Exhibition Brochure, Carl Andre, Sculpture As Place.Pdf

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Carl Andre Sculpture as Place, 1958-2010

Dia:Beacon, Riggio Galleries 3 Beekman Street Beacon New York May 5, 201 4-March 2, 201 5 www.diaart.org Carl Andre Sculpture as Place, 1958-201 0

Gathered in this retrospective are fifty years of artistic output that trace the evolution sharpening of the critical faculties . . .. I think art is truly an open set. There are no and adamant commitment of one of the most radical and egalitarian proponents of ideal forms to strive for nor hierarchies to obtain to. Things have qualities. Perceive art in the twentieth century. Carl Andre redefined the parameters of sculpture and the qualities." poetry through his use of unaltered industrial materials and an irreverent approach to At the outset of Andre's explorations with both writing and sculpting, the question language. Along the way he created over two thousand sculptures and an equal number became not whether scavenging from the streets for materials or extracting words of poems, plus dozens of furtive objects and hundreds of postcards, all stamped by from a book enacted a new and copious stance for originality, or whether the anonymity an uncompromised affirmation of the history that accrues and binds both materials of the machine-made units or the typewritten text accounted for the juncture of and words. Carl Andre: Sculpture as Place, 1958-2010 is the first retrospective to instrument and instinct. It was rather that through thinking about the materiality consider the full spectrum of his art. Organized along a loose chronology to construct of sculpting and writing, the form of language and matter, the artist operates within modes of looking, the exhibition unfolds over six galleries and is grouped into three a historical development, providentially decodes and proposes a reading of present parts: sculpture, poetry, and his unclassifiable productions, from the enigmatic assem conditions, and ultimately shifts art into a realm of experience. The discovery of this blages known as Dada Forgeries to his wide-ranging ephemera. The relation to examination proved to be a defining event in Andre's unorthodox probing with sculp the notion of the "unaltered," whether manifested in his use of standardized units ture and poetry and led him to devise a notion of "place" that is charged with utopian or basic words, constitutes the basis of Andre's emphasis on the substance of matter energy and an invigorating understanding of art as a viewpoint into reality. It is the and his final pronouncement of "sculpture as place" as the decisive consideration of conjunction of these two modes of creation, the placement of materials and words, the medium. Andre's understanding of such distinction opens up an unambiguous that is the root of Andre's reciprocal relationship to place, where we may recognize and affirmative experience of art, one that restores validity to the analytical impulses our presence and "perceive the qualities." as much as to the sensorial and permits an entry into a "place" of liberties.

Yasmil Raymond, Curator, Dia Art Foundation Upon arriving in New York City in 1957, Carl Andre tested his creativity in writing, and an interest in drawing and sculpture rapidly followed. His first works, tabletop geometric constructions, were made primarily from wood, but he soon identified the limitations of his own craftsmanship and became intrigued by the inherent properties of manufactured materials-their form, weight, and surface. In a span of six years, from 1958 through 1964, Andre would vacate the residues of the artist's hand from his sculptures, which before this time he had made by chiseling and cutting with power tools to render slender pillars from single planks or stacks that rise from the ground to his own height. At the same time, accompanied by his avid intellect, a deep affection for poetry, and commitment to leftist politics, Andre would sharpen his ques tions and clarify his understanding of sculpture by making the typewriter his studio. In the 1960s, he generated over thirteen hundred pages of poems, in a monumental reflection that called attention to the subtle intertwining of materials and the English language. In his own words: "Art is not only the investment of creative energy, but the s

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6. Dada Forgeries, Photography, and Ephemera

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3. 4. Poetry 5. Passport

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London:

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1965.

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by James Meyer. Cambridge, MA: MIT Press, 2005. Press, MIT MA: Cambridge, James Meyer. by

1958-2010.

Ridinghouse

Haus Esters; Haus

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Solomon

4, Kassel, Germany (1968), and

(1997), and Museum Kurhaus Kleve, Germany (2011).

Marseille:

Krefeld at Home, Wolfsburg at Large.

Quincy, Massachusetts,

and

Edited

York City in

Place,

of his work. Alongside numerous public commissions and solo

Massachusetts,

London

1959-1977.

1997.

1996:

New

born

Marseille

In 1970 the

Documenta

Carl Andre: Elements.in Things Their

Halifax: Press of Nova Scotia College, Scotia of Nova Press Halifax:

was

Hause Lange Hause

an inseparable experience from his evolution as a sculptor. Immediate

1959-2004.

Sculptor

in Andover,

Become Form-Works/Concepts/Processes/Situations/Information,

retrospective

Haus Lange/Haus Esters

from his art practice since 2010, Carl Andre lives in New York City.

(1969).

in art and poetry, Andre worked for

relocated to

1964,

Andre:

Museum, 1978. Museum,

Museum fur Kunst, 1991. ModerneMuseum

Krefeld:

Karsten Schubert. Karsten

Buchloh.

Primary Structures: Younger American and British Sculptors,

Carl Andre: Carl Sculpture

Carl Andre: Sculpture

Cuts: Texts

Carl Andre: Extraneous Roots. Alistair. Rider,

Carl Andre Sculptor

Carl

Retired

Krefeld

Musee Cantini,

selected bibliography Bern

exhibitions, Carl Andre's five-decade career includes

Andre, Carl and Hollis and Frampton. Carl Andre, in 1965, and he participated in several landmark exhibitions of that decade, such as

About Carl Andre: Since Critical Texts and the Laguna Gloria Art Museum, acclaim followed his first solo exhibition at the biography

York (1966), Carl Andre Academy Attitudes then tions

~he first ~he

Lever Lever

New New York, 1975),

was was not unlike the railway

Lever Lever

(Twelfth (Twelfth Copper Corner,

New New York, 1969), drawing attention and pres

Madrid, Madrid, 1988), Andre's works viewers to invited

New New York, 1966), or a paving metal corridor through the

in in simultaneous terms of path, cut, and fallen column. A

Sand-Lime Sand-Lime Jnstar.

