Andre 1958-2010 - Dia · 2016. 3. 31. · Carl Andre: Sculpture as Place, 1958-2010 is the first...
16
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
Transcript of Andre 1958-2010 - Dia · 2016. 3. 31. · Carl Andre: Sculpture as Place, 1958-2010 is the first...
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
Car
l A
nd
re
Scu
lptu
re
as P
lace
, 19
58-2
01
0
Gat
here
d in
thi
s re
tros
pect
ive
are
fifty
yea
rs o
f ar
tistic
out
put
that
tra
ce t
he e
volu
tion
and
adam
ant
com
mitm
ent
of o
ne o
f th
e m
ost
radi
cal
and
egal
itaria
n pr
opon
ents
of
art
in t
he t
wen
tieth
ce
ntur
y. C
arl A
ndre
red
efin
ed t
he p
aram
eter
s of
scu
lptu
re a
nd
poet
ry t
hrou
gh h
is u
se o
f un
alte
red
indu
stria
l m
ater
ials
and
an
irrev
eren
t ap
proa
ch t
o
lang
uage
. Alo
ng t
he w
ay h
e cr
eate
d ov
er tw
o th
ousa
nd s
culp
ture
s an
d an
equ
al n
umbe
r
of p
oem
s, p
lus
doze
ns o
f fu
rtiv
e ob
ject
s an
d hu
ndre
ds o
f po
stca
rds,
all
stam
ped
by
an u
ncom
prom
ised
affi
rmat
ion
of t
he h
isto
ry t
hat
accr
ues
and
bind
s bo
th m
ater
ials
and
wor
ds.
Car
l And
re: S
culp
ture
as
Pla
ce,
1958
-201
0 is
the
firs
t re
tros
pect
ive
to
cons
ider
the
ful
l sp
ectr
um o
f hi
s ar
t. O
rgan
ized
alo
ng a
loos
e ch
rono
logy
to
cons
truc
t
mod
es o
f lo
okin
g, t
he e
xhib
ition
unf
olds
ove
r si
x ga
llerie
s an
d is
gro
uped
int
o th
ree
part
s: s
culp
ture
, po
etry
, and
his
unc
lass
ifiab
le p
rodu
ctio
ns, f
rom
the
eni
gmat
ic a
ssem
blag
es k
now
n as
Dad
a F
orge
ries
to h
is w
ide-
rang
ing
ephe
mer
a. T
he r
elat
ion
to
the
notio
n of
the
"un
alte
red,
" w
heth
er m
anife
sted
in
his
use
of s
tand
ardi
zed
units
or b
asic
wor
ds, c
onst
itute
s th
e ba
sis
of A
ndre
's e
mph
asis
on
the
subs
tanc
e of
mat
ter
and
his
final
pro
noun
cem
ent
of "
scul
ptur
e as
pla
ce"
as t
he d
ecis
ive
cons
ider
atio
n of
the
med
ium
. And
re's
und
erst
andi
ng o
f su
ch d
istin
ctio
n op
ens
up a
n un
ambi
guou
s
and
affir
mat
ive
expe
rienc
e of
art
, one
tha
t re
stor
es v
alid
ity t
o th
e an
alyt
ical
im
puls
es
as m
uch
as to
the
sen
soria
l an
d pe
rmits
an
entr
y in
to a
"pl
ace"
of
liber
ties.
Upo
n ar
rivin
g in
New
Yor
k C
ity i
n 19
57,
Car
l And
re t
este
d hi
s cr
eativ
ity i
n w
ritin
g,
and
an i
nter
est
in d
raw
ing
and
scul
ptur
e ra
pidl
y fo
llow
ed.
His
firs
t w
orks
, ta
blet
op
geom
etric
con
stru
ctio
ns,
wer
e m
ade
prim
arily
fro
m w
ood,
but
he
soon
ide
ntifi
ed t
he
limita
tions
of
his
own
craf
tsm
ansh
ip a
nd b
ecam
e in
trig
ued
by th
e in
here
nt p
rope
rtie
s
of m
anuf
actu
red
mat
eria
ls-t
heir
form
, w
eigh
t, an
d su
rfac
e. I
n a
span
of
six
year
s,
from
19
58 t
hrou
gh
1964
, A
ndre
wou
ld v
acat
e th
e re
sidu
es o
f th
e ar
tist's
han
d fr
om
his
scul
ptur
es,
whi
ch b
efor
e th
is t
ime
he h
ad m
ade
by c
hise
ling
and
cutti
ng w
ith
pow
er t
ools
to
rend
er s
lend
er p
illar
s fr
om s
ingl
e pl
anks
or
stac
ks t
hat
rise
from
the
grou
nd t
o hi
s ow
n he
ight
. A
t th
e sa
me
time,
acc
ompa
nied
by
his
avid
inte
llect
, a
deep
affe
ctio
n fo
r po
etry
, an
d co
mm
itmen
t to
lef
tist
polit
ics,
And
re w
ould
sha
rpen
his
que
s
tions
and
cla
rify
his
unde
rsta
ndin
g of
scu
lptu
re b
y m
akin
g th
e ty
pew
riter
hi
s st
udio
. In
the
1960
s, h
e ge
nera
ted
over
thi
rtee
n hu
ndre
d pa
ges
of p
oem
s, in
a m
onum
enta
l
refle
ctio
n th
at c
alle
d at
tent
ion
to t
he s
ubtle
int
ertw
inin
g of
mat
eria
ls a
nd th
e E
nglis
h
lang
uage
. In
his
own
wor
ds:
"Art
is
not
only
the
inve
stm
ent
of c
reat
ive
ener
gy,
but
the
shar
peni
ng o
f th
e cr
itica
l fa
culti
es .
...
I thi
nk a
rt i
s tr
uly
an o
pen
set.
The
re a
re n
o
idea
l for
ms
to s
triv
e fo
r no
r hi
erar
chie
s to
obt
ain
to. T
hing
s ha
ve q
ualit
ies.
Per
ceiv
e
the
qual
ities
."
At
the
outs
et o
f A
ndre
's e
xplo
ratio
ns w
ith b
oth
writ
ing
and
scul
ptin
g, t
he q
uest
ion
beca
me
not
whe
ther
sca
veng
ing
from
the
str
eets
for
mat
eria
ls o
r ex
trac
ting
wor
ds
from
a b
ook
enac
ted
a ne
w a
nd c
opio
us s
tanc
e fo
r or
igin
ality
, or
whe
ther
the
ano
nym
ity
of t
he m
achi
ne-m
ade
units
or
the
type
writ
ten
text
acc
ount
ed f
or t
he ju
nctu
re
of
inst
rum
ent
and
inst
inct
. It
was
rat
her
that
thr
ough
thi
nkin
g ab
out
the
mat
eria
lity
of s
culp
ting
and
writ
ing,
the
for
m o
f la
ngua
ge a
nd m
atte
r, t
he a
rtis
t op
erat
es w
ithin
a hi
stor
ical
dev
elop
men
t, pr
ovid
entia
lly d
ecod
es a
nd p
ropo
ses
a re
adin
g of
pre
sent
cond
ition
s, a
nd u
ltim
atel
y sh
ifts
art
into
a r
ealm
of
expe
rienc
e. T
he d
isco
very
of
this
exam
inat
ion
prov
ed to
be
a de
finin
g ev
ent
in A
ndre
's u
nort
hodo
x pr
obin
g w
ith s
culp
ture
and
poe
try
and
led
him
to
devi
se a
not
ion
of "
plac
e" th
at i
s ch
arge
d w
ith u
topi
an
ener
gy a
nd a
n in
vigo
ratin
g un
ders
tand
ing
of a
rt a
s a
view
poin
t in
to r
ealit
y. I
t is
the
conj
unct
ion
of t
hese
tw
o m
odes
of
crea
tion,
the
pla
cem
ent
of m
ater
ials
and
wor
ds,
that
is
the
root
of
And
re's
rec
ipro
cal
rela
tions
hip
to p
lace
, whe
re w
e m
ay r
ecog
nize
our
pres
ence
and
"pe
rcei
ve t
he q
ualit
ies.
"
Yas
mil
Ray
mon
d, C
urat
or,
Dia
Art
Fou
ndat
ion
bio
gra
ph
y
Car
l A
nd
re w
as b
orn
in Q
uinc
y, M
assa
chus
etts
, in
193
5. A
fter
his
stud
ies
at P
hilli
ps
Aca
dem
y in
And
over
, M
assa
chus
etts
, he
ser
ved
in t
he a
rmy
and
trav
eled
to
Eur
ope,
then
re
loca
ted
to N
ew Y
ork
City
in
1957
. W
hile
car
ryin
g ou
t si
mul
tane
ous
inve
stig
a
tions
in
art
and
poe
try,
And
re w
orke
d fo
r th
e P
enns
ylva
nia
Rai
lroad
bet
wee
n 19
60
and
1964
, an
ins
epar
able
ex
perie
nce
from
hi
s ev
olut
ion
as a
scu
lpto
r.
Imm
edia
te
accl
aim
fol
low
ed
his
first
so
lo e
xhib
ition
at
the
Tib
or d
e N
agy
Gal
lery
, N
ew Y
ork,
in 1
965,
an
d he
par
ticip
ated
in
sev
eral
lan
dmar
k ex
hibi
tions
of
tha
t de
cade
, su
ch
as P
rimar
y S
truc
ture
s:
You
nger
Am
eric
an a
nd B
ritis
h S
culp
tors
, Je
wis
h M
useu
m,
New
Yor
k (1
966)
, D
ocum
enta
4,
Kas
sel,
Ger
man
y (1
968)
, an
d Li
ve i
n Y
our
Hea
d:
Whe
n
Atti
tude
s B
ecom
e F
orm
-Wor
ks/C
once
pts/
Pro
cess
es/S
ituat
ions
/Info
rmat
ion,
K
unst
halle
Ber
n (1
969)
. In
197
0 th
e S
olom
on
R. G
ugge
nhei
m
Mus
eum
, N
ew Y
ork,
pre
sent
ed
~he
firs
t re
tros
pect
ive
of h
is w
ork.
Alo
ngsi
de
num
erou
s pu
blic
com
mis
sion
s an
d so
lo
exhi
bitio
ns,
Car
l A
ndre
's
five-
deca
de
care
er i
nclu
des
larg
e-sc
ale
surv
eys
orga
nize
d by
the
Lagu
na
Glo
ria A
rt M
useu
m,
Aus
tin
(197
8,
tour
ing
inte
rnat
iona
lly
thro
ugh
1980
),
Kre
feld
H
aus
Lang
e/H
aus
Est
ers
and
Kun
stm
useu
m,
Wol
fsbu
rg,
Ger
man
y (1
996)
,
Mus
ee C
antin
i, M
arse
ille
(199
7),
and
Mus
eum
K
urha
us
Kle
ve,
Ger
man
y (2
011)
.
Ret
ired
from
hi
s ar
t pr
actic
e si
nce
2010
, C
arl
And
re
lives
in
New
Yor
k C
ity.
sele
cted
b
iblio
gra
ph
y
Abo
ut C
arl A
ndre
: C
ritic
al T
exts
Sin
ce 1
965.
Edi
ted
by P
aula
Fel
dman
, Alis
tair
Rid
er, a
nd
Kar
sten
Sch
uber
t. Lo
ndon
: Rid
ingh
ouse
, 200
6.
And
re, C
arl a
nd H
ollis
Fra
mpt
on. T
wel
ve D
ialo
gues
, 19
62-1
963.
E
dite
d by
Ben
jam
in H
. D.
Buc
hloh
. Hal
ifax:
Pre
ss o
f N
ova
Sco
tia C
olle
ge, 1
980
.
Car
l And
re:
Ext
rane
ous
Roo
ts. E
dite
d by
Rol
f Lau
ter a
nd S
usan
ne L
ange
. Fra
nkfu
rt a
m M
ain:
M
useu
m fu
r M
oder
ne K
unst
, 199
1.
Car
l And
re S
culp
tor
1996
: Kre
feld
at H
ome,
Wol
fsbu
rg a
t La
rge.
