, which like MORTAR STONE though he sets us strongly in a certain direction he gives us freedom to AND SUCH was conceived without any idea where it might end up, is think, to feel, and to see for ourselves. It is in fact the freedom his currently painted on the top of a concrete tower in Vienna that was work gives us, together with the gentle insistence that we use it, that erected in World War II as an emplacement for antiaircraft guns. is the most extraordinary characteristic of his art. Because of the history of its supporting structure, SMASHED TO PIECES/UN THE STILL OF THE NIGHT) inevitably recalls the destruction of war, bombs falling and planes exploding in the air. Since the tower was erected by the National Socialist government that John Caldwell ruled Austria during the Second World War, one can hardly avoid other Curator of Painting and Sculpture CHECKLIST Lawrence Weiner Kunsthalle Basel, Switzerland CAPC/Mus�e d'Art Contempornin, Born in the Bronx, New York, 1942 The Kitchen, New York (also 1977) Bordeaux Chains wrapped around one thing and Lives and works in New York City another ... , 1991 1977 site-specifichand-lettering on walls of Laguna Gloria Museum, Austin, Texas SELECTED GROUP EXHIBITIONS North and South Octagonal galleries SELECTED INDIVIDUAL EXHIBITIONS J 1978 1966 , The artist may construct the work ... 1960 Renaissance Society,University of 25, Seth Siegelaub Gallery, New York 1969 J Chicago Cratl'ringPiece, Mill Valley, California 1968 site-specific hand-lettering on wall of 1980 Lounge Gallery 1964 Xerox Book, Seth Siegelaub Gallery, New Museum of Contemporary Art, Chicago York Seth Siegelaub, New York (also 1965, Untitled (study for South Octagonal 1968) Anthony d'Offay Gallery, London(also 1969 Gallery installation], 1992 1986, 1988,1989) WhenAttitudes Become Form, mixed media on paper 1969 22 3/4 30 (57.8 77.8 1981 Kunsthalle Bern, Switzerland; Institute­ x 5/8in. x cm) Konrad Fischer Galerie, Dusseldorf P.S. 1,The Institute for Art and Urban of Contemporary Arts, London (also 1970, 1972, 1975, 1977, 1981, 1984, Untitled rstudy for South Octagonal Resources, Long Island City, New York 1985, 1989) 557,087, Seattle Museum of Art Gallery installalion), 1992 1983 mixed media on paper Wide White Space Gallery, Antwerp, Janua.ry 5-31, 1969; March; July - 36118x 37 in. (91.8x 94 cm) Belgium (also 1972, 1973, 1977) Kunsthalle Bern, Switzerland August - September [3exhibitions], Seth (RUSTED FREE) (BUSTED OPEN)