Roaring Roaring Forties,

46 46

Lever Lever

/-VIII. /-VIII.

(Scatter (Scatter Piece,

144 144 Magnesium Square,

Equivalents Equivalents

place place is an area within an environment which has been altered in such a way as

Meanwhile, Meanwhile, industrial materials in his sculpture also call upon a form of political

inscribed inscribed and expand the scope of the work's site-specificity into the historical present.

invading space space invading

later, "Place "Place later, the is finite domain of one or more cuts into This space." vision operated

like like volumes of equal square footage. Although the original work was dismantled, room room (as in

examine the the examine work in continuity with its location and as a location in itself.

radical radical experimentations with formlessness. Defining an enclave the in middle of a

exhibition exhibition space (

in in the orthogonal platforms that would become Andre's signature works, but also in

awareness awareness in the viewer: metal timber, plates, brick, and concrete, ready for use by brick, brick, which he titled

ence ence toward the limits and corners of space

"A "A

the the construction index the industry, stage of economy wherein the artwork is inevitably

space space was even more clearly emphasized in his set of eight a Equivalents, group of

and and

segments segments he had seen while working as a freight brakeman. This new approach to

creating creating two of his most important works from 1966, the floor-bound Andre Andre remade an indivisible copy of the work in 1995, using the original sand-lime

straight straight strip of 137 firebricks jutting out of the wall,

as as This place. last phase in sculptural development was realized Andre by when to to make the general environment more conspicuous," Andre said once, specifying

floor floor pieces consisting of different arrangements of 120 sand-lime bricks in platform

Andre Andre explained

to to his own evolution: sculpture as form, sculpture as structure, finally, and, sculpture

A A few

his his new

originally originally made

(New (New York,

gave gave

4 4 Corner Slant Stack,

Last Last Ladder

Tau and and Tau Right Threshold.

Pyramid Pyramid (Square Plan),

from from 1961, and the later

and and three-unit

was was the first to demonstrate that, under the artist's

into into space" and "places" themselves. He synthesized

FeLL, FeLL,

Tau, Tau,

move move

"cuts "cuts

(conceived (conceived at the end of 1964, presented 1965), a three

both both from 1964, on view in the vitrines located outside this gallery),

Redan Redan

followed followed by a two-unit

Squaw Squaw Rock,

Debasing Debasing the principles of verticality and autonomy in space, Andre

1959), 1959), Andre started working on a series of towering works of assembled lumber, methods, methods, a multiplicity of works could originate from exactly the same elements.

works works a double status of

the the history of human development in sculpture in three moments that he also applied

foot-high foot-high This wall. zigzag

Between Between 1964 and 1966, Andre was given his first opportunities to present his

(titled (titled We//) into

York, York, he transformed his proposal for a massive seven-foot rectangle of timber blocks

nonetheless nonetheless survived the dispersion of those early years.

sculptures sculptures in galleries. He stressed the mobility and interchangeability of units from

Herm, Herm,

planned planned in 1960 and realized the in 1970s. The series stemmed from the single-unit

the the outset, and in one of his earliest presentations, at the Tibor de Nagy Gallery, New

and and

crete, crete, acrylic, or steel (such as

original, original, small-sized models, made from diverse found materials such as cast con

in in 1959, many of those works were destroyed or lost before Andre could exhibit

recanted recanted from shaping matter and instead privileged manufactured supplies, which

known known today as As Pyramids. was the case for

for for his Element Series, consisting of a progressive arrangement of timber blocks, all

be be extended or recombined. abandonment abandonment of the carving tradition with the sculpture

them, them, and they had to be remade the by artist years That later. was also the case

unattached unattached identical units of industrial materials, arranged in structures that could

directly directly referenced contemporary industry and its intrinsic history. Exemplifying his

space space by means of a pedestal-he set out to create a body of works made out of

After After working on materials such as wood and plastic by cutting or drilling, Andre Challenging Challenging its principles-the unity of volume in a modeled material, separated in

Gallery Gallery One: Sculpture

fundamental fundamental canon that had informed the art of sculpture for many centuries. At At an early stage of his artistic investigation, in 1958, Carl Andre identified the New York, 1 960 New York, 1 (proposed)/Minneapolis,

ague, 1969

The

Turin,1973

New York, 1969

New York, 1960 (proposed)/New York, 1976 (made)

New York, 1959 (destroyed)/Orleans, 970 Massachusetts, 1

oronto; Purchased with assistance from the Women's

uminum ingots

New York, 1 960 New York, 1 (proposed)/New York, 1970 (made)

New 2007 York,

unit square

Track Run

New York, 1 966 New York, 1

unit redan of 3 tiers

Guggenheim Museum, New Gift, York; Angela Westwater, K. 1986

New 2002 York,

New York, 1964 (destroyed)/New York, 1970 (remade)

New York, 1966

xed Pipe

m (Element Series)

1971 (made)

rectangular solids, 7 a

Scatter Piece 33 ball bearings, 13 pulley discs,9 pieces of aluminum channel, 14 Plexiglas

Courtesy the artist and Paula Cooper New Gallery, York

Solomon

Seattle Art Museum; Gift of Sidney and Anne Gerber

Pyramid (Square Plan)

Western red cedar; 1 unit Eastern pine; 74-unit stack Dallas Museum of Art; GeneralAcquisitions Fund and matching funds from The 500, Inc. Tau(Element Series) Lever wood (not specified); 2 units

National Gallery of Ottawa; Canada, 969 Purchased 1 Tau and Tau Threshold Right (Element Series)

wood (not specified); 3 units

(remade)

Wexner Center for the Arts Doris and Donald Fisher Collection

144 Magnesium Square Private collection; Courtesy Fundaci6n Almine y Bernard Ruiz-Picasso para el Arte, Brussels Arte, el para Alminey Bernard Ruiz-Picasso Fundaci6nCourtesy collection; Private magnesium; 144

12 firebrick; 137-unit line

Redan 9th Cedar Corner

copper; 7-unit line

steel; 12-unit line Collection Sheldon and M. Mary Berlow, Buffalo, New York Collection Stella Lohaus,Antwerp

Western red cedar; 45-unit right triangle

Seventh Copper Cardinal Committee Fund, 1971

ALM EAR ALM Tate; Purchased Tate; 1973 aluminum ingots; 4-unit pyramid of three tiers

fir timber; 27 Art Gallery of Ontario,

checklist

4. 0. 1

11. 5.