Stu
ttgar
t: O
ktag
on V
erla
g;
Kre
feld
: Hau
se L
ange
and
Hau
s E
ster
s; W
olfs
burg
: Kun
stm
useu
m, 1
996.
Car
l And
re:
Scu
lpto
r 19
97. M
arse
ille:
Mus
ee C
antin
i, 19
97.
Car
l And
re:
Scu
lptu
re 1
959-
1977
. N
ew Y
ork:
Jaap
Rei
tman
; Aus
tin: L
agun
a G
loria
Art
M
useu
m, 1
978.
Car
l And
re:
Scu
lptu
re a
s P
lace
, 19
58-2
010.
N
ew Y
ork:
Dia
Art
Fou
ndat
ion,
201
4.
Cut
s: T
exts
195
9-20
04.
Edi
ted
by J
ames
Mey
er. C
ambr
idge
, MA
: MIT
Pre
ss, 2
005.
Rid
er, A
lista
ir. C
arl A
ndre
: T
hing
s in
The
ir E
lem
ents
. Lon
don:
Pha
idon
Pre
ss, 2
011.
site
map
law
n
dow
nsta
irs
II.
j L
j
I I
I III
IL,
~ j~~
I
~-fJ
~]l
_JJ
1. S
culp
ture
2. S
culp
ture
3. S
culp
ture
4. P
oetr
y
5. P
assp
ort
6. D
ada
For
gerie
s, P
hoto
grap
hy,
and
Eph
emer
a
Do
not t
ouch
the
art
wor
k.
Vis
itors
are
per
mitt
ed t
o w
alk
on 4
6 R
oarin
g F
ortie
s (M
adrid
, 19
88),
loca
ted
in G
alle
ry O
ne. P
leas
e ke
ep y
our
shoe
s on
at
all t
imes
.
Tha
nk y
ou f
or r
espe
ctin
g th
ese
delic
ate
hist
oric
al w
orks
.
_.._
_ J
s E+
W
N
Gal
lery
On
e: S
culp
ture
At
an e
arly
sta
ge o
f hi
s ar
tistic
inv
estig
atio
n, i
n 19
58,
Car
l And
re i
dent
ified
the
fund
amen
tal
cano
n th
at h
ad i
nfor
med
the
art
of
scul
ptur
e fo
r m
any
cent
urie
s.
Cha
lleng
ing
its p
rinci
ples
-the
un
ity o
f vo
lum
e in
a m
odel
ed m
ater
ial,
sepa
rate
d in
spac
e by
mea
ns o
f a
pede
stal
-he
set
out
to c
reat
e a
body
of
wor
ks m
ade
out
of
unat
tach
ed i
dent
ical
uni
ts o
f in
dust
rial
mat
eria
ls,
arra
nged
in
stru
ctur
es t
hat
coul
d
be e
xten
ded
or r
ecom
bine
d.
Afte
r w
orki
ng o
n m
ater
ials
suc
h as
woo
d an
d pl
astic
by
cutti
ng o
r dr
illin
g, A
ndre
reca
nted
fro
m s
hapi
ng m
atte
r an
d in
stea
d pr
ivile
ged
man
ufac
ture
d su
pplie
s, w
hich
dire
ctly
ref
eren
ced
cont
empo
rary
ind
ustr
y an
d its
int
rinsi
c hi
stor
y. E
xem
plify
ing
his
aban
donm
ent
of t
he c
arvi
ng t
radi
tion
with
the
scu
lptu
re L
ast
Ladd
er (
New
Yor
k,
1959
), A
ndre
sta
rted
wor
king
on
a se
ries
of t
ower
ing
wor
ks o
f as
sem
bled
lum
ber,
know
n to
day
as P
yram
ids.
As
was
the
cas
e fo
r P
yram
id (
Squ
are
Pla
n),
orig
inal
ly m
ade
in 1
959,
man
y of
tho
se w
orks
wer
e de
stro
yed
or l
ost
befo
re A
ndre
cou
ld e
xhib
it
them
, an
d th
ey h
ad t
o be
rem
ade
by th
e ar
tist
year
s la
ter.
Tha
t w
as a
lso
the
case
for
his
Ele
men
t S
erie
s, c
onsi
stin
g of
a p
rogr
essi
ve a
rran
gem
ent
of t
imbe
r bl
ocks
, al
l
plan
ned
in 1
960
and
real
ized
in
the
1970
s. T
he s
erie
s st
emm
ed f
rom
the
sin
gle-
unit
Her
m,
follo
wed
by
a t
wo-
unit
Tau
, and
thr
ee-u
nit
Tau
and
Rig
ht T
hres
hold
. A f
ew
orig
inal
, sm
all-s
ized
mod
els,
mad
e fr
om d
iver
se f
ound
mat
eria
ls s
uch
as c
ast
con
cret
e, a
cryl
ic,
or s
teel
(su
ch a
s F
eLL,
fro
m
1961
, an
d th
e la
ter
4 C
orne
r S
lant
Sta
ck,
and
Squ
aw R
ock,
bot
h fr
om
1964
, on
vie
w i
n th
e vi
trin
es l
ocat
ed o
utsi
de t
his
galle
ry),
none
thel
ess
surv
ived
the
dis
pers
ion
of t
hose
ear
ly y
ears
.
Bet
wee
n 19
64 a
nd 1
966,
And
re w
as g
iven
his
firs
t op
port
uniti
es t
o pr
esen
t hi
s
scul
ptur
es i
n ga
llerie
s. H
e st
ress
ed t
he m
obili
ty a
nd i
nter
chan
geab
ility
of
uni
ts f
rom
the
outs
et,
and
in o
ne o
f hi
s ea
rlies
t pr
esen
tatio
ns,
at t
he T
ibor
de
Nag
y G
alle
ry, N
ew
Yor
k, h
e tr
ansf
orm
ed
his
prop
osal
for
a m
assi
ve s
even
-foo
t re
ctan
gle
of t
imbe
r bl
ocks
(titl
ed W
e//)
into
Red
an (
conc
eive
d at
the
end
of
1964
, pr
esen
ted
1965
), a
thre
e
foot
-hig
h zi
gzag
wal
l. T
his
mov
e w
as t
he f
irst
to d
emon
stra
te t
hat,
unde
r th
e ar
tist's
met
hods
, a
mul
tiplic
ity o
f w
orks
cou
ld o
rigin
ate
from
exa
ctly
the
sam
e el
emen
ts.
Deb
asin
g th
e pr
inci
ples
of
vert
ical
ity a
nd a
uton
omy
in s
pace
, And
re g
ave
his
new
wor
ks a
dou
ble
stat
us o
f "c
uts
into
spa
ce"
and
"pla
ces"
the
mse
lves
. H
e sy
nthe
size
d
the
hist
ory
of h
uman
dev
elop
men
t in
scu
lptu
re i
n th
ree
mom
ents
tha
t he
als
o ap
plie
d
to h
is o
wn
evol
utio
n: s
culp
ture
as
form
, sc
ulpt
ure
as s
truc
ture
, an
d, fi
nally
, sc
ulpt
ure
as p
lace
. Thi
s la
st p
hase
in
scul
ptur
al d
evel
opm
ent
was
rea
lized
by
And
re w
hen
crea
ting
two
of h
is m
ost
impo
rtan
t w
orks
fro
m
1966
, th
e flo
or-b
ound
Le
ver
and
Equ
ival
ents
/-V
III.
And
re e
xpla
ined
Lev
er i
n si
mul
tane
ous
term
s of
pat
h, c
ut,
and
falle
n co
lum
n. A
stra
ight
str
ip o
f 13
7 fir
ebric
ks j
uttin
g ou
t of
the
wal
l, Le
ver
was
not
unl
ike
the
railw
ay
segm
ents
he
had
seen
whi
le w
orki
ng a
s a
frei
ght
brak
eman
. T
his
new
app
roac
h to
spac
e w
as e
ven
mor
e cl
early
em
phas
ized
in
his
set
of e
ight
Equ
ival
ents
, a g
roup
of
floor
pie
ces
cons
istin
g of
diff
eren
t ar
rang
emen
ts o
f 12
0 sa
nd-li
me
bric
ks i
n pl
atfo
rm
like
volu
mes
of
equa
l sq
uare
foo
tage
. A
lthou
gh t
he o
rigin
al w
ork
was
dis
man
tled,
And
re r
emad
e an
ind
ivis
ible
cop
y of
the
wor
k in
199
5, u
sing
the
orig
inal
san
d-lim
e
bric
k, w
hich
he
title
d S
and-
Lim
e Jn
star
.
"A p
lace
is
an a
rea
with
in a
n en
viro
nmen
t w
hich
has
bee
n al
tere
d in
suc
h a
way
as
to m
ake
the
gene
ral
envi
ronm
ent
mor
e co
nspi
cuou
s,"
And
re s
aid
once
, sp
ecify
ing
late
r, "
Pla
ce i
s th
e fin
ite d
omai
n of
one
or
mor
e cu
ts i
nto
spac
e."
Thi
s vi
sion
ope
rate
d
in t
he o
rtho
gona
l pl
atfo
rms
that
wou
ld b
ecom
e A
ndre
's s
igna
ture
wor
ks,
but
also
in
radi
cal
expe
rimen
tatio
ns
with
for
mle
ssne
ss.
Def
inin
g an
enc
lave
in
the
mid
dle
of a
room
(as
in
144
Mag
nesi
um S
quar
e, N
ew Y
ork,
196
9),
draw
ing
atte
ntio
n an
d pr
es
ence
tow
ard
the
limits
and
cor
ners
of
spac
e (T
wel
fth C
oppe
r C
orne
r, N
ew Y
ork,
197
5),
inva
ding
spa
ce (
Sca
tter
Pie
ce, N
ew Y
ork,
196
6),
or p
avin
g a
met
al c
orrid
or t
hrou
gh t
he
exhi
bitio
n sp
ace
( 46
Roa
ring
For
ties,
Mad
rid,
1988
), A
ndre
's w
orks
inv
ited
view
ers
to
exam
ine
the
wor
k in
con
tinui
ty w
ith i
ts lo
catio
n an
d as
a lo
catio
n in
itse
lf.
Mea
nwhi
le,
indu
stria
l m
ater
ials
in
his
scul
ptur
e al
so c
all
upon
a fo
rm o
f po
litic
al
awar
enes
s in
the
vie
wer
: m
etal
pla
tes,
tim
ber,
bric
k, a
nd c
oncr
ete,
rea
dy f
or u
se b
y
the
cons
truc
tion
indu
stry
, ind
ex th
e st
age
of e
cono
my
whe
rein
the
art
wor
k is
inev
itabl
y
insc
ribed
and
exp
and
the
scop
e of
the
wor
k's
site
-spe
cific
ity i
nto
the
hist
oric
al p
rese
nt.
Gal
lery
On
e
21
22
23
24
25
26
27 2
8 29
30
10
I 11
12
14
9 8
13
15
7 16
17
6 18
19
4 5
3
2
20
--
chec
klis
t
1.
2.
3.
4.
Sca
tter
Pie
ce, N
ew Y
ork,
1 96
6 33
bal
l bea
rings
, 13
pul
ley
disc
s, 9
pie
ces
of a
lum
inum
cha
nnel
, 14
Ple
xigl
as
rect
angu
lar
solid
s, 7
alu
min
um i
ngot
s C
ourt
esy
the
artis
t an
d P
aula
Coo
per
Gal
lery
, New
Yor
k
He
rm (
Ele
men
t S
erie
s), N
ew Y
ork,
196
0 (p
ropo
sed)
/New
Y
ork,
197
6 (m
ade)
W
este
rn r
ed c
edar
; 1
unit
Sol
omon
R. G
ugge
nhei
m M
useu
m,
New
Yor
k; G
ift,
Ang
ela
K. W
estw
ater
, 19
86
Tau
(E
lem
ent
Ser
ies)
, New
Yor
k, 1
960
(pro
pose
d)/N
ew
Yor
k, 1
970
(mad
e)
woo
d (n
ot s
peci
fied)
; 2
units
S
eattl
e A
rt M
useu
m;
Gift
of
Sid
ney
and
Ann
e G
erbe
r
Tau
an
d R
igh
t Th
resh
old
(E
lem
ent
Ser
ies)
, New
Yor
k, 1
960
(pro
pose
d)/M
inne
apol
is,
1971
(m
ade)
w
ood
(not
spe
cifie
d);
3 un
its
Wex
ner
Cen
ter
for
the
Art
s
5.