Untitled [study for North Octagonal Galleria Sperone, Turin, 1984 Siegelaub Gallery, New York Gallery installation], 1992 Italy (also 1970, 1972, 1973, 1975) Espace Lyonnais d'Art Contemporain, Op L-Osse Schroeven:situaties en crypto­ mixed media on paper Art & Project Gallery, Amsterdam (also Lyon, France strucluren, Stedelijk Museum, 22 3/4 x 30 7/8in. (57.8x 78.4cm) 1970,1973, 1979,1980, 1984, 1985, Amsterdam; Folkwang Museum, Essen, 1985 1991) Germany Untitled [study for North Octagonal ARC/Musce d'Art Moderne de la Ville de Nova Scotia College of Art & Design, GaJlery installation], 1992 Paris 1970 Halifax (also 1971, 1979, 1983, 1986) mixed media on paper Conceptual Art and Conceptual Aspects, 36 1116 34 112 (91.6 87.6 1986 x in. x cm) 1970 New York Cultural Center, New York Fruitmarket Gallery, Edinburgh Galerie Yvon Lambert, Paris (also 1971, Information, Museum of ModernArt, Untitled [study for Lounge Gallery Marian Goodman Gallery, New York 1992 1972, 1974,1977) New York installation], (also 1989, 1990) mixed media on paper 1971 Software,'!'he Jewish Museum, New 1987 18 7/8x 23 7/8 in. (47.9x 60.6cm) York Leo Castelli Gallery, New York (also The Arts Club of Chicago 1972, 1973,1974,1976,1979,1981, 1971 Untitled [study forexhibition brochure 1986, 1991) 1988 cover], 1992 Sixth GuggenheimInternat ional Exhibi­ Stedelijk Museum, Amsterdam mixed media on paper 1972 tion, Solomon R. Guggenheim Museum, 18 7/8x 23 7/8in. (47.9x 60.6cm) Krefelder Kunstmuseum, Museum Haus New York California Institute of the Arts, Valencia Esters, Krefeld, Germany Pier 18, Museum of ModernAri, New York Untitled [study for exhibition brochure], Westf"i:ilischer Kunstverein, Munster, 1992 Germany 1989 1972 Portikus, Frankfurt, Germany 5, mixed media on paper 1973 Dokume11ta Kassel, Germany 23 114 x 31in. (59.1x78.7 cm) Biennall' di Venezia, Videogalerie Stadtisches Museum, Monchengladbach, J 1990 Schum, Italian Pavilion, Venice Untitled [study for exhibition brochure], Germany HirshhornMuseum and Sculpture Concept Kunst, Kunstmuseum Basel, 1992 Kabinett fur Aktuelle Kunst, Bremer­ ) Garden, Washington, D.C. Switzerland mixed media on paper haven, Germany (also 1975, 1978, 1981) Stuart Regen Gallery, Los Angeles (also 23114 x 31in. (59.1x78.7cm) 1991) 1974 1976 Le Nouveau Musee, Villeurbanne, Idea and Image in Recent Art, Art Stedelijk Van Abbemuseum, Eindhoven, France Institute of Chicago The Netherlands (also 1979, 1980) All works arecourtesy of the artist and Institute of Contemporary Arts, London 1991 1976 Marian Goodman Gallery, New York. (also 1991) DIA Center for the Arts, New York; Drawing Now, Museum of ModernArt, New York 1982 1990 Kosuth, Joseph. "Art after Philosophy." Rooms, P.S. 1, The Institute for Art and Dokumenta 7, Kassel, Germany Rhetorical Image, The New Museum of Studio International 178, no. 916 Urban Resources, Long Island City, Liue to Air(artists' �oundworks), Tate Contemporary Art, New York (November 1969): 160. New York Gallery, London Inquiries: Language m Art, ArtGallery Lawrence Weiner (exh. cat.). Munster: American Art illEurope, National­ Early Work: Lynda Benglis, JoanBrown, of Ontario, Toronlo Westfalischer Kunstverein, 1972. galerie, Berhn Luis Jimenez, Gary Stephan, Lawrence 1991 Weiner, The New Museum of Contempo­ Lawrence Weiner: Works from the Begin­ 1977 Word as Image: American Art1960-1990, rary Art, New York ning ofthe Sixties Towards the End of Bookworks, Museum of Modern Art, Contemporary Arts Museum, Houston the Eighties (exh. cat.). Amsterdam: New York 1983 Beyond the Frame: AmericanArt 1960- Stedelijk Museum, 1988. A View of a Decade, Museum of Contem­ In Other Words: Artists' Use of Language, 1990, Setagaya ArtMuseum, Tokyo porary Art, Chicago Part 2, Franklin Furnace, New York Lawrence Weiner Works 'With the Pas­ The Record as Artwork, Fort Worth Art When Words Become Works, Minneapolis sage of Time' (exh. brochure). Washing­ Museum, Texas College of Art and Design ton, D.C.: Hirshhorn Museum and Radical Attitudes to the Gallery, Art Net, The First Show, Museum of Contempo­ SELECTED BIBLIOGRAPHY Sculpture Garden, 1990. (Interview London rary Art, Los Angeles with Phyllis Rosenzweig) Battcock, Gregory. "Painting is Obso­ 1978 1984 lete." New Yol'k Fl'ee Press, January 23, Lippard, Lucy. Six Years: The Demateri­ About the Strange Nature of Money, Biennale di Venezia, "C'era una uolta" 1969, 7. alization of the Art Object from 1966 to (PULLED APART) (MELTED LOOSE)