26 27 28 29 30

22 23 24 25

9 8

Gallery One Mrs. Michael Mrs. Chapman, 1975

New York, 1958

New York, 1964

Quincy, Massachusetts, Quincy, 1959

New York, 1964

New York, 1959

New York, 1966

New York, 1964

eld

New York, 1961

ine

MJS Collection, Paris

Demeter

Fell acrylic; 1 0-unit acrylic; stack 1 MJS Collection, Paris

Alnico magnets (bright); 81-unit rectangle Addison Gallery of American Art, Andover,Massachusetts; Phillips Academy, Gift of Maud Addison Morgan, Art Drive, 1992

Persephone

Untitled (Negative Sculpture)

4 Corner Slant Stack Raymond and Patsy Nasher Collection, Nasher Sculpture Center, Dallas steel; 2 units

Hour Rose pine, paint pine,

Alnico magnets (dull); 20-unit rectangle Stenn and purchase, 2005 Addison Gallery of American Art, Andover,Massachusetts; Phillips Academy, Gift of Maud Addison Morgan, Art Drive, 1992 acrylic

Quincy Slot Work wood (not specified) Whitney Museum of American Art, New Gift York; of Michael Straus

Privatecollection

cast concrete 6-unit bars; stack

Gold F gold

The Museum of Modern Art, New Fractional York; and promised gift of Irving Squaw Rock

The Museum of Modern Art, New Gift York; of Mr

East Vit

22.

23.

24.

25.

26.

27.

28.

West V 29.

30.

New York, 2008 New York,

New York, 1975

ack

Antwerp, 1969

Madrid, 1988

New York, 1966 (destroyed)/New York, 1995 (remade)

bbon

num S

Antwerp, 1969

New York, 1959

New York, 2002 New York,

Guggenheim Museum, Collection,New Panza York; 1991

New York, 1969 (proposed)/Marseille 1997 (made)

ng Forties

bbon

nc Ribbon

Solomon

zinc; continuous 1 strip

Last Ladde pine Courtesy the artist and NewCooper Paula York Gallery,

Courtesy the artist and CooperNewPaula York Gallery,

copper; 78-unit triangle of twelve rows Seattle Art Museum; Gift of Virginia and Bagley Wright Collection in honor of the 75th Anniversary

Tin R tin; continuous 1 strip

Courtesy the artist and Konrad Fischer Galerie, Dusseldorf aluminum; 101-unit, two-tiered row along base of wall

Base 7 Alum Twelfth Copper Corner Collection Bing and Migs Wright, New York magnesium; continuous 1 strip

sand-lime brick; eight 120-unit rectangular solids, 2 units high Courtesy the artist and Konrad Fischer Galerie, Dusseldorf

Tate; Purchased Tate; 1972 weathered steel; 46-unit rectangle ALTOZANO

aluminum ingots; 49-unit pyramid of thirteen tiers

Magnesium R Sand-Lime lnstar Collection Jonas Lohaus, Kapellen, Belgium

46 Roa

1 7. 1

18.

19. 16.

13.

15.

21.

20. Galleries Two and Three: Sculpture

Carl Andre summarized his artistic production in an often-quoted adage: 'Rather than the qualities of a certain solid (weight, texture, color) but also highlight its occupancy cut into the material, now I use the material as the cut in space." The specificity of his of space, the void its mass can fill-mass replacing, in some cases, the very concept sculptures within or in contrast to the architecture of an exhibition space is contained of form. in his idea of the sculptural cut: less a gesture than a locus-a place that the viewer can experience, rather than a representation or trace to be looked at. Andre's explo Seizing the spaces where they find themselves, the works illustrate the artist's rations of these guiding principles, the cut and the place, appeared in diverse materials, interest in more expansive formats by means of geometric addition and mathematical configurations, and scales. His Squares and Plains, tiled areas of metal plates progression, as exemplified by UncarvedBlocks (Vancouver, 1975). A combinatory arranged side by side at floor level, are perhaps the most paradigmatic examples of sequence made from unaltered timbers, this work epitomizes the artist's almost Andre's places. Originally meant to be walked upon by viewers, these sculptures are expressive use of identical particles. Like the Element Series, UncarvedBlocks is less visible objects than they are platforms for the interrogation of their surroundings. a progressive ensemble, evolving from two- to five-unit sets. Sets of identical size Instead of being observed, the sculptures are points of observation, and their incon are differentiated by their orientation-north, south, east, and west. Each set points spicuousness is, in that sense, strategic. Varying in extension and imbued with the toward one or more imaginary 'ways" or paths, not unlike a direction pole or a specific properties of the chosen material-normally the most common metals in perfectly immobile weather vane. The combinations are determined, and limited, industrial production: steel, iron, copper, lead, zinc, and magnesium-Andre's Squares by the repeated shape of a single timber block resting on each of its sides. were produced from 1967 until 2010, when he created the last of his large-scale Progressively gaining access to a larger number of materials-wood, concrete, works as a vast, almost intimidating steel pavement, titled 9 x 27 NapoliRectangle. aluminum, and graphite-the artist expanded the scope of earlier explorations,