Pyr
amid
(S
qu
are
Pla
n),
New
Yor
k, 1
959
(des
troy
ed)/
Orle
ans,
M
assa
chus
etts
, 1 9
70
(rem
ade)
E
aste
rn p
ine;
74-
unit
stac
k D
alla
s M
useu
m o
f A
rt;
Gen
eral
Acq
uisi
tions
Fun
d an
d m
atch
ing
fund
s fr
om T
he 5
00,
Inc.
6.
Lev
er, N
ew Y
ork,
196
6 fir
ebric
k;
137-
unit
line
Nat
iona
l G
alle
ry o
f C
anad
a, O
ttaw
a; P
urch
ased
1 96
9
7.
Red
an, N
ew Y
ork,
196
4 (d
estr
oyed
)/N
ew
Yor
k, 1
970
(rem
ade)
fir
tim
ber;
27
-uni
t re
dan
of 3
tie
rs
Art
Gal
lery
of
Ont
ario
, To
ront
o; P
urch
ased
with
ass
ista
nce
from
the
Wom
en's
C
omm
ittee
Fun
d, 1
971
8.
144
Mag
nes
ium
Sq
uar
e, N
ew Y
ork,
196
9 m
agne
sium
; 14
4-u
nit
squa
re
Tat
e; P
urch
ased
197
3
9.
12 M
ixed
Pip
e &
Tra
ck R
un
, The
Hag
ue,
1969
st
eel;
12-u
nit
line
Col
lect
ion
Ste
lla L
ohau
s, A
ntw
erp
1 0. 9
th C
edar
Co
rner
, New
Yor
k, 2
007
Wes
tern
red
ced
ar;
45-u
nit
right
tria
ngle
D
oris
and
Don
ald
Fis
her
Col
lect
ion
11. S
even
th C
op
per
Car
din
al, T
urin
, 197
3 co
pper
; 7-
unit
line
Priv
ate
colle
ctio
n; C
ourt
esy
Fun
daci
6n A
lmin
e y
Ber
nard
Rui
z-P
icas
so p
ara
el A
rte,
Bru
ssel
s
12. A
LM
EA
R, N
ew Y
ork,
200
2 al
umin
um i
ngot
s; 4
-uni
t py
ram
id o
f th
ree
tiers
C
olle
ctio
n S
held
on M
. and
Mar
y B
erlo
w,
Buf
falo
, N
ew Y
ork
13. B
ase
7 A
lum
inu
m S
tack
, New
Yor
k, 2
008
alum
inum
ing
ots;
49-
unit
pyra
mid
of
thirt
een
tiers
C
olle
ctio
n B
ing
and
Mig
s W
right
, N
ew Y
ork
14. S
and
-Lim
e ln
star
, New
Yor
k, 1
966
(des
troy
ed)/
New
Y
ork,
199
5 (r
emad
e)
sand
-lim
e br
ick;
eig
ht 1
20-u
nit
rect
angu
lar
solid
s, 2
uni
ts h
igh
Cou
rtes
y th
e ar
tist
and
Kon
rad
Fis
cher
Gal
erie
, Dus
seld
orf
15. 4
6 R
oa
rin
g F
ort
ies
, Mad
rid,
1988
w
eath
ered
ste
el;
46-u
nit
rect
angl
e C
ourt
esy
the
artis
t an
d K
onra
d F
isch
er G
aler
ie, D
usse
ldor
f
16.
Zin
c R
ibb
on
, Ant
wer
p, 1
969
zinc
; 1
cont
inuo
us s
trip
S
olom
on R
. Gug
genh
eim
Mus
eum
, New
Yor
k; P
anza
Col
lect
ion,
199
1
1 7. M
agn
esiu
m
Rib
bo
n, A
ntw
erp,
196
9 m
agne
sium
; 1
cont
inuo
us s
trip
C
olle
ctio
n Jo
nas
Loha
us, K
apel
len,
Bel
gium
18. T
in R
ibb
on
, New
Yor
k, 1
969
(pro
pose
d)/M
arse
ille
1997
(m
ade)
tin
; 1
cont
inuo
us s
trip
C
ourt
esy
the
artis
t an
d P
aula
Coo
per
Gal
lery
, New
Yor
k
19. A
LT
OZ
AN
O, N
ew Y
ork,
200
2 al
umin
um;
101-
unit,
tw
o-tie
red
row
alo
ng b
ase
of w
all
Cou
rtes
y th
e ar
tist
and
Pau
la C
oope
r G
alle
ry, N
ew Y
ork
20.
Tw
elft
h C
op
per
Co
rner
, New
Yor
k, 1
975
copp
er;
78-u
nit
tria
ngle
of
twel
ve r
ows
Sea
ttle
Art
Mus
eum
; G
ift o
f V
irgin
ia a
nd B
agle
y W
right
Col
lect
ion
in h
onor
of
the
75th
Ann
iver
sary
21.
Las
t L
add
er,
New
Yor
k, 1
959
pine
T
ate;
Pur
chas
ed 1
972
Eas
t V
itri
ne
22.
Fel
l, N
ew Y
ork,
196
1 st
eel;
2 un
its
MJS
Col
lect
ion,
Par
is
23.
Dem
eter
, New
Yor
k, 1
964
Aln
ico
mag
nets
(br
ight
); 8
1-un
it re
ctan
gle
Add
ison
Gal
lery
of
Am
eric
an A
rt,
Phi
llips
Aca
dem
y, A
ndov
er, M
assa
chus
etts
; G
ift o
f M
aud
Mor
gan,
Add
ison
Art
Driv
e, 1
992
24.
Per
sep
ho
ne
, New
Yor
k, 1
964
Aln
ico
mag
nets
(du
ll);
20-u
nit
rect
angl
e A
ddis
on G
alle
ry o
f A
mer
ican
Art
, P
hilli
ps A
cade
my,
And
over
, Mas
sach
uset
ts;
Gift
of
Mau
d M
orga
n, A
ddis
on A
rt D
rive,
199
2
25.
4 C
orn
er S
lan
t S
tack
, New
Yor
k, 1
964
acry
lic;
1 0-u
nit
stac
k M
JS C
olle
ctio
n, P
aris
Wes
t V
itrin
e
26.
Ho
ur
Ro
se,
New
Yor
k, 1
959
pine
, pai
nt
The
Mus
eum
of
Mod
ern
Art
, N
ew Y
ork;
Fra
ctio
nal a
nd p
rom
ised
gift
of
Irvi
ng
Ste
nn a
nd p
urch
ase,
200
5
27.
Un
titl
ed (
Neg
ativ
e S
culp
ture
), N
ew Y
ork,
195
8 ac
rylic
R
aym
ond
and
Pat
sy N
ashe
r C
olle
ctio
n, N
ashe
r S
culp
ture
Cen
ter,
Dal
las
28.
Qu
incy
Slo
t W
ork
, Q
uinc
y, M
assa
chus
etts
, 19
59
woo
d (n
ot s
peci
fied)
W
hitn
ey M
useu
m o
f A
mer
ican
Art
, N
ew Y
ork;
Gift
of
Mic
hael
Str
aus
29.
Go
ld F
ield
, New
Yor
k, 1
966
gold
P
rivat
e co
llect
ion
30.
Sq
uaw
Ro
ck, N
ew Y
ork,
196
4 ca
st c
oncr
ete
bars
; 6-u
nit
stac
k T
he M
useu
m o
f M
oder
n A
rt,
New
Yor
k; G
ift o
f M
r. &
Mrs
. Mic
hael
Cha
pman
, 19
75
Gal
leri
es T
wo
an
d T
hre
e: S
culp
ture
Car
l And
re s
umm
ariz
ed h
is a
rtis
tic p
rodu
ctio
n in
an
ofte
n-qu
oted
ad
age:
'Rat
her
than
cut
into
the
mat
eria
l, no
w I
use
the
mat
eria
l as
the
cut
in s
pace
." T
he s
peci
ficity
of
his
scul
ptur
es w
ithin
or
in c
ontr
ast
to t
he a
rchi
tect
ure
of a
n ex
hibi
tion
spac
e is
con
tain
ed
in h
is id
ea o
f th
e sc
ulpt
ural
cut
: le
ss a
ges
ture
tha
n a
locu
s-a
plac
e th
at t
he v
iew
er
can
expe
rienc
e, r
athe
r th
an a
rep
rese
ntat
ion
or t
race
to
be l
ooke
d at
. And
re's
exp
lo
ratio
ns o
f th
ese
guid
ing
prin
cipl
es, t
he c
ut a
nd th
e pl
ace,
app
eare
d in
div
erse
mat
eria
ls,
conf
igur
atio
ns,
and
scal
es. H
is S
quar
es a
nd P
lain
s, ti
led
area
s of
met
al p
late
s
arra
nged
sid
e by
sid
e at
flo
or l
evel
, are
per
haps
the
mos
t pa
radi
gmat
ic e
xam
ples
of
And
re's
pla
ces.
Orig
inal
ly m
eant
to
be w
alke
d up
on b
y vi
ewer
s, th
ese
scul
ptur
es a
re
less
vis
ible
obj
ects
tha
n th
ey a
re p
latfo
rms
for
the
inte
rrog
atio
n of
the
ir su
rrou
ndin
gs.
Inst
ead
of b
eing
obs
erve
d, th
e sc
ulpt
ures
are
poi
nts
of o
bser
vatio
n, a
nd t
heir
inco
n
spic
uous
ness
is,
in th
at s
ense
, str
ateg
ic.
Var
ying
in
exte
nsio
n an
d im
bued
with
the
spec
ific
prop
ertie
s of
the
cho
sen
mat
eria
l-nor
mal
ly
the
mos
t co
mm
on m
etal
s in
indu
stria
l pr
oduc
tion:
ste
el,
iron,
cop
per,
lead
, zin
c, a
nd m
agne
sium
-And
re's
S
quar
es
wer
e pr
oduc
ed f
rom
196
7 un
til 2
010,
whe
n he
cre
ated
the
las
t of
his
larg
e-sc
ale
wor
ks a
s a
vast
, alm
ost
intim
idat
ing
stee
l pa
vem
ent,
title
d 9
x 27
Nap
oli R
ecta
ngle
.
Whi
le f
loor
-bou
nd w
orks
may
be
thou
ght
of a
s ro
oms
with
out
wal
ls, A
ndre
als
o
inve
stig
ated
oth
er f
orm
s of
dis
play
whe
re m
ater
ials
wer
e or
gani
zed
in a
mor
e vi
sibl
e
but
no le
ss s
trat
egic
-man
ner,
ta
king
the
app
eara
nce
of b
arrie
rs, e
mba
nkm
ents
,
ram
part
s, a
nd e
ven
barr
icad
es. A
ndre
's c
laim
to
actu
al s
pace
was
im
pose
d on
to t
he
navi
gatio
n of
the
vis
itor,
alte
ring
the
conv
entio
n ab
out
scul
ptur
es b
eing
fre
esta
ndin
g
form
s th
at o
ne w
alks
aro
und.
Int
entio
nally
dom
inat
ing
the
spac
e in
way
s th
at a
re a
t
times
sel
f-re
fere
ntia
l, th
ese
wor
ks a
re s
ite-s
peci
fic y
et n
ever
str
ictly
aut
onom
ous.
Rat
her,
they
see
m a
ble
to e
ver
esta
blis
h ill
umin
atin
g di
alog
ues
with
a m
ultip
licity
of
arch
itect
ural
env
ironm
ents
, w
hile
car
ryin
g th
e m
emor
y of
the
ir or
igin
al c
onte
xt o
f
prod
uctio
n. N
eubr
uckw
erk,
for
inst
ance
, exh
ibite
d in
197
6 at
Kon
rad
Fis
cher
Gal
erie
on N
eubr
ucks
tras
se,
in D
usse
ldor
f, is
exp
licitl
y na
med
afte
r th
at o
rigin
al s
ite.