Stadtisches Kunsthalle, Dusseldorf; (theatrical production with the Zattera __. "Documentation in Conceptual 1972. New York: Praeger, 1973. Stedelijk Van Abbemuseum, Eindhoven, di Babele ensemble), Venice Art." Arts Magazine 44, no. 6 (April McEvilley, Thomas. "I Think Therefore I The Netherlands; Musee National d'Art 1970): 42-45. 1986 Art." Artforum 23, no. 10 (Summer Moderne, Centre Georges Pompidou, 1985): 74. About Place, The Institute for Contempo­ Bos, Saskia. kPlowmans Lunch." De Paris; Palais des Beaux Arts, Brussels rary Art, P.S. 1 Museum, Long Island Appel, no. 4 (1982): 34-37. INK, Halle fiir Internationale Neue Perrone, Jeff. "Words: When ArtTakes a City, New York Rest." Artforum 15, no. 12 (Summer Kunst, Zurich; Louisiana Museum of Burnham, Jack. "Alice's Head: Reflec­ TVGenerations, LACE, Los Angeles 1977): 34-37. ModernArt , Humelback, Denmark tions on Conceptual Art." Artforum 8, 1987 no. 6 (February 1970): 38. 1979 Phillpot, Clive. "Words and Word Art and Language,Marian Goodman The New American Filmmakers Series, Cameron, 1'�ric. "Lawrence Weiner: The Works." Art Journal 42, no. 2 (Summer Gallery, New York Whitney Museum of American Art, New Books." Studio International 187, no. 1982): 122-25. Snow, Weiner, Nannucci, ArtMctropole, York 962 (Janunry 1974): 2-8. Toronto; toured Canada Rose, Arthur R. "Four Interviews with Oeuures Contemporaines des Collections Comic Iconoclasm, Insitute of Contempo­ Claura, Michel. "Entretien de Lawrence Barry, Huebler, Kosuth, Weiner." Arts Nationales: Accrochage 3, Musee Nation­ rary Arts, London Weiner avec Michel Claura." VH 101, no. Magazine 43, no. 4 (February 1969): 22- al d'Art Moderne, Centre Georges 5 (Spring 1971): 64-66. 23. Reprintedin Idea Art, Gregory Pompidou, Paris 1988 Battcock, ed. New York: E.P. Dutton, Art Conceptuel I, CAPC/Musee d'Art Francis, Mark. kA Passage to and from 1980 1973. Contemporain, Bordeaux the North." Alba, no. 1(Summer1986). Maria Nordman, Lawrence Weiner, Ger­ Modes of Address: Language in Art Since Schwartz, Dieter, ed. Lawrence Weiner hard Merz, Stedelijk Van Abbernuseum, Fuchs, Rudi. "Over Lawrence Weiner." 1960, The Whitney Museum of American Books 1968-1989: CatalogueRaisonne. Eindhoven, The Netherlands DeGids, no. 5 (1974): 385-88. Art, Downtown at Federal Reserve Cologne: Verlag der Buchhandlung Wal­ Sammlung Panza, Stadtisches Kunst­ Plaza, New York Gumpert, Lynn. "Lawrence Weiner" ter Konig; Villeurbanne: Le Nouveau halle, Dusseldorf (interview). In Early Work: Lynda Musee (Editeurl: 1989. Artists' Books, Museum of Modern Art, 1989 Benglis, Joan Brown, Luis Jimenez, New York LesMagiciens de la Terre, Mu�ee Weiner, Lawrence. Statements. New Gary Stephan, Lawrence Weiner (exh. 1981 National d'Art Moderne, Centre Georges York: Louis Kellner Foundation, cat.), 44-55. New York: The New Muse­ No Title: The Collection ofSol LeWitt, Pompidou, Paris Seth Siegelaub, 1968. Reprinted in Art um of Contemporary Art, 1982. Wesleyan University Art Gallery and the Conceptual Art: Une Perspectiue, Language 1, no. l 0969): 17-18. Davison Art Center, Middletown, Con­ ARC/Musee d'Art Moderne de la Ville de Judd, Donald. "In the Galleries." Arts necticut Paris Magazine 39, no. 4 (January 1965): 64. __. "The Artist and Politics: A Sym- posium." Artforum 9, no. 1 !September LAWRENCE WEINER: NEW WORK 1970): 37. February 20 -April 19, 1992 1. THE ARTIST MAY CONSTRUCT THE WORK

__. ..Not.es from the California Lec­ Lawrence Weiner: New Work is generously tures." Museum8.Journaal 26, no. 7 supported by the San Franci!'\COMuseum of (1981): 312-14. 2. ModernArt's Collectors Forum. • The San THE WORK MAY BE FABRICATED Francisco Museum of Modem Art is a pn­ __. Postrrs: Not•ember 1965 - April vately funded, member-supported museum 1986 (exh. cut..). Halifax: Nova Scotia receiving major support from Grants for College of Art & Design; Toronto: Art 3. THE WORK NEED NOT BE BUILT the Arts of the San Francisco Hotel Tax Metropole, 1986. Arts,a Federal agency.

Werke & Rekonstruktionen/Works and © 1992 San Franci�coMu�cum ofModern Art Reconstructions: Lawrence Weiner 401 Van Ness Avenue, Son Franc1Hco,California EACH BEING EQUAL AND CONSISTENT WITH (exh. cat.). Bern: Kunsthalle Bern, 1983. 94102-4582 THE INTENT OF THE ARTIST THE DECISION AS TO CONDITION RESTS WITH THE RECEIVER UPON THE OCCASION OF RECEIVERSHIP

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A SERIES OF RECENT WORK BY YOUNGER AND ESTABLISHED ARTISTS (RUSTED FREE)

(BUSTED OPEN)

(PULLED APART)

(MELTED LOOSE)