While floor-bound works may be thought of as rooms without walls, Andre also reclaiming larger surfaces without the burden of monumentality. This ambition is investigated other forms of display where materials were organized in a more visible present in Lament for the Children(New York, 1976), another major example of but no less strategic-manner, taking the appearance of barriers, embankments, Andre's take on mass and seizure of space. The artist used one hundred found ramparts, and even barricades. Andre's claim to actual space was imposed onto the cement blocks, displayed following a grid-like pattern. The original setting for the navigation of the visitor, altering the convention about sculptures being freestanding work was a demised playground, and this inspired the title, which Andre borrowed forms that one walks around. Intentionally dominating the space in ways that are at from an elegiac Scottish bagpipe tune. times self-referential, these works are site-specific yet never strictly autonomous. The presentation of sculptures is completed by Joint (Putney, Vermont, 1968 Rather, they seem able to ever establish illuminating dialogues with a multiplicity of [destroyed]/Beacon, New York, 2014 [remade]), one of Andre's first earthworks, architectural environments, while carrying the memory of their original context of which has been specifically refabricated for Dia:Beacon and installed by the artist production. Neubruckwerk,for instance, exhibited in 1976 at Konrad Fischer Galerie on the building's back lawn. Originally conceived as an ephemeral work, Joint consists on Neubruckstrasse, in Dusseldorf, is explicitly named after that original site. In other of a long line of hay bales connecting two spaces, joining-but also cutting through examples, the sculptures are symbolically charged-as in Breda (The Hague, 1986), the limits of a forest into a gardened area. a row of crosses made from Belgian blue limestone whose title contains a reference to the historical siege of a fortified Dutch city; or in Pyramus and Thisbe (Dusseldorf, 1990), where two rows of timbers echo the mythological story of two lovers who live separated by a wall. Andre's cumulative constructions-stacks or piles, ridges or islands-such as Fermi and Triskaidek(both New York, 1979), not only demonstrate 47

Basel, 2005 Basel,

Naples, 2010 Naples,

Vancouver,1975

Di.isseldorf, 1976

The Hague, 1986

Putney, Vermont, Putney, 1968 (destroyed)/Beacon,

27 Napoli Rectangle

Breda Belgian blue limestone; 97 units

Neubriickwerk

Uncarved Blocks 44 graphite blocks,44 graphite 44 bricks, copper plates

Kunstmuseum Wolfsburg

Courtesy the artist and Konrad Fischer Galerie, Di.isseldorf

Musee d'Art Contemporain, Montreal

Courtesy and the Sadie Zuoz, artist, Galerie Tschudi, 126-unit row in New York Coles HO, London

Western red cedar; 19 units

44 Carbon Copper Triads Western red cedar; 47 units

Privatecollection

9 hot-rolled steel; 243-unit rectangle

New York, 201 4 201 New (remade) York, hay bales; hay 183-unit row Vermont, in

Courtesy the artist and NewCooper Paula York Gallery,

Joint

Gallery Three

43.

checklist

44.

45.

46.

47.

south lawn (by appointment):

38 39

34 35

31 32 33

Miinchengladbach,

New York, 1969

Di.isseldorf,1969

New York, 1969

New York, 1976

Brussels, 1974

Di.isseldorf, 1990Di.isseldorf,

ium Pla

New York, 1969

isbe

New York, 1976 York, New

New York, 1979

Square

and Th

ium-Magnes

New York, 1979

Aluminum Square

dek

n Square

ska

Segment Hexagon

nc-Steel Pla

Magnes magnesium; 36-unit square Privatecollection

Collection Di.isseldorf Fischer,

Nathalie and Charles de Gunzburg blue steel; 156-unit cellular hexagon

zinc, steel; 36-unit zinc, square Collection Jill and Peter Kraus

Privatecollection

Steel steel, aluminum; 100-unit square Copper-Aluminum Pla copper, aluminum; copper, 36-unit square

64 Coppe Centre Musee Paris, Pompidou, national d'art moderne/ Z copper; 64-unit square Centre de creation industrielle Collection Virginia Dwan

64 T hot-rolled steel; 36-unit square MJS Collection, Paris

Pyramu

Courtesy the artist and NewCooperPaula York Gallery, 4 Fermi

Courtesy the artist and CooperNewPaula York Gallery,

Lament for the Child 8005 Monchengladbach Square tin; 64-unit square Germany, 1968

Western red cedar; 20 units in 2 walls

Western red cedar; 121-unit square

Courtesy the artist and CooperNewPaula York Gallery,

Glen stone Glen

(destroyed)/Wolfsburg, 1996 (remade) concrete; 100-unit square

Tr Western red cedar; 91 units

Gallery Two

31.

checklist

32.

33.

34.

35.

36.

37. 40.

4 1. 4 38.

39.