In o
ther
exam
ples
, the
scu
lptu
res
are
sym
bolic
ally
cha
rged
-as
in B
reda
(The
Hag
ue,
1986
),
a ro
w o
f cr
osse
s m
ade
from
Bel
gian
blu
e lim
esto
ne w
hose
titl
e co
ntai
ns a
ref
eren
ce
to t
he h
isto
rical
sie
ge o
f a
fort
ified
D
utch
city
; or
in
Pyr
amus
and
Thi
sbe (
Dus
seld
orf,
1990
), w
here
tw
o ro
ws
of t
imbe
rs e
cho
the
myt
holo
gica
l st
ory
of t
wo
love
rs w
ho
live
sepa
rate
d by
a w
all.
And
re's
cum
ulat
ive
cons
truc
tions
-sta
cks
or p
iles,
rid
ges
or
isla
nds-
such
as
Fer
mi a
nd T
risk
aide
k (bot
h N
ew Y
ork,
197
9),
not
only
dem
onst
rate
the
qual
ities
of
a ce
rtai
n so
lid (
wei
ght,
text
ure,
col
or)
but
also
hig
hlig
ht i
ts o
ccup
ancy
of s
pace
, the
voi
d its
mas
s ca
n fil
l-mas
s re
plac
ing,
in s
ome
case
s, th
e ve
ry c
once
pt
of f
orm
.
Sei
zing
the
spac
es w
here
the
y fin
d th
emse
lves
, the
wor
ks i
llust
rate
the
art
ist's
inte
rest
in
mor
e ex
pans
ive
form
ats
by m
eans
of
geom
etric
add
ition
and
mat
hem
atic
al
prog
ress
ion,
as
exem
plifi
ed b
y U
ncar
ved B
lock
s (V
anco
uver
, 19
75).
A c
ombi
nato
ry
sequ
ence
mad
e fr
om u
nalte
red
timbe
rs, t
his
wor
k ep
itom
izes
the
artis
t's a
lmos
t
expr
essi
ve u
se o
f id
entic
al p
artic
les.
Lik
e th
e E
lem
ent
Ser
ies,
Unc
arve
d Blo
cks
is
a pr
ogre
ssiv
e en
sem
ble,
evo
lvin
g fr
om t
wo-
to f
ive-
unit
sets
. Set
s of
ide
ntic
al s
ize
are
diffe
rent
iate
d by
thei
r or
ient
atio
n-no
rth,
so
uth,
eas
t, an
d w
est.
Eac
h se
t po
ints
tow
ard
one
or m
ore
imag
inar
y 'w
ays"
or
path
s, n
ot u
nlik
e a
dire
ctio
n po
le o
r a
perf
ectly
im
mob
ile w
eath
er v
ane.
The
com
bina
tions
are
det
erm
ined
, an
d lim
ited,
by th
e re
peat
ed s
hape
of
a si
ngle
tim
ber
bloc
k re
stin
g on
eac
h of
its
sid
es.
Pro
gres
sive
ly g
aini
ng a
cces
s to
a la
rger
num
ber
of m
ater
ials
-woo
d,
conc
rete
,
alum
inum
, and
gra
phite
-the
ar
tist
expa
nded
the
sco
pe o
f ea
rlier
exp
lora
tions
,
recl
aim
ing
larg
er s
urfa
ces
with
out
the
burd
en o
f m
onum
enta
lity.
Thi
s am
bitio
n is
pres
ent
in L
amen
t for
the
Chi
ldre
n (N
ew Y
ork,
197
6),
anot
her
maj
or e
xam
ple
of
And
re's
tak
e on
mas
s an
d se
izur
e of
spa
ce. T
he a
rtis
t us
ed o
ne h
undr
ed f
ound
cem
ent
bloc
ks,
disp
laye
d fo
llow
ing
a gr
id-li
ke p
atte
rn. T
he o
rigin
al s
ettin
g fo
r th
e
wor
k w
as a
dem
ised
pla
ygro
und,
and
thi
s in
spire
d th
e tit
le,
whi
ch A
ndre
bor
row
ed
from
an
eleg
iac
Sco
ttish
bag
pipe
tun
e.
The
pre
sent
atio
n of
scu
lptu
res
is c
ompl
eted
by
Join
t (P
utne
y, V
erm
ont,
1968
[des
troy
ed]/B
eaco
n,
New
Yor
k, 2
014
[rem
ade]
), o
ne o
f A
ndre
's f
irst
eart
hwor
ks,
whi
ch h
as b
een
spec
ifica
lly r
efab
ricat
ed f
or D
ia:B
eaco
n an
d in
stal
led
by th
e ar
tist
on t
he b
uild
ing'
s ba
ck l
awn.
Orig
inal
ly c
once
ived
as
an e
phem
eral
wor
k, J
oint
cons
ists
of a
lon
g lin
e of
hay
bal
es c
onne
ctin
g tw
o sp
aces
, joi
ning
-but
al
so c
uttin
g th
roug
h
the
limits
of
a fo
rest
int
o a
gard
ened
are
a.
Gal
lery
Tw
o
chec
klis
t
31.
Zin
c-S
teel
Pla
in, N
ew Y
ork,
196
9 zi
nc, s
teel
; 36
-uni
t sq
uare
C
olle
ctio
n Ji
ll an
d P
eter
Kra
us
32.
Mag
nes
ium
-Mag
nes
ium
Pla
in, N
ew Y
ork,
196
9 m
agne
sium
; 36
-uni
t sq
uare
P
rivat
e co
llect
ion
33.
Co
pp
er-A
lum
inu
m
Pla
in, N
ew Y
ork,
196
9 co
pper
, alu
min
um;
36-u
nit
squa
re
Nat
halie
and
Cha
rles
de G
unzb
urg
34.
64 C
op
pe
r S
qu
are
, New
Yor
k, 1
969
copp
er;
64-u
nit
squa
re
Col
lect
ion
Virg
inia
Dw
an
35.
64 T
in S
qu
are
, New
Yor
k, 1
976
tin;
64-u
nit
squa
re
Priv
ate
colle
ctio
n
36.
Ste
el-A
lum
inu
m
Sq
uar
e, D
i.iss
eldo
rf, 1
969
stee
l, al
umin
um;
100-
unit
squa
re
Col
lect
ion
Fis
cher
, Di.i
ssel
dorf
37.
4-S
egm
ent
Hex
ago
n, B
russ
els,
197
4 bl
ue s
teel
; 15
6-un
it ce
llula
r he
xago
n C
entr
e P
ompi
dou,
Par
is, M
usee
nat
iona
l d'a
rt m
oder
ne/
Cen
tre
de c
reat
ion
indu
strie
lle
38.
8005
Mo
nch
eng
lad
bac
h S
qu
are
, Miin
chen
glad
bach
, G
erm
any,
196
8 ho
t-ro
lled
stee
l; 36
-uni
t sq
uare
M
JS C
olle
ctio
n, P
aris
39.
Pyr
amu
s an
d T
his
be
, Di.i
ssel
dorf
, 199
0 W
este
rn r
ed c
edar
; 20
uni
ts i
n 2
wal
ls
Cou
rtes
y th
e ar
tist
and
Pau
la C
oope
r G
alle
ry, N
ew Y
ork
40.
Fer
mi,
New
Yor
k, 1
979
Wes
tern
red
ced
ar;
121-
unit
squa
re
Cou
rtes
y th
e ar
tist
and
Pau
la C
oope
r G
alle
ry, N
ew Y
ork
4 1.
Lam
ent
for
the
Ch
ildre
n, N
ew Y
ork,
197
6 (d
estr
oyed
)/W
olfs
burg
, 19
96 (
rem
ade)
co
ncre
te;
100-
unit
squa
re
Cou
rtes
y th
e ar
tist
and
Pau
la C
oope
r G
alle
ry, N
ew Y
ork
42.
Tris
kaid
ek, N
ew Y
ork,
197
9 W
este
rn r
ed c
edar
; 91
uni
ts
Gle
n st
one
42
36
41
40
38
39
37
34
35
31
32
33
Gal
lery
Th
ree
chec
klis
t
43.
Un
carv
ed B
lock
s, V
anco
uver
, 197
5 W
este
rn r
ed c
edar
; 47
uni
ts
Kun
stm
useu
m W
olfs
burg
44.
Bre
da
, The
Hag
ue,
1986
B
elgi
an b
lue
limes
tone
; 97
uni
ts
Cou
rtes
y th
e ar
tist
and
Kon
rad
Fis
cher
Gal
erie
, D
i.iss
eldo
rf
45.
Neu
bri
ickw
erk
, Di.i
ssel
dorf
, 197
6 W
este
rn r
ed c
edar
; 19
uni
ts
Mus
ee d
'Art
Con
tem
pora
in,
Mon
trea
l
46.
44 C
arb
on
Co
pp
er T
riad
s, B
asel
, 200
5 44
gra
phite
blo
cks,
44
grap
hite
bric
ks, 4
4 co
pper
pla
tes
Cou
rtes
y th
e ar
tist,
Gal
erie
Tsc
hudi
, Zuo
z, a
nd S
adie
C
oles
HO
, Lo
ndon
47.
9 x
27 N
apo
li R
ecta
ng
le, N
aple
s, 2
010
hot-
rolle
d st
eel;
243-
unit
rect
angl
e P
rivat
e co
llect
ion
sout
h la
wn
(by
appo
intm
ent)
:
Join
t, P
utne
y, V
erm
ont,
1968
(de
stro
yed)
/Bea
con,
N
ew Y
ork,
201
4 (
rem
ade)
hay
bale
s; 1
83-u
nit
row
in
Ver
mon
t,
126-
unit
row
in
New
Yor
k C
ourt
esy
the
artis
t an
d P
aula
Coo
per
Gal
lery
, New
Yor
k
47
46
45
39
44
43
Gal
lery
Fo
ur:
Po
etry
, "M
y in
tere
st i
n el
emen
ts o
r pa
rtic
les
in s
culp
ture
is
para
llele
d by
my
inte
rest
in
wor
ds
as p
artic
les
of l
angu
age,
" C
arl A
ndre
sai
d in
197
5. W
hile
he
coul
d no
t m
ater
ializ
e hi
s
mos
t ra
dica
l sc
ulpt
ural
con
cept
s un
til t
he m
id-1
960s
, th
e si
mpl
e fo
rmat
of
his
poet
ry
(typ
ewrit
er i
nk o
n pa
per)
affo
rded
him
a c
ompl
ete
auto
nom
y fr
om t
he v
ery
star
t of
his
inve
stig
atio
ns.
And
re's
ear
ly i
ncur
sion
s in
exp
erim
enta
l ve
rse
can
be t
race
d to
his
year
s at
Phi
llips
Aca
dem
y in
And
over
, M
assa
chus
etts
, bu
t hi
s fir
st m
atur
e po
ems
coin
cide
with
his
arr
ival
to
New
Yor
k in
195
7.
Mul
tiple
exp
erie
nces
and
inf
luen
ces
info
rmed
And
re's
writ
ing:
his
fas
cina
tion
with
early
Am
eric
an h
isto
ry;
his
read
ings
of
Ezr
a P
ound
, Ger
trud
e S
tein
, an
d W
illia
m
Car
los
Will
iam
s; h
is d
iscu
ssio
ns w
ith f
ello
w a
rtis
ts H
ollis
Fra
mpt
on a
nd F
rank
Ste
lla;
and
even
his
tem
pora
ry e
mpl
oym
ent
as a
n ed
itoria
l as
sist
ant
and
inde
xer
in N
ew
Yor
k C
ity d
eter
min
ed h
is o
bjec
tive
and
radi
cally
vis
ual a
ppro
ach
to t
he p
oetic
cra
ft.
The
sel
ectio
n pr
esen
ted
here
illu
stra
tes
how
far
And
re's
poe
try
acco
mpa
nied
, an
d
even
for
esha
dow
ed,
his
mat
eria
listic
and
mod
ular
tak
e on
the
art
of
scul
ptur
e.