42. Gallery Four: Poetry

, "My interest in elements or particles in sculpture is paralleled by my interest in words performed on multiple, equivalent particles; the latter based on the sequencing and as particles of language," Carl Andre said in 1975. While he could not materialize his recombination of an existing source text. In one hundred sonnets ( 1963) Andre uti most radical sculptural concepts until the mid-1960s, the simple format of his poetry lizes the traditional arrangement of fourteen lines and lays out his belief that every (typewriter ink on paper) afforded him a complete autonomy from the very start of word is a poem in itself, dismissing poetic figures and the sentence altogether. his investigations. Andre's early incursions in experimental verse can be traced to Stillanovel ( 1972), on the other hand, represents the ultimate example of Andre's his years at Phillips Academy in Andover, Massachusetts, but his first mature poems art of the typewriter: as syntax is dismantled, the grid remains, allowing the artist to coincide with his arrival to New York in 1957. refashion a preexisting story that is now scattered through the page. Cut and rear ranged in all directions, the book explores a tragic episode in the life of Eadweard Multiple experiences and influences informed Andre's writing: his fascination with Muybridge, the famous photographer and pioneer of motion-picture projection who early American history; his readings of Ezra Pound, Gertrude Stein, and William also exerted a strong influence on many conceptual artists. It is dedicated to Andre's Carlos Williams; his discussions with fellow artists Hollis Frampton and Frank Stella; close friends Sol LeWitt and Hollis Frampton, who greatly admired Muybridge. and even his temporary employment as an editorial assistant and indexer in New Stillanovel was composed at the last stage of Andre's poetic production, after which York City determined his objective and radically visual approach to the poetic craft. he produced a number of handwritten planes-also featured in these galleries- The selection presented here illustrates how far Andre's poetry accompanied, and and finally abandoned this practice around 1973. even foreshadowed, his materialistic and modular take on the art of sculpture. ~ Many of Andre's poems are difficult, if not impossible, to read aloud. While the artist Since their earliest formulations, Andre's poems (also referred to as "typewriter insisted upon the purely visual-and barely semantic-qualities of his "planes," he drawings" and "planes") have shown his effort to dismantle any traditional notion of also produced a number of operas to be performed publicly. Although words are lyricism, extending their breaking force to grammar itself. Confronted with a page their main components, these pieces-exemplified here by NAMES, WORDS, and where words often compose figures rather than sentences, the reader's eye looks DITHYRAMB (all 1964)-are scores rather than simple librettos. Using in each case instead for connections between lines, columns, and blocks. Some poems are simply an intuitive notation system, Andre provides readers with all necessary instructions laid out, but others may require a more ingenious approach by the reader to make to become performers in an event that could well be summarized as "polyphonic sense of them. reading." Exempt of musical accompaniment, impartially read instead of sung, these works manifest once again Andre's interest in radically secularizing the poetic forms, Andre's typing methods are essentially based on three patterns: the grid (informing dispensing from personal accents and emphasizing the qualities of language itself. spatial display), the list or index (classification), and the mathematical sequence , (replacing, in many cases, grammar). Using interchangeable particles of language as modular units, aligned rather than conjugated, Andre applied some of the principles .J Carl Andre: Sculpture as Place, 1958-2010 presents two rotations of poetry during the that would dominate his sculptural work, but also depicted areas of American history exhibition. Please consult the checklists in the gallery for current selections on display. or his own autobiographical memory. ~

Two important sets are included in the current display. Together they total about two hundred sheets and represent two extremes of Andre's poetics, a "nominalist" and a "constructivist" impulse-the former oriented toward simple operations repetitively lJ

1960

photocopy ( 1970); ( photocopy

Passport,

Gallery Five

Pages are arranged clockwise from the gallery entrance. the galleryfrom clockwise arranged are Pages

color 88 sheets Courtesy the artist and Paula Cooper Gallery, New York New Gallery, Cooper the Paulaand artist Courtesy

checklist

Passport

a color

presented

Crane)

the treat techniques

is a visual

geological core

decision to include

Stella,and Arshile

to produce

Passport,

the original version

life,

in 1960,

Seven Books of Poetry,

(Andre's dealer at the

Andre's

life

Though

of his

Waldo Emerson, Hart

when the artist devised specific

Brancusi, Frank

x-ray

Ralph

Carl Andre decided

Virginia Dwan

1990s,

stands for him as a safe conduit by which

Byron

1970

the world.

works on paper).

Passport

into

his

by the by author as an

access

exhibit it accordingly (Andre's poems were generally

was directly made on a bound book, using traditional

art works (by Constantin Goya,

Understood

himself

revision allowed him to align the work with the rest of his production in

1960)

(

pieces hung on a wall until the

somewhat analogous, which justified may have

This

words are significantly less numerous than images in

occupies a place of exception in Carl Andre's production. A scrapbook

historical

framed

Passport

Passport memorializing disparate materials from Andre's everyday

Gallery Five: Passport

edited by Seth Siegelaub and published by

work that the author nevertheless included in the anthology

time) as a black-and-white photocopy edition in 1969. of of collage, ink, and pencil drawing, in edition using then-cutting-edge Xerox technology that was not yet commercially available. single sheets, and as

ment of both-especially if we compare it with Andre's autobiographical, indexical poems-is vitrines for the presentation of it among other, more heavily language-based series. An intimate document,

appears as the visual equivalent of a personal andiary, album where the author's Although

Gorky, forGorky, instance) and figures (Lord

work, his friends' and lovers' effigies, and his life's trivia are mixed with representa tions

sample" drilled through his brain,

that he admires.

the artist grants Scenes and

Quincy Book,

edited by Gregoire

muse"; the muse"; latter is a

(1977-1992):

contain art-historical references

"sleeping

Years

Balzac

and

The New The Avant-Garde,

Margit Endormie

did Andre himself hold the camera to capture the spaces of his everyday

Variations

Excepting the photographs by Hollis Frampton documenting his early sculptures,

Muller. Since Andre had always refused to work in a studio, this was the only way for

photography enters Andre's work in rare instances, mainly in the form of collabora

Gorgoni strolled through New York's Meatpacking District-one of Andre's scaveng a piece of cardboard. ing sites-as part of the book project (the former evokes Constantin Brancusi's famous

found "replica" of Rodin's statue). They are both from 1989, the year of Carl Andre's him to present the photographer with a real working situation. Again trying to make a second exhibition of Dada Forgeries at Julian Pretto Gallery, New York.

had been his teacher at Phillips Academy in Andover. The result was

life, which he then numbered, classified, and shuffled.

Manuel Assistant Cirauqui, Curator, DiaArt Foundation

of Guiney, Massachusetts, with the help of Gordon "Diz" Bensley, a photographer who

a small publication that accompanied Andre's exhibition at the Addison Gallery of tions. The first dates from spring 1970, when Andre and photographer Gianfranco American Art in 1973. Only in the later work

visual statement about the origins of his work, Andre set out to portray his hometown

(

1963) evokes the famous parable of the camel (here a pack

(1959), the earliest surviving work of the series, consists quite

(

(1988) reproduces the words of Pontius Pilate ("ecce homo") on

EC. HO.

Cask of Meats

The Sigh The of Immortality

Gallery Six: Dada Forgeries, Photography, and Ephemera materials was restricted, sometimes intimate-which may be explained the by artist's Carl Andre's creative thinking was never limited to the production of sculptures and need for a shared space, a form of proximity, as a condition for communication. poetry, but rather developed in different ways as a reaction to various spatial, political, and social environments and conditions. Intensely present in the debates of his time

in benefit exhibitions for those causes. He also helped pioneer the use of the photo copy as a medium for artist book editions, although the circulation of some of these

religion.

His humorous and irreverent spirit did not stop even for the very sacredness of (the Vietnam War, the rights of art workers against museum and art market policies), correspondences he maintained with fellow artists and other peers (critics, curators, Andre sent numerous statements and letters to editors of art magazines; contributed Forgeries. First documented by Hollis Frampton-who had photographed some of dealers), especially in the form of postcards. At times conveying messages in con to the production of pamphlets, brochures, and political publications; and participated

collections speak of Andre's numerous travels and his constant need to share ideas Marcel Duchamp's invention of the They readymade. can be read as visualsly puns, with friends and acquaintances. Kept in the collections of fellow artists, art historians, in many cases titled in French, and often conveying references to art sex, history, and and curators, these documents demonstrate once again Andre's permanent urge for sampling and sorting, numbering and free association. simply of a book of literary criticism with a three-inch hole drilled through its center, Andre's for passion debate and intellectual exchange alsois manifest in the numerous and is one among jests several executed with and against books. Also from this

art, and it appears in a singular body of assemblage sculptures known as Dada two series, free-standing works obliquely reference the figure of Jesus of Nazareth:

ventional prose,and at times serialized in the manner of 1970s mail these art, card Andre's earliest, and now lost, sculptures-these works were fabricated by Andre as playful aberrations of his own identity as an artist and of the nature of art after rod), while

of cigarettes of the same name) and the eye of the needle (represented by an iron 1973

1990

1989

1990

1991

1988

John Qu John

scs

story of Music

eonard Rosenberg, New York

1963

Sat

1989

1994

riessche, Belgium

owe/Kimberly Klosterman, Cincinnati, Ohio

graphite inscription, copper nails

1988

s Rectangular H

1959

with

1986

Schwartz and Julian Pretto

1989

tle of This Work Is Apparent When Taken Apart)

paper collage, coin

painted book

l'Ame Amoureuse modified book Collection Eileen and Michael Cohen, New York

Dark Tw Memorial to the Silver Certificate

Monument to Contraception Collection Jenny Van Estate of Reno Odlin; Courtesy Galerie Arnaud Lefebvre, Paris

Balzac Private collection, New York bell jar, bell bread with ink inscription Collection Brandon L. Krall

Collection L. Brandon Krall

Cask of Meats Collection Julian Lethbridge

ink on sticker, ink on metal paper, Collection Colombe Nicholas and Collection Michael Courtesy the artist and Paula Cooper New Gallery, York wood, laminated pine Collection Brandon L. Krall

The Young Person Collection Jenny Van Driessche, Belgium

Sculpture Incorporating Three Red D found wire, Bakelite with graphite inscription Eugene M. found copper sign, iron

The Birth of Knowledge wood tennis-racket frame, leather-bound book tobacco, plastic paper, tube, tin box STOP THE GAME WHOSE ONLY RULE IS ITS NAME

wood, aluminum The Golfing Party of Brancus threaded nickel-steel; 4 units

(The T metal, glass, book

Allegorical Portrait of the Trustees of the Museum of Modern Art

Whitney Museum of American Art, New Gift York; of Angela Gilchrist in memory of

11.

12.

13. 1 0. 1

checkl 4.

~, ~~

~\ I

)

37 36 35

table

19 18

11 10 9 8

1 2 3

40 39

42 43 44 45 46 47 48 49 50 22 23 24 25 26 27 28 29

91 90

86 88 87

54-78

85 84 83

80 81 82

Gallery Six 14. Foot Candle, 2002 25. Postcard, Carl Andre, June 1975 leather and black cloth shoe, pressed glass candlestick holder, candle screen print on paper, ink Collection L. Brandon Krall Courtesy the artist

15. Ma Melon, 1983 26. Postcard, 4872 Unblocked Stones, June 1976 rubber, plastic screen print on paper, ink Collection Jenny Van Driessche, Belgium Courtesy the artist

16. Margit Endormie, 1989 27. Postcard, Free Theory, 1976 tennis ball with ink inscription, bent metal spring screen print on paper, ink Collection L. Brandon Krall Courtesy the artist

17. Lion of Judah, 1990 28. Postcard, Mac Arthur Lane, 1977 iron found objects screen print on paper, ink Collection Francis Mistiaen, Brussels Courtesy the artist

18. Objet d'artre, 1989 29. Postcards to Phyllis Tuchman, May 1977 found wood, iron screen print on paper, ink, stamp; 10 postcards Collection Yvon Lambert, France Phyllis Tuchman Collection