Sin
ce t
heir
earli
est
form
ulat
ions
, A
ndre
's p
oem
s (a
lso
refe
rred
to
as "
type
writ
er
draw
ings
" an
d "p
lane
s")
have
sho
wn
his
effo
rt t
o di
sman
tle a
ny tr
aditi
onal
not
ion
of
lyric
ism
, ext
endi
ng t
heir
brea
king
for
ce t
o gr
amm
ar i
tsel
f. C
onfr
onte
d w
ith a
pag
e
whe
re w
ords
ofte
n co
mpo
se f
igur
es r
athe
r th
an s
ente
nces
, th
e re
ader
's e
ye l
ooks
inst
ead
for
conn
ectio
ns
betw
een
lines
, col
umns
, an
d bl
ocks
. S
ome
poem
s ar
e si
mpl
y
laid
out
, bu
t ot
hers
may
req
uire
a m
ore
inge
niou
s ap
proa
ch b
y th
e re
ader
to
mak
e
sens
e of
the
m.
And
re's
typ
ing
met
hods
are
ess
entia
lly b
ased
on
thre
e pa
ttern
s: th
e gr
id (
info
rmin
g
spat
ial
disp
lay)
, the
lis
t or
ind
ex (
clas
sific
atio
n),
and
the
mat
hem
atic
al s
eque
nce
(rep
laci
ng,
in m
any
case
s, g
ram
mar
). U
sing
int
erch
ange
able
pa
rtic
les
of l
angu
age
as
mod
ular
uni
ts,
alig
ned
rath
er t
han
conj
ugat
ed,
And
re a
pplie
d so
me
of t
he p
rinci
ples
that
wou
ld d
omin
ate
his
scul
ptur
al w
ork,
but
als
o de
pict
ed a
reas
of
Am
eric
an h
isto
ry
or h
is o
wn
auto
biog
raph
ical
m
emor
y.
Tw
o im
port
ant
sets
are
inc
lude
d in
the
cur
rent
dis
play
. Tog
ethe
r th
ey t
otal
abo
ut t
wo
hund
red
shee
ts a
nd r
epre
sent
tw
o ex
trem
es o
f A
ndre
's p
oetic
s, a
"no
min
alis
t" a
nd
a "c
onst
ruct
ivis
t" i
mpu
lse-
the
form
er o
rient
ed t
owar
d si
mpl
e op
erat
ions
rep
etiti
vely
, .J
~ ~
perf
orm
ed o
n m
ultip
le,
equi
vale
nt p
artic
les;
the
lat
ter
base
d on
the
seq
uenc
ing
and
reco
mbi
natio
n of
an
exis
ting
sour
ce t
ext.
In o
ne h
undr
ed s
onne
ts (
196
3) A
ndre
uti
lizes
the
trad
ition
al a
rran
gem
ent
of f
ourt
een
lines
and
lay
s ou
t hi
s be
lief
that
eve
ry
wor
d is
a p
oem
in
itsel
f, di
smis
sing
poe
tic f
igur
es a
nd t
he s
ente
nce
alto
geth
er.
Stil
lano
vel
( 197
2),
on t
he o
ther
han
d, r
epre
sent
s th
e ul
timat
e ex
ampl
e of
And
re's
art
of t
he t
ypew
riter
: as
syn
tax
is d
ism
antle
d, t
he g
rid r
emai
ns,
allo
win
g th
e ar
tist
to
refa
shio
n a
pree
xist
ing
stor
y th
at i
s no
w s
catte
red
thro
ugh
the
page
. C
ut a
nd r
ear
rang
ed i
n al
l dire
ctio
ns,
the
book
exp
lore
s a
trag
ic e
piso
de i
n th
e lif
e of
Ead
wea
rd
Muy
brid
ge,
the
fam
ous
phot
ogra
pher
and
pio
neer
of
mot
ion-
pict
ure
proj
ectio
n w
ho
also
exe
rted
a s
tron
g in
fluen
ce o
n m
any
conc
eptu
al a
rtis
ts.
It is
ded
icat
ed t
o A
ndre
's
clos
e fr
iend
s S
ol L
eWitt
and
Hol
lis F
ram
pton
, w
ho g
reat
ly a
dmire
d M
uybr
idge
.
Stil
lano
vel
was
com
pose
d at
the
las
t st
age
of A
ndre
's p
oetic
pro
duct
ion,
afte
r w
hich
he p
rodu
ced
a nu
mbe
r of
han
dwrit
ten
plan
es-a
lso
feat
ured
in
thes
e ga
llerie
s-
and
final
ly a
band
oned
thi
s pr
actic
e ar
ound
197
3.
Man
y of
And
re's
poe
ms
are
diffi
cult,
if n
ot im
poss
ible
, to
read
alo
ud. W
hile
the
artis
t
insi
sted
upo
n th
e pu
rely
vis
ual-a
nd
bare
ly s
eman
tic-q
ualit
ies
of h
is "
plan
es,"
he
also
pro
duce
d a
num
ber
of o
pera
s to
be
perf
orm
ed p
ublic
ly. A
lthou
gh w
ords
are
thei
r m
ain
com
pone
nts,
the
se p
iece
s-ex
empl
ified
he
re b
y N
AM
ES
, W
OR
DS
, an
d
DIT
HY
RA
MB
(al
l 19
64)-
are
scor
es r
athe
r th
an s
impl
e lib
retto
s. U
sing
in
each
cas
e
an i
ntui
tive
nota
tion
syst
em, A
ndre
pro
vide
s re
ader
s w
ith a
ll ne
cess
ary
inst
ruct
ions
to b
ecom
e pe
rfor
mer
s in
an
even
t th
at c
ould
wel
l be
sum
mar
ized
as
"pol
ypho
nic
read
ing.
" E
xem
pt o
f m
usic
al a
ccom
pani
men
t, im
part
ially
rea
d in
stea
d of
sun
g, th
ese
wor
ks m
anife
st o
nce
agai
n A
ndre
's i
nter
est
in r
adic
ally
sec
ular
izin
g th
e po
etic
for
ms,
disp
ensi
ng f
rom
per
sona
l ac
cent
s an
d em
phas
izin
g th
e qu
aliti
es o
f la
ngua
ge i
tsel
f.
Car
l And
re: S
culp
ture
as
Pla
ce,
1958
-201
0 pr
esen
ts tw
o ro
tatio
ns o
f po
etry
dur
ing
the
exhi
bitio
n. P
leas
e co
nsul
t the
che
cklis
ts in
the
galle
ry fo
r cu
rren
t sel
ectio
ns o
n di
spla
y.
Gal
lery
F
ive:
Pas
spo
rt
Pas
spor
t oc
cupi
es a
pla
ce o
f ex
cept
ion
in C
arl A
ndre
's p
rodu
ctio
n. A
scr
apbo
ok
mem
oria
lizin
g di
spar
ate
mat
eria
ls f
rom
And
re's
eve
ryda
y lif
e in
196
0, i
t is
a v
isua
l
wor
k th
at t
he a
utho
r ne
vert
hele
ss i
nclu
ded
in t
he a
ntho
logy
Sev
en B
ooks
of
Poe
try,
edite
d by
Set
h S
iege
laub
and
pub
lishe
d by
Virg
inia
Dw
an (
And
re's
dea
ler
at t
he
time)
as
a bl
ack-
and-
whi
te
phot
ocop
y ed
ition
in
1969
. T
houg
h th
e or
igin
al v
ersi
on
of P
assp
ort
( 196
0) w
as d
irect
ly m
ade
on a
bou
nd b
ook,
usi
ng t
radi
tiona
l te
chni
ques
of c
olla
ge,
ink,
and
pen
cil
draw
ing,
in
1970
Car
l And
re d
ecid
ed t
o pr
oduc
e a
colo
r
editi
on u
sing
the
n-cu
tting
-edg
e X
erox
tec
hnol
ogy
that
was
not
yet
com
mer
cial
ly
avai
labl
e. T
his
revi
sion
allo
wed
him
to
alig
n th
e w
ork
with
the
res
t of
his
pro
duct
ion
in
sing
le s
heet
s, a
nd t
o ex
hibi
t it
acco
rdin
gly
(And
re's
poe
ms
wer
e ge
nera
lly p
rese
nted
as f
ram
ed p
iece
s hu
ng o
n a
wal
l un
til t
he
1990
s, w
hen
the
artis
t de
vise
d sp
ecifi
c
vitr
ines
for
the
pre
sent
atio
n of
his
wor
ks o
n pa
per)
.
Alth
ough
wor
ds a
re s
igni
fican
tly
less
num
erou
s th
an i
mag
es i
n P
assp
ort,
the
trea
t
men
t of
bot
h-es
peci
ally
if
we
com
pare
it
with
And
re's
aut
obio
grap
hica
l, in
dexi
cal
poem
s-is
so
mew
hat
anal
ogou
s, w
hich
may
hav
e ju
stifi
ed
And
re's
dec
isio
n to
inc
lude
it am
ong
othe
r, m
ore
heav
ily la
ngua
ge-b
ased
ser
ies.
An
intim
ate
docu
men
t, P
assp
ort
appe
ars
as th
e vi
sual
equ
ival
ent
of a
per
sona
l di
ary,
an
albu
m w
here
the
aut
hor's
wor
k, h
is f
riend
s' a
nd l
over
s' e
ffigi
es,
and
his
life'
s tr
ivia
are
mix
ed w
ith r
epre
sent
a
tions
of
hist
oric
al a
rt w
orks
(by
Goy
a, C
onst
antin
Bra
ncus
i, F
rank
Ste
lla, a
nd A
rshi
le
Gor
ky, f
or i
nsta
nce)
and
fig
ures
(Lo
rd B
yron
, Ral
ph W
aldo
Em
erso
n, H
art
Cra
ne)
that
he
adm
ires.
Und
erst
ood
by th
e au
thor
as
an x
-ray
of
his
life,
'a g
eolo
gica
l co
re
sam
ple"
dril
led
thro
ugh
his
brai
n, P
assp
ort
stan
ds f
or h
im a
s a
safe
con
duit
by w
hich
the
artis
t gr
ants
him
self
acce
ss i
nto
the
wor
ld.
&
Gal
lery
F
ive
chec
klis
t
Pas
spo
rt, 1
960
colo
r ph
otoc
opy
( 197
0);
88 s
heet
s C
ourt
esy
the
artis
t and
Pau
la C
oope
r Gal
lery
, New
Yor
k
Pag
es a
re a
rran
ged
cloc
kwis
e fr
om th
e ga
llery
ent
ranc
e.
lJ
Gal
lery
Six
: D
ada
Fo
rger
ies,
Ph
oto
gra
ph
y, a
nd
Ep
hem
era
Car
l And
re's
cre
ativ
e th
inki
ng w
as n
ever
lim
ited
to t
he p
rodu
ctio
n of
scu
lptu
res
and
poet
ry,
but
rath
er d
evel
oped
in
diffe
rent
w
ays
as a
rea
ctio
n to
var
ious
spa
tial,
polit
ical
,
and
soci
al e
nviro
nmen
ts a
nd c
ondi
tions
. In
tens
ely
pres
ent
in t
he d
ebat
es o
f hi
s tim
e
(the
Vie
tnam
War
, the
rig
hts
of a
rt w
orke
rs a
gain
st m
useu
m a
nd a
rt m
arke
t po
licie
s),
And
re s
ent
num
erou
s st
atem
ents
and
let
ters
to
edito
rs o
f ar
t m
agaz
ines
; con
trib
uted
to t
he p
rodu
ctio
n of
pam
phle
ts,
broc
hure
s, a
nd p
oliti
cal
publ
icat
ions
; an
d pa
rtic
ipat
ed
in b
enef
it ex
hibi
tions
for
tho
se c
ause
s. H
e al
so h
elpe
d pi
onee
r th
e us
e of
the
pho
to
copy
as
a m
ediu
m f
or a
rtis
t bo
ok e
ditio
ns,
alth
ough
the
circ
ulat
ion
of s
ome
of t
hese
mat
eria
ls w
as r
estr
icte
d, s
omet
imes
int
imat
e-w
hich
m
ay b
e ex
plai
ned
by th
e ar
tist's
need
for
a s
hare
d sp
ace,
a f
orm
of
prox
imity
, as
a c
ondi
tion
for
com
mun
icat
ion.
And
re's
pas
sion
for
deba
te a
nd in
telle
ctua
l ex
chan
ge i
s al
so m
anife
st i
n th
e nu
mer
ous
corr
espo
nden
ces
he m
aint
aine
d w
ith f
ello
w a
rtis
ts a
nd o
ther
pee
rs (
criti
cs,
cura
tors
,
deal
ers)
, es
peci
ally
in
the
form
of
post
card
s. A
t tim
es c
onve
ying
mes
sage
s in
con
vent
iona
l pr
ose,
and
at
times
ser
ializ
ed i
n th
e m
anne
r of
197
0s
mai
l art
, the
se c
ard
colle
ctio
ns s
peak
of
And
re's
num
erou
s tr
avel
s an
d hi
s co
nsta
nt n
eed
to s
hare
ide
as
with
frie
nds
and
acqu
aint
ance
s. K
ept
in t
he c
olle
ctio
ns o
f fe
llow
art
ists
, ar
t hi
stor
ians
,
and
cura
tors
, th
ese
docu
men
ts d
emon
stra
te o
nce
agai
n A
ndre
's p
erm
anen
t ur
ge f
or
sam
plin
g an
d so
rtin
g, n
umbe
ring
and
free
ass
ocia
tion.
His
hum
orou
s an
d irr
ever
ent
spiri
t di
d no
t st
op e
ven
for
the
very
sac
redn
ess
of
art,
and
it ap
pear
s in
a s
ingu
lar
body
of
asse
mbl
age
scul
ptur
es k
now
n as
Dad
a
For
gerie
s. F
irst
docu
men
ted
by H
ollis
Fra
mpt
on-w
ho
had
phot
ogra
phed
som
e of
And
re's
ear
liest
, an
d no
w l
ost,
scul
ptur
es-t
hese
w
orks
wer
e fa
bric
ated
by
And
re
as p
layf
ul a
berr
atio
ns o
f hi
s ow
n id
entit
y as
an
artis
t an
d of
the
nat
ure
of a
rt a
fter
Mar
cel
Duc
ham
p's
inve
ntio
n of
the
rea
dym
ade.
The
y ca
n be
rea
d as
sly
vis
ual
puns
,
in m
any
case
s tit
led
in F
renc
h, a
nd o
ften
conv
eyin
g re
fere
nces
to
art
hist
ory,
sex
, and
relig
ion.
Cas
k of
Mea
ts (
1959
), t
he e
arlie
st s
urvi
ving
wor
k of
the
ser
ies,
con
sist
s qu
ite
sim
ply
of a
boo
k of
lite
rary
crit
icis
m w
ith a
thre
e-in
ch
hole
dril
led
thro
ugh
its c
ente
r,
and
is o
ne a
mon
g se
vera
l jes
ts e
xecu
ted
with
and
aga
inst
boo
ks. A
lso
from
thi
s
serie
s, tw
o fr
ee-s
tand
ing
wor
ks o
bliq
uely
ref
eren
ce t
he f
igur
e of
Jes
us o
f N
azar
eth:
The
Sig
h of
Im
mor
talit
y ( 1
963)
ev
okes
the
fam
ous
para
ble
of t
he c
amel
(he
re a
pac
k
of c
igar
ette
s of
the
sam
e na
me)
and
the
eye
of
the
need
le (
repr
esen
ted
by a
n iro
n
rod)
, whi
le E
C.
HO
. (1
988)
re
prod
uces
the
wor
ds o
f P
ontiu
s P
ilate
("e
cce
hom
o")
on
/\I t ((
a pi
ece
of c
ardb
oard
. M
argi
t E
ndor
mie
and
Bal
zac
cont
ain
art-
hist
oric
al
refe
renc
es
(the
for
mer
evo
kes
Con
stan
tin B
ranc
usi's
fam
ous
"sle
epin
g m
use"
; the
lat
ter
is a
foun
d "r
eplic
a" o
f R
odin
's s
tatu
e).
The
y ar
e bo
th f
rom
19
89,
the
year
of
Car
l And
re's
seco
nd e
xhib
ition
of
Dad
a F
orge
ries
at J
ulia
n P
retto
Gal
lery
, New
Yor
k.
Exc
eptin
g th
e ph
otog
raph
s by
Hol
lis F
ram
pton
doc
umen
ting
his
early
scu
lptu
res,
phot
ogra
phy
ente
rs A
ndre
's w
ork
in r
are
inst
ance
s, m
ainl
y in
the
for
m o
f co
llabo
ra
tions
. T
he f
irst
date
s fr
om s
prin
g 19
70,
whe
n A
ndre
and
pho
togr
aphe
r G
ianf
ranc
o
Gor
goni
str
olle
d th
roug
h N
ew Y
ork'
s M
eatp
acki
ng
Dis
tric
t-on
e of
And
re's
sca
veng
ing
site
s-as
pa
rt o
f th
e bo
ok p
roje
ct T
he N
ew A
vant
-Gar
de,
edite
d by
Gre
goire
Mul
ler.
Sin
ce A
ndre
had
alw
ays
refu
sed
to w
ork
in a
stu
dio,
thi
s w
as t
he o
nly
way
for
him
to
pres
ent
the
phot
ogra
pher
with
a r
eal w
orki
ng s
ituat
ion.
Aga
in t
ryin
g to
mak
e a
visu
al s
tate
men
t ab
out
the
orig
ins
of h
is w
ork,
And
re s
et o
ut t
o po
rtra
y hi
s ho
met
own
of G
uine
y, M
assa
chus
etts
, w
ith t
he h
elp
of G
ordo
n "D
iz"
Ben
sley
, a
phot
ogra
pher
who
had
been
his
tea
cher
at
Phi
llips
Aca
dem
y in
And
over
. T
he r
esul
t w
as Q
uinc
y B
ook,
a sm
all
publ
icat
ion
that
acc
ompa
nied
And
re's
exh
ibiti
on a
t th
e A
ddis
on G
alle
ry o
f
Am
eric
an A
rt i
n 19
73.
Onl
y in
the
late
r w
ork
15 Y
ears
(197
7-19
92):
S
cene
s an
d
Var
iatio
ns d
id A
ndre
him
self
hold
the
cam
era
to c
aptu
re t
he s
pace
s of
his
eve
ryda
y
life,
whi
ch h
e th
en n
umbe
red,
cla
ssifi
ed,
and
shuf
fled.
Man
uel
Cira
uqui
, Ass
ista
nt C
urat
or, D
ia A
rt F
ound
atio
n
Gal
lery
Six
54-7
8 41
40
39
38
37
36
35
34
7918
5 84
83
1 91
90
80
81
82
86
87
88_
89
42
43
11
10
9 8
7
Bl
12
44
19
18
6 I 3
3
53
45
13
17
46
20
tab
le
5 I 3
2
L 47
14
21
48
15
16
I 31
49
1 2
3 4
2 I\
50
22 2
3 24
25
26
27 2
8 29
30
92
93
94
r) ,1
~
\I ~,
~~ I
chec
klis
t
1.
Cas
k o
f M
eats
, 19
59
mod
ified
boo
k C
olle
ctio
n E
ileen
and
Mic
hael
Coh
en,
New
Yor
k
2.
Dar
k T
wis
t, 1
986
toba
cco,
pap
er, p
last
ic t
ube,
tin
box
C
olle
ctio
n Je
nny
Van
Drie
ssch
e, B
elgi
um
3.
Bal
zac
, 19
89
bell
jar,
bre
ad w
ith i
nk i
nscr
iptio
n C
olle
ctio
n L.
Bra
ndon
Kra
ll
4.
Scu
lptu
re I
nco
rpo
rati
ng
Th
ree
Red
Dis
cs, 19
88
foun
d w
ire,
Bak
elite
with
gra
phite
ins
crip
tion
Col
lect
ion
Julia
n Le
thbr
idge
5.
Th
e B
irth
of
Kn
ow
led
ge
, 19
94
woo
d te
nnis
-rac
ket
fram
e, l
eath
er-b
ound
bo
ok
Cou
rtes
y th
e ar
tist
and
Pau
la C
oope
r G
alle
ry, N
ew Y
ork
6.
Mo
nu
men
t to
Co
ntr
acep
tio
n, 19
89
woo
d, a
lum
inum
P
rivat
e co
llect
ion,
New
Yor
k
7.
(Th
e T
itle
of
Th
is W
ork
Is
Ap
par
ent
Wh
en T
aken
Ap
art)
, 19
90
met
al,
glas
s, b
ook
Whi
tney
Mus
eum
of
Am
eric
an A
rt,
New
Yor
k; G
ift o
f A
ngel
a G
ilchr
ist
in m
emor
y of
E
ugen
e M
. Sch
war
tz a
nd J
ulia
n P
retto
8.
Alle
go
rica
l P
ort
rait
of
the
Tru
stee
s o
f th
e M
use
um
of
Mo
der
n A
rt, 19
73
ink
on s
ticke
r, i
nk o
n pa
per,
met
al
Col
lect
ion
Mic
hael
Low
e/K
imbe
rly
Klo
ster
man
, C
inci
nnat
i, O
hio
9.
ST
OP
TH
E G
AM
E W
HO
SE
O
NL
Y R
UL
E I
S I
TS
NA
ME
, 19
89
lam
inat
ed p
ine
with
gra
phite
ins
crip
tion,
cop
per
nails
C
olle
ctio
n L.
Bra
ndon
Kra
ll
1 0. T
he
Yo
un
g P
erso
n's
Rec
tan
gu
lar
His
tory
of
Mu
sic
, 19
91
pain
ted
book
C
olle
ctio
n L.
Bra
ndon
Kra
ll
11. l
'Am
e A
mo
ure
use
, 19
88
foun
d co
pper
sig
n, ir
on
Col
lect
ion
Col
ombe
Nic
hola
s an
d Le
onar
d R
osen
berg
, N
ew Y
ork
12. M
emo
rial
to
th
e S
ilver
Cer
tifi
cate
, 19
63
woo
d, p
aper
col
lage
, co
in
Est
ate
of R
eno
Odl
in;
Cou
rtes
y G
aler
ie A
rnau
d Le
febv
re,
Par
is
13. T
he
Go
lfin
g P
arty
of
Bra
ncu
si,
Sat
ie, &
Jo
hn
Qu
inn
, 19
90
thre
aded
nic
kel-s
teel
; 4
units
C
olle
ctio
n Je
nny
Van
Drie
ssch
e, B
elgi
um
14. F
oo
t C
and
le,
2002
le
athe
r an
d bl
ack
clot
h sh
oe,
pres
sed
glas
s ca
ndle
stic
k ho
lder
, can
dle
Col
lect
ion
L. B
rand
on K
rall
1 5. M
a M
elo
n,
1983
ru
bber
, pla
stic
C
olle
ctio
n Je
nny
Van
Drie
ssch
e, B
elgi
um
1 6. M
arg
it E
nd
orm
ie,
1989
te
nnis
bal
l with
ink
ins
crip
tion,
ben
t m
etal
spr
ing
Col
lect
ion
L. B
rand
on K
rall
17. L
ion
of
Jud
ah,
1990
iro
n fo
und
obje
cts
Col
lect
ion
Fra
ncis
Mis
tiaen
, B
russ
els
18. O
bje
t d
'art
re,
1989
fo
und
woo
d, i
ron
Col
lect
ion
Yvo
n La
mbe
rt,
Fra
nce
19. L
a T
erre
Du
pee
, 19
88
woo
d Y
ale
Uni
vers
ity A
rt G
alle
ry, N
ew H
aven
, Con
nect
icut
; R
icha
rd B
row
n B
aker
, B
A,
1935
, Col
lect
ion
20. !