19. La Terre Dupee, 1988 30. Postcards to Marianne Scharn, 1993-2002 wood screen print on paper, ink, stamp; 12 postcards Yale University Art Gallery, New Haven, Connecticut; Richard Brown Baker, BA, Courtesy Arnaud Lefebvre, Paris 1935, Collection 31. Tartan Postcards, Postcards to Marjorie Strider, 1970 20. !.:oeuvre incommencee, 2003 screen print on paper, ink, stamps; postcards 73-77/124 canvas, clay Layla Moget, on long term loan to LAC., Lieu d'Art Contemporain, Sigean, France Courtesy Galerie Arnaud Lefebvre, Paris 32. Tartan Postcards, Postcards to Marjorie Strider, 1970 21. The Rim of Apostasy (for JP), 1989 screen print on paper, ink, stamps; postcards 78-83/124 wood, metal Collection Michel Bernheim Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts; Gift of Werner Kramarsky, 2006 33. Tartan Postcards, Postcards to Marjorie Strider, 1970 screen print on paper, ink, stamps; postcards 1-72/124; 84-124/124 22. Andre: Periodic Table, Courtesy Arnaud Lefebvre, Paris exhibition poster, Dwan Gallery, New York, 1967 screen print on paper 34. Untitled Correspondence with Reno Odlin, 1975 Collection Virginia Dwan offset print on paper; ink; envelope; stamps Estate of Reno Odlin; Courtesy Arnaud Lefebvre, Paris 23. Carl Andre, 1968 black-and-white screen print, cloth, box 35. The Loss of Virginity, Correspondence with Reno Odlin, 1974-75 edition of 660; 2 copies on display offset print on paper, ink; published by Stii.dtisches Museum Abteiberg, Miinchengladbach, Germany 5 envelopes containing 2 printed sheets each Collection the artist; Courtesy Paula Cooper Gallery, New York ( Estate of Reno Odlin; Courtesy Arnaud Lefebvre, Paris 24. Quincy Book, 1973 36. Preface, 1974 staple-bound book, offset print on paper 31 envelopes with 1 found page each unnumbered edition; 2 copies on display Collection Virginia Dwan published by Addison Gallery for American Art, Phillips Academy, Andover, Massachusetts Collection the artist; Courtesy Paula Cooper Gallery, New York 37. Postcard, November 1, 1974 ink on paper (sealed and stamped envelope, empty) Collection Virginia Dwan 1984)

960-61

1960-61

1958

1977-92

1963

c. 1960-61 c. 1960-61

c. 1960-61

, ,

2009)

1936,

959

1924,

Variations

Platonic Love)

958

efebre, Paris

pages

aula Cooper New Gallery, York

959

Scenes

2013)

copies on display

c. 1960

ty (a.k.a ,

ey (American, b.

ollis Frampton (American, b.

(reprinted

copies;

1988

1971

ce by Carl Andre

gelatin silver prints; exhibition copy

udd Foundation

15 YEARS (1977-1992)

spiral-bound artist book; edition of published byGalerie Arnaud Collection the artist; Courtesy Paula Cooper New Gallery, York

iron cigarette rod, pack

EC. HO

Untitled (Negative Sculpture) by Carl Andre

steel, cardboard Private collection

The Sigh of Immortal

Gordon "Diz' Bens Quincy

Collection the artist; Courtesy Paula Cooper New Gallery, York

First Ladder by Carl Andre

Found Steel Object Sculptures by Carl Andre Untitled by Carl Andre

Untitled by Carl Andre

Found Steel Object Sculptures Carl by Andre

Chal

Found Steel Object Sculptures Carl by Andre

Found Steel Object Sculptures by Carl Andre

Found Steel Object Sculptures by Carl Andre Quincy Slot Work by Carl Andre

Untitled (Negative Sculpture) by Carl Andre

50.

51.

53.

Photographs by

Collection the artist; Courtesy

54. 55.

56.

All works gelatin silver print

Top row Top left to right

57.

58.

59.

60.

61. 62. 63.

64.

65. Bottom row left to right

66.

(

974

1974

ew York

lery, New lery, York

ery,

osen Ga

c. 1975

aula Cooper Ga

983

Correspondence with Jennifer (Licht) Winkworth

pieces

rust,

auh Pulitzer

958

or Double Solitaire

1958-63

eiber

958-63

opes;

1958-63

ection; Courtesy Andrea

ection; Courtesy Andrea Rosen New Gallery, York

Emily

ustrations, book envelopes cover,

c. 1958-63 c.

(Study for Cuts),

rancisco

l on paper

ection

ection the artist; Courtesy

ection Michael Straus, Birmingham, Alabama

ection the artist; Courtesy Paula Cooper New Gallery, York

958-63

vate co

he Steven

rivate co

rivate collection; Courtesy Andrea Rosen New Gallery, York

Lawns and Sports Greens, Correspondence with Emily Pulitze printed i

Body Type Postcards

paper, enve paper,

San

postcard collage in envelope Collection Virginia Dwan

Untitled

Tower Bridge

printed board collage on board

printed board collage on board Private co Untitled Untitled printed board collage on board Private collection; Courtesy Andrea Rosen New Gallery, York Private co

Untitled ink on paper (thumb and stamp print) P Record Book Untitled book

penci P

Notebook

C. Co

sheets of paper printed as monotypes; double-sided Co typewriter ink on fabric

book Co

The Book of the Rhone Seal

39.

4 1. 4

44.

46.

47.

49. 1968

russels, and

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969-79

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Michele

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ery, London ery,

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ery, New ery, Anthony York; d'Offay London Gallery,

(printed)

1975

;

aula Cooper New Gallery, York

ack Wend

er, New er, York

2003

ew York, and ew York, Seth Siege

aula Cooper Ga

aula Cooper New Gallery, York

ong and Lisson Ga

Three Operas, Theory A of America Poetry, Drill, Passport,

aub and

extra volumes

(typed)/

Emergency Cultural Coalition and Artists and Writers Protest

ive

2000

c. 1959 by Paula Cooper Ga

ery, New ery, York

liam

1972

963

wan Gallery,

es Maitres de Forme Contemporains

ar in Vietnam, New and York, Customs Communications Systems,

992

plus ook, paper, vellum, carbon vellum,ook, paper, transfer printing

600

c. 1972

, 1

100

78,

oundation, New York

pts vinyl in binde

aper, cloth-bound aper, book

bound

scr

ished in

a Cooper Ga

ection the artist; Courtesy

ished by

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ition A o b

rivate collection; Courtesy Andrea Rosen New Gallery, York

ia Art ia

sson Gallery

First Five Poems ink on paper; 6 pages P

Carl Andre: Three Vector Model

nk on

book edited by Seth Siege published bySiegelaub/Wend Co

book

published by Black

D Andre/Barry/Huebler/LeWitt/Morris/Weiner (a.k

Courtesy the artist and Paula Cooper New Gallery, York

edited by Benny Andrews and Rudolf Baranik

South Hackensack, NJ

unnumbered edition Shooting a Script produced byWi Li edition of

Attica Book

" Against the audio cassette

pub produced by Rosemarie Castoro

Audio Arts 2, No. 2

STILLANOVEL cloth edition

Courtesy the artist and Paula Cooper New Gallery, York Seven Books of Poetry One Hundred Sonnets, and Odes, Lyrics Shape and Structure set of seven books, Xerox man e pu Courtesy the artist and

book

pub Pau

America Drill

edition

Courtesy the artist and

84.