.:o
euvr
e in
com
men
cee,
20
03
canv
as, c
lay
Cou
rtes
y G
aler
ie A
rnau
d Le
febv
re,
Par
is
21. T
he
Rim
of
Ap
ost
asy
(fo
r JP
), 1
989
woo
d, m
etal
A
ddis
on G
alle
ry o
f A
mer
ican
Art
, P
hilli
ps A
cade
my,
And
over
, M
assa
chus
etts
; G
ift o
f W
erne
r K
ram
arsk
y, 2
006
22. A
nd
re:
Per
iod
ic T
able
, ex
hibi
tion
post
er,
Dw
an G
alle
ry, N
ew Y
ork,
196
7 sc
reen
prin
t on
pap
er
Col
lect
ion
Virg
inia
Dw
an
23. C
arl
An
dre
, 19
68
blac
k-an
d-w
hite
sc
reen
prin
t, cl
oth,
box
ed
ition
of
660;
2 c
opie
s on
dis
play
pu
blis
hed
by S
tii.d
tisch
es M
useu
m A
btei
berg
, M
iinch
engl
adba
ch,
Ger
man
y C
olle
ctio
n th
e ar
tist;
Cou
rtes
y P
aula
Coo
per
Gal
lery
, New
Yor
k
24. Q
uin
cy B
oo
k, 1
973
stap
le-b
ound
bo
ok,
offs
et
prin
t on
pap
er
unnu
mbe
red
editi
on;
2 co
pies
on
disp
lay
publ
ishe
d by
Add
ison
Gal
lery
for
Am
eric
an A
rt,
Phi
llips
Aca
dem
y, A
ndov
er, M
assa
chus
etts
C
olle
ctio
n th
e ar
tist;
Cou
rtes
y P
aula
Coo
per
Gal
lery
, New
Yor
k
(
25. P
ost
card
, C
arl
An
dre
, Ju
ne 1
975
scre
en p
rint
on p
aper
, ink
C
ourt
esy
the
artis
t
26. P
ost
card
, 48
72
Un
blo
cked
S
ton
es,
June
19
76
scre
en p
rint
on p
aper
, ink
C
ourt
esy
the
artis
t
27. P
ost
card
, F
ree
Th
eory
, 1 9
76
scre
en p
rint
on p
aper
, ink
C
ourt
esy
the
artis
t
28. P
ost
card
, M
ac A
rth
ur
Lan
e, 1
977
scre
en p
rint
on p
aper
, ink
C
ourt
esy
the
artis
t
29. P
ost
card
s to
Ph
yllis
Tu
chm
an,
May
197
7 sc
reen
prin
t on
pap
er, i
nk, s
tam
p; 1
0 po
stca
rds
Phy
llis
Tuc
hman
Col
lect
ion
30.
Po
stca
rds
to M
aria
nn
e S
char
n,
1993
-200
2 sc
reen
prin
t on
pap
er, i
nk, s
tam
p; 1
2 po
stca
rds
Cou
rtes
y A
rnau
d Le
febv
re,
Par
is
31. T
arta
n P
ost
card
s, P
ost
card
s to
Mar
jori
e S
trid
er,
1970
sc
reen
prin
t on
pap
er, i
nk, s
tam
ps;
post
card
s 73
-77/
124
Layl
a M
oget
, on
long
ter
m l
oan
to L
AC
., Li
eu d
'Art
Con
tem
pora
in,
Sig
ean,
Fra
nce
32. T
arta
n P
ost
card
s, P
ost
card
s to
Mar
jori
e S
trid
er,
1970
sc
reen
prin
t on
pap
er, i
nk, s
tam
ps;
post
card
s 78
-83/
124
Col
lect
ion
Mic
hel
Ber
nhei
m
33. T
arta
n P
ost
card
s, P
ost
card
s to
Mar
jori
e S
trid
er,
1970
sc
reen
prin
t on
pap
er, i
nk, s
tam
ps;
post
card
s 1-
72/1
24;
84-1
24/1
24
Cou
rtes
y A
rnau
d Le
febv
re,
Par
is
34. U
nti
tled
Co
rres
po
nd
ence
w
ith
Ren
o O
dlin
, 19
75
offs
et
prin
t on
pap
er;
ink;
env
elop
e; s
tam
ps
Est
ate
of R
eno
Odl
in;
Cou
rtes
y A
rnau
d Le
febv
re,
Par
is
35. T
he
Lo
ss o
f V
irg
init
y, C
orr
esp
on
den
ce
wit
h R
eno
Od
lin,
1974
-75
offs
et p
rint
on p
aper
, ink
; 5
enve
lope
s co
ntai
ning
2 p
rinte
d sh
eets
eac
h E
stat
e of
Ren
o O
dlin
; C
ourt
esy
Arn
aud
Lefe
bvre
, P
aris
36. P
refa
ce,
1974
31
env
elop
es w
ith 1
foun
d pa
ge e
ach
Col
lect
ion
Virg
inia
Dw
an
37. P
ost
card
, N
ovem
ber
1, 1
974
ink
on p
aper
(se
aled
and
sta
mpe
d en
velo
pe,
empt
y)
Col
lect
ion
Virg
inia
Dw
an
38. L
awn
s an
d S
po
rts
Gre
ens,
Co
rres
po
nd
ence
w
ith
Em
ily P
ulit
zer,
197
4 pr
inte
d ill
ustr
atio
ns,
book
cov
er, e
nvel
opes
C
olle
ctio
n E
mily
Rau
h P
ulitz
er
39.
Bo
dy
Typ
e P
ost
card
s, C
orr
esp
on
den
ce
wit
h J
enn
ifer
(L
ich
t) W
inkw
ort
h,
1974
pa
per,
env
elo
pes;
30
piec
es
The
Ste
ven
Leib
er T
rust
, S
an F
ranc
isco
40. T
ow
er B
rid
ge
, or
Do
ub
le S
olit
aire
, c. 1
975
post
card
col
lage
in
enve
lope
C
olle
ctio
n V
irgin
ia D
wan
4 1.
Un
titl
ed, c
. 195
8-63
pr
inte
d bo
ard
colla
ge o
n bo
ard
Priv
ate
colle
ctio
n; C
ourt
esy
And
rea
Ros
en G
alle
ry, N
ew Y
ork
42. U
nti
tled
, c. 1
958-
63
prin
ted
boar
d co
llage
on
boar
d P
rivat
e co
llect
ion;
Cou
rtes
y A
ndre
a R
osen
Gal
lery
, New
Yor
k
43. U
nti
tled
, c. 1
958-
63
prin
ted
boar
d co
llage
on
boar
d P
rivat
e co
llect
ion;
Cou
rtes
y A
ndre
a R
osen
Gal
lery
, New
Yor
k
44. U
nti
tled
, c. 1
958-
63
ink
on p
aper
(th
umb
and
stam
p pr
int)
P
rivat
e co
llect
ion;
Cou
rtes
y A
ndre
a R
osen
Gal
lery
, New
Yor
k
45. U
nti
tled
(S
tudy
for
Cut
s),
C.
1958
-63
penc
i l on
pap
er
Priv
ate
colle
ctio
n; C
ourt
esy
And
rea
Ros
en G
alle
ry, N
ew Y
ork
46.
Un
titl
ed, c
. 195
8-63
ty
pew
riter
in
k on
fab
ric
Priv
ate
colle
ctio
n; C
ourt
esy
And
rea
Ros
en G
alle
ry, N
ew Y
ork
47. N
ote
bo
ok
, c.
1958
-63
book
C
olle
ctio
n th
e ar
tist;
Cou
rtes
y P
aula
Coo
per
Gal
lery
, New
Yor
k
48.
Rec
ord
Bo
ok
, c. 1
958
-63
bo
ok
Co
llect
ion
the
artis
t; C
ourt
esy
Pau
la C
oope
r G
alle
ry, N
ew Y
ork
49. T
he
Bo
ok
of
the
Rh
on
e S
eal ,
198
3 sh
eets
of
pape
r pr
inte
d as
mon
otyp
es;
doub
le-s
ided
C
olle
ctio
n M
icha
el S
trau
s, B
irmin
gham
, A
laba
ma
(
50. 1
5 Y
EA
RS
(19
77-1
992)
: Sce
nes
& V
aria
tio
ns
, 19
77-9
2 sp
iral-b
ound
art
ist
book
; 54
pag
es
editi
on o
f 20
cop
ies;
2 c
opie
s on
dis
play
pu
blis
hed
by G
aler
ie A
rnau
d Le
febr
e, P
aris
C
olle
ctio
n th
e ar
tist;
Cou
rtes
y P
aula
Coo
per
Gal
lery
, New
Yor
k
51. T
he
Sig
h o
f Im
mo
rtal
ity (
a.k.
a.
Pla
ton
ic L
ove
), 1
963
iron
rod,
cig
aret
te p
ack
Jud
d F
ound
atio
n
52. E
C. H
O.,
1988
st
eel,
card
boar
d P
rivat
e co
llect
ion
53. G
ordo
n "D
iz'
Ben
sle
y (A
mer
ican
, b.
192
4, d
. 200
9)
Qu
incy
, 19
71 (
repr
inte
d 20
13)
48 g
elat
in s
ilver
prin
ts;
exhi
bitio
n co
py
Col
lect
ion
the
artis
t; C
ourt
esy
Pau
la C
oope
r G
alle
ry, N
ew Y
ork
Pho
togr
aphs
by
Hol
lis F
ram
pton
(A
mer
ican
, b.
193
6, d
. 19
84)
All
wor
ks g
elat
in s
ilver
prin
t C
olle
ctio
n th
e ar
tist;
Cou
rtes
y P
aula
Coo
per
Gal
lery
, New
Yor
k
Top
row
lef
t to
rig
ht
54. F
irst
Lad
der
by
Car
l A
nd
re, c
. 195
8
55.
Un
titl
ed (
Neg
ativ
e S
culp
ture
) b
y C
arl
An
dre
, c. 1
958
56. C
hal
ice
by
Car
l A
nd
re, c
. 195
9
57. Q
uin
cy S
lot
Wo
rk b
y C
arl
An
dre
, c. 1
959
58. U
nti
tled
by
Car
l A
nd
re, c
. 196
0
59. U
nti
tled
by
Car
l A
nd
re, c
. 196
0
60. F
ou
nd
Ste
el O
bje
ct S
culp
ture
s b
y C
arl
An
dre
, c. 1
960-
61
61.
Fo
un
d S
teel
Ob
ject
Scu
lptu
res
by
Car
l A
nd
re, c
. 196
0-61
62. F
ou
nd
Ste
el O
bje
ct S
culp
ture
s b
y C
arl
An
dre
, c. 1
960-
61
63. F
ou
nd
Ste
el O
bje
ct S
culp
ture
s b
y C
arl
An
dre
, c. 1
960-
61
64. F
ou
nd
Ste
el O
bje
ct S
culp
ture
s b
y C
arl
An
dre
, c. 1
960-
61
65.
Fo
un
d S
teel
Ob
ject
Scu
lptu
res
by
Car
l A
nd
re, c
. 196
0-61
Bot
tom
row
lef
t to
rig
ht
66.
Un
titl
ed (
Neg
ativ
e S
culp
ture
) b
y C
arl
An
dre
, c. 1
958
67. U
nti
tled
(N
egat
ive
Scu
lptu
re)
by
Car
l A
nd
re, c
. 195
8
68. B
abo
on
s b
y C
arl
An
dre
, c. 1
959
69. M
aple
Sp
ind
le E
xerc
ise
by
Car
l A
nd
re, c
. 195
9
70. U
nti
tled
by
Car
l A
nd
re, c
. 196
0
71. U
nti
tled
by
Car
l A
nd
re, c
. 196
0
72. F
ou
nd
Ste
el O
bje
ct S
culp
ture
s b
y C
arl
An
dre
, c. 1
960-
61
73. F
ou
nd
Ste
el O
bje
ct S
culp
ture
s b
y C
arl
An
dre
, c. 1
960-
61
74. F
ou
nd
Ste
el O
bje
ct S
culp
ture
s b
y C
arl
An
dre
, c. 1
960-
61
75.