86.

87.

88.

90.

970

28,

October

960-61

960-6

776,

1958

c. 1960-61

c. 1960-61 c. 1960-61 c.

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ew York

941)

aula Cooper Gallery, Ne,:., York aula Cooper Ne,:., Gallery,

ted States of America

ing,

959

1 1960

1960

ection

1976-77

c. 1960 c. c.

, ,

1975 ,

Pub ration of Independence of

Publishing,

talian, b

Benefit for the Student Mobilization Committee to the End of the

; Courtesy ;

ite t

968

ring

Winter

aula Cooper New Gallery, York

e Decla

pboard with ink

avid Platzker and Susan lnglett

y Art-

ograph on paper

rint on paper

d b

e of

ambert, Paris

lithograph on paper

lith

on ch

r t

is im

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gelatin silver prints; exhibition copy

een

set

ianfranco Gorgoni Co

ubl

Found Steel Object Sculptures by Carl Andre

Baboons by Carl Andre pa Maple Spindle Exercise by Carl Andre

Fold-out invitation p

p P

G p The Declaration of the Fifty Un facs Found Steel Object Sculptures by Carl Andre C offse Untitled by Carl Andre Yvo

A Marat by Carl Andre Collection Untitled by Carl Andre sc Found Steel Object Sculptures by Carl Andre Gianfranco Gorgoni ( Found Steel Object Sculptures Carl by Andre Selections from The New Avant-Garde: Issues for the Art of the Seventies

Untitled (Negative Sculpture) by Carl Andre Found Steel Object Sculptures by Carl Andre Art-Rite, no. 14 of

Art-Rite, 9 no. Untitled by Carl Andre

War Vietnam in

7 76 69. 70. 7 71 78. 72. 79. 73 82 67. 7

68 8

83.

8 Bill

The

and is on

and Adam

McNeil;

Dayan

LeWitt

artist and presented

the

Paula Cooper; and Cooper; Paula

Anderson, Kurt Diebboll,

Schaeufele, John Schaeufele, Sprague,

HO;

Jim

and Amalia

Foundation; Henry

2, 2015.

Carl Andre: Carl Sculpture as Place,

York State Council for the Arts,a State

Held, Brian Thomas Higbee, Huber,

second part focuses on Andre's poetry

Arts; Generous support and Sotheby's. is

Bowen, Timothy Bowen,

March

Edward Lee;

the

selection of over two hundred pages of

The Matt

Mike Prudhom,

for

the New

14.

is madepossible by supportlead from the Henry

presents a selection of Carl Andre's poems,

This

for American Art. Majorsupport the is provided by

and Tony Yori, for and Tony Yori, their care in handling and installing

para el para Arte; of The Brown Houston; Foundation,Inc.,

Dia:Beacon,

at Aspen Community

Agnes and

eWitt.

Pulitzer.

commemorates the longtime friendship and productive

Institute

Vancouver, 1975. Western red cedar; 47 units. 12 x 36 12 47 x 12 units. cedar; red Western 1975. Vancouver,

Fund

Tannone,

provided

Gallery; and Angela Gallery; Westwater, Sperone Westwater.

Carl Andre/Licensed by VAGA, New York New VAGA, by Andre/Licensed Carl

Patrick Heilman,

that

24, 2014, through

Rauh

Art

October 18,

Levy

mily

Terra Foundation

arvey,

Place, 1958-2010

National Endowment

Advised E

first part presents Andre's correspondences with

Bernard Ruiz-Picasso

and

Dwan; Glenstone; Dwan;

Bridgehampton, New York

through

Dan Flavin

x 91.4 cm) each. Kunstmuseum Wolfsburg. Photo: Helge Mundt, Hamburg. Mundt, Helge Photo: Wolfsburg. Kunstmuseum each. 91.4 cm) x

Family

The

UncarvedB/ocks,

and the

from October

the

Kraus; the Kraus;

30.5

Additional support is

Almine y

John Patrick Peck, Elizabeth Murphy,

2014-March 2, 2015

Peter

Family Fund; Family

Giannotti, Curtis

(30.5

from June 7

artist wishes to thank Christopher Albert, Chad

Kunstmuseum Wolfsburg. Art Wolfsburg. Kunstmuseum

1958-2010,

related exhibition

Corwith Avenue

collages, and works on paper dialogue between Andre and Sol Sculpture as Andre: Carl poetry and ephemera is shown in vitrines specifically designed by in two rotations. The Dan Flavin Art Institute

A Friendship: Carl Andre's Works on Paper from the LeWitt Collection June 7

As a companion to the retrospective at

Luce Foundation Fundaci6n

view Virginia provided by and is on view Lindemann.

agency; the agency; Marx

Straus

Generousfunding for the publication is Colesprovided by Sadie Konrad Additional Fischer Galerie.support has been provided GalleriaGalerieTschudi; by

Jill and Heidie

Alfonso Artiaco; Dominique

The

Cover: Carl Andre, Carl Cover:

inches ©

Jacobson, Jean-Marc Max Sovak, Superville the works.

c. 1982

b. 1931)

1976

976

Dwan

and VirginiaDwan)

(American,

Dwan

min.

Courtesy Virginia

by Virginia

Portrait

Nancy Holt, Susan Nancy Caldwell

running time

running time: :05:28 1

Dinner (A Conversation Party between Carl Andre, Doug Ohlson, Angela Westwater,

running time: 50 min.

Carl Andre: A VideoA Carl Andre: Portrait

Carl at Andre:Reconfiguration P.S.1

92.

93.

94.

Video All works video