Fo
un
d S
teel
Ob
ject
Scu
lptu
res
by
Car
l A
nd
re, c
. 19
60-6
1
76. F
ou
nd
Ste
el O
bje
ct S
culp
ture
s b
y C
arl
An
dre
, c. 1
960-
61
77. U
nti
tled
by
Car
l A
nd
re, c
. 196
0
78. A
Mar
at b
y C
arl
An
dre
, c. 1
959
79. G
ianf
ranc
o G
orgo
ni (
Italia
n, b
. 19
41)
Sel
ecti
on
s fr
om
Th
e N
ew A
van
t-G
ard
e: I
ssu
es f
or
the
Art
of
the
Sev
enti
es,
1970
12
gel
atin
silv
er p
rints
; ex
hibi
tion
copy
G
ianf
ranc
o G
orgo
ni C
olle
ctio
n
80.
Th
e D
ecla
rati
on
of
the
Fif
ty U
nite
d S
tate
s o
f A
mer
ica
, Oct
ober
28,
197
0 fa
csim
ile o
f th
e D
ecla
ratio
n of
Ind
epen
denc
e of
177
6,
pape
r on
ch
ipbo
ard
with
ink
Y
von
Lam
bert
, P
aris
81.
Fo
ld-o
ut
invi
tati
on
, Ben
efit
fo
r th
e S
tud
ent
Mo
bili
zati
on
Co
mm
itte
e to
th
e E
nd
of
the
War
in
Vie
tnam
, 19
68
scre
en p
rint
on p
aper
pu
blis
hed
by P
aula
Coo
per
Gal
lery
, New
Yor
k P
aula
Coo
per
Gal
lery
, New
Yor
k
82. A
rt-R
ite,
no
. 14
, Win
ter
1976
-77
offs
et l
ithog
raph
on
pape
r p
ublis
hed
by A
rt- R
ite P
ublis
hin
g, N
ew Y
ork
Co
llect
ion
the
artis
t ; C
ourt
esy
Pau
la C
oope
r G
alle
ry, N
e,:.,
Yor
k
83. A
rt-R
ite,
no
. 9, S
prin
g 19
75
offs
et
litho
grap
h on
pap
er
pub
lishe
d by
Art
-Ri t
e P
ublis
hing
, N
ew Y
ork
Col
lect
ion
Dav
id P
latz
ker
and
Sus
an l
ngle
tt
I.
84. A
nd
re/B
arry
/Hu
eble
r/L
eWit
t/M
orr
is/W
ein
er
(a.k
.a. T
he
Xer
ox
Bo
ok)
, 19
68
book
ed
ited
by S
eth
Sie
gela
ub a
nd J
ack
Wen
dle
r pu
blis
hed
by S
iege
laub
/Wen
dle
r, N
ew Y
ork
Co
llect
ion
the
artis
t; C
ourt
esy
Pau
la C
oope
r G
alle
ry, N
ew Y
ork
85. A
ttic
a B
oo
k, c
. 197
2 bo
ok
edite
d by
Ben
ny A
ndre
ws
and
Rud
olf
Bar
anik
pu
blis
hed
by B
lack
Em
erge
ncy
Cul
tura
l C
oalit
ion
and
Art
ists
and
Writ
ers
Pro
test
A
gain
st t
he W
ar in
Vie
tnam
, N
ew Y
ork,
and
Cus
tom
s C
omm
unic
atio
ns
Sys
tem
s,
Sou
th H
acke
nsac
k, N
J D
ia A
rt F
ound
atio
n, N
ew Y
ork
86. S
ho
oti
ng
a S
crip
t , 2
000
ink
on p
aper
, clo
th-b
ound
bo
ok
editi
on o
f 78
, plu
s 8
extr
a vo
lum
es
Cou
rtes
y th
e ar
tist
and
Pau
la C
oope
r G
alle
ry, N
ew Y
ork
87.
Fir
st F
ive
Po
ems
, c. 1
959
ink
on p
aper
; 6
page
s P
rivat
e co
llect
ion;
Cou
rtes
y A
ndre
a R
osen
Gal
lery
, New
Yor
k
88. "
Car
l A
nd
re:
Th
ree
Vec
tor
Mo
del
; 19
75
audi
o ca
sset
te
Aud
io A
rts
2, N
o. 2
un
num
bere
d ed
ition
pr
oduc
ed b
y W
illia
m F
urlo
ng a
nd L
isso
n G
alle
ry, L
ondo
n Li
sson
Gal
lery
Arc
hiv
e
89. S
TIL
LA
NO
VE
L,
1972
cl
oth
-bou
nd b
ook,
pap
er, v
ellu
m, c
arbo
n tr
ansf
er p
rintin
g ed
ition
8 o
f 10
0 pu
blis
hed
in 1
992
by P
aula
Coo
per
Ga
llery
, New
Yor
k; A
ntho
ny d
'Offa
y G
alle
ry, L
ondo
n pr
oduc
ed b
y R
osem
arie
Cas
toro
C
ourt
esy
the
artis
t an
d P
aula
Coo
per
Gal
lery
, New
Yor
k
90. S
even
Bo
oks
of
Po
etry
: Th
ree
Op
eras
, A
Th
eory
of
Po
etry
, Am
eric
a D
rill,
Pas
spo
rt,
On
e H
un
dre
d S
on
net
s, L
yric
s an
d O
des
, S
hap
e an
d S
tru
ctu
re,
1969
-79
set
of s
even
boo
ks,
Xer
ox
man
uscr
ipts
in
viny
l bi
nde
rs
editi
on A
of
11
publ
ishe
d by
Dw
an G
alle
ry, N
ew Y
ork,
and
Set
h S
iege
laub
C
ourt
esy
the
artis
t an
d P
aula
Coo
per
Ga
llery
, New
Yor
k
91. A
mer
ica
Dri
ll, 1
963
(typ
ed)/
20
03 (
prin
ted)
bo
ok
editi
on 3
4 of
600
pu
blis
hed
by L
es M
aitr
es d
e F
orm
e C
onte
mpo
rain
s I
Mic
hele
Did
ier,
Bru
ssel
s, a
nd
Pau
la C
oope
r G
alle
ry, N
ew Y
ork
Cou
rtes
y th
e ar
tist
and
Pau
la C
oope
r G
alle
ry, N
ew Y
ork
Vid
eo P
ortr
ait
by V
irgin
ia D
wan
(A
mer
ican
, b.
193
1)
All
wor
ks v
ideo
. Cou
rtes
y V
irgin
ia D
wan
92.
Din
ner
Par
ty (A
Co
nve
rsat
ion
bet
wee
n C
arl A
nd
re, D
ou
g O
hls
on
, An
gel
a W
estw
ater
, N
ancy
Ho
lt, S
usa
n C
ald
wel
l, a
nd
Vir
gin
ia D
wan
) , c
. 19
82
runn
ing
time:
50
min
.
93.
Car
l An
dre
: R
eco
nfi
gu
rati
on
at
P.S
.1,
1976
ru
nnin
g tim
e: 4
5 m
in.
94.
Car
l An
dre
: A V
ideo
Po
rtra
it, 1
976
runn
ing
time:
1
:05:
28
\.
rela
ted
ex
hib
itio
n
Th
e D
an F
lavi
n A
rt I
nst
itu
te
Cor
with
A
venu
e,
Brid
geha
mpt
on,
New
Y
ork
A F
rien
dsh
ip:
Car
l A
nd
re's
W
ork
s o
n P
aper
fro
m t
he
LeW
itt
Co
llect
ion
June
7
, 20
14-M
arch
2,
201
5
As
a co
mpa
nion
to
the
ret
rosp
ectiv
e at
Dia
:Bea
con,
C
arl A
ndre
: Sc
ulpt
ure
as P
lace
,
1958
-201
0,
the
Dan
Fla
vin
Art
Ins
titut
e pr
esen
ts
a se
lect
ion
of C
arl
And
re's
po
ems,
colla
ges,
and
wor
ks o
n pa
per
that
com
mem
orat
es
the
long
time
frie
ndsh
ip
and
prod
uctiv
e
dial
ogue
be
twee
n A
ndre
an
d S
ol L
eWitt
. T
his
sele
ctio
n of
ove
r tw
o hu
ndre
d pa
ges
of
poet
ry a
nd e
phem
era
is s
how
n in
vitr
ines
spe
cific
ally
de
sign
ed
by t
he a
rtis
t an
d pr
esen
ted
in t
wo
rota
tions
. T
he f
irst
part
pre
sent
s A
ndre
's
corr
espo
nden
ces
with
LeW
itt
and
is o
n
view
fro
m J
une
7 th
roug
h O
ctob
er
18,
2014
. The
sec
ond
part
foc
uses
on
And
re's
po
etry
and
is o
n vi
ew f
rom
Oct
ober
24
, 20
14,
thro
ugh
Mar
ch 2
, 20
15.
Car
l And
re: S
culp
ture
as
Pla
ce,
1958
-201
0 is
mad
e po
ssib
le b
y le
ad s
uppo
rt f
rom
the
Hen
ry
Luce
Fou
ndat
ion
and
the
Ter
ra F
ound
atio
n fo
r A
mer
ican
Art
. M
ajor
sup
port
is
prov
ided
by
the
Fun
daci
6n A
lmin
e y
Ber
nard
Rui
z-P
icas
so p
ara
el A
rte;
The
Bro
wn
Fou
ndat
ion,
Inc.
, of
Hou
ston
;
Jill
and
Pet
er K
raus
; the
Nat
iona
l End
owm
ent
for
the
Art
s; a
nd S
othe
by's
. Gen
erou
s su
ppor
t is
prov
ided
by
Virg
inia
Dw
an; G
lens
tone
; Agn
es a
nd E
dwar
d Le
e; a
nd A
mal
ia D
ayan
and
Ada
m
Lind
eman
n. A
dditi
onal
sup
port
is
prov
ided
by
the
New
Yor
k S
tate
Cou
ncil
for
the
Art
s, a
Sta
te
agen
cy; t
he M
arx
Fam
ily A
dvis
ed F
und
at A
spen
Com
mun
ity F
ound
atio
n; H
enry
McN
eil;
The
Str
aus
Fam
ily F
und;
and
Em
ily R
auh
Pul
itzer
.
Gen
erou
s fu
ndin
g fo
r th
e pu
blic
atio
n is
pro
vide
d by
Sad
ie C
oles
HO
; P
aula
Coo
per;
and
Kon
rad
Fis
cher
Gal
erie
. Add
ition
al s
uppo
rt h
as b
een
prov
ided
by
Gal
erie
Tsc
hudi
; Gal
leria
Alfo
nso
Art
iaco
; D
omin
ique
Lev
y G
alle
ry; a
nd A
ngel
a W
estw
ater
, S
pero
ne W
estw
ater
.
The
art
ist
wis
hes
to t
hank
Chr
isto
pher
Alb
ert,
Cha
d B
owen
, Tim
othy
And
erso
n, K
urt
Die
bbol
l,
Hei
die
Gia
nnot
ti, C
urtis
Har
vey,
Pat
rick
Hei
lman
, Mat
t H
eld,
Bria
n H
igbe
e, T
hom
as H
uber
, Bill
Jaco
bson
, Joh
n P
atric
k M
urph
y, E
lizab
eth
Pec
k, M
ike
Pru
dhom
, Jim
Sch
aeuf
ele,
Joh
n S
prag
ue,
Jean
-Mar
c S
uper
ville
Sov
ak, M
ax T
anno
ne, a
nd T
ony
Yor
i, fo
r th
eir
care
in h
andl
ing
and
inst
allin
g
the
wor
ks.
Cov
er: C
arl A
ndre
, Unc
arve
dB/o
cks,
Van
couv
er, 1
975.
Wes
tern
red
ceda
r; 4
7 un
its. 1
2 x
12 x
36
inch
es (3
0.5
x 30
.5 x
91.
4 cm
) eac
h. K
unst
mus
eum
Wol
fsbu
rg. P
hoto
: Hel
ge M
undt
, Ham
burg
. ©
Kun
stm
useu
m W
olfs
burg
. Art
© C
arl A
ndre
/Lic
ense
d by
VA
GA
, New
Yor
k, N
Y
