Cuts: Texts 1959--2004 (Writing Art)

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9780262012157: Cuts: Texts 1959--2004 (Writing Art)

Just as Carl Andre's sculptures are "cuts" of elemental materials, his writings are condensed expressions, "cuts" of language that emphasize the part rather than the whole. Andre, a central figure in minimalism and one of the most influential sculptors of our time, does not produce the usual critical essay. He has said that he is "not a writer of prose," and the texts included in Cuts -- the most comprehensive collection of his writings yet published -- appear in a wide variety of forms that are pithy and poetic rather than prosaic. Some texts are statements, many of them fifty words or less, written for catalog entries and press releases. Others are Socratic dialogues, interwoven statements, or in the form of questionnaires and interviews. Still others are letters -- public and private, lengthy missives and postcards. Some are epigrams and maxims (for example, on Damian Hirst: I DON'T FEAR HIS SHARK. I FEAR HIS FORMALDEHYDE) and some are planar poems, words and letters arranged and rearranged into different patterns. They are organized alphabetically by subject, under such entries as "Art and Capitalism," "Childhood," "Entropy (After Smithson)," "Matter," "My Work," "Other Artists," and "Poetry," and they include Andre's reflections on Michelangelo and Duchamp, on Stein and Marx, and such contemporaries as Eva Hesse, Robert Smithson, Robert Morris, and Damien Hirst.

Carl Andre's writing and its materiality -- its stress on the visual and tactile qualities of language -- takes its place beside his sculpture and its materiality, its revelation of "matter as matter rather than matter as symbol." Both assert the ethical and political primacy of matter in a culture that prizes the replica, the insubstantial, and the virtual. "I am not an idealist as an artist," says Andre. "I try to discover my visions in the conditions of the world. It's the conditions which are important."

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About the Author:

Carl Andre is a sculptor and poet.

From Publishers Weekly:

While Andre's minimalist contemporaries Robert Smithson and Donald Judd are almost as revered for their writings as for their art, Andre has, until now, had his greatest textual presence in Lucy Lippard's acclaimed assemblage Six Years: The Dematerialization of the Art Object from 1966 to 1972, which features a number of Andre interviews and texts. The title of this collection is remarkably apt. It features text that has been snipped out of letters and notebooks, poems and aphorisms that have accumulated over nearly 50 years, artist's statements demanded by varying shows in various eras, and material from interviews. These "cuts" have been sutured together by Meyer (Minimalism: Art and Polemics in the Sixties) and edited by him "for clarity and flow." (As for Andre, "the vast majority of the texts he did not touch.") The results seem to reflect the editor's vision as much as the artist's, with ponderous headings ("Form" "Infinity" "Mass" "Time") providing scant context for what largely feels like an artist's process work. They undoubtedly add to our knowledge of an important artist and of a crucial era in American art (particularly in Andre's many writings about other artists), but as a book, they do not add up to more than a miscellany.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

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Andre, Carl
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Descripción MIT Press Ltd, United States, 2005. Hardback. Estado de conservación: New. Language: English . Brand New Book. Just as Carl Andre s sculptures are cuts of elemental materials, his writings are condensed expressions, cuts of language that emphasize the part rather than the whole. Andre, a central figure in minimalism and one of the most influential sculptors of our time, does not produce the usual critical essay. He has said that he is not a writer of prose, and the texts included in Cuts -- the most comprehensive collection of his writings yet published -- appear in a wide variety of forms that are pithy and poetic rather than prosaic. Some texts are statements, many of them fifty words or less, written for catalog entries and press releases. Others are Socratic dialogues, interwoven statements, or in the form of questionnaires and interviews. Still others are letters -- public and private, lengthy missives and postcards. Some are epigrams and maxims (for example, on Damian Hirst: I DON T FEAR HIS SHARK. I FEAR HIS FORMALDEHYDE) and some are planar poems, words and letters arranged and rearranged into different patterns. They are organized alphabetically by subject, under such entries as Art and Capitalism, Childhood, Entropy (After Smithson), Matter, My Work, Other Artists, and Poetry, and they include Andre s reflections on Michelangelo and Duchamp, on Stein and Marx, and such contemporaries as Eva Hesse, Robert Smithson, Robert Morris, and Damien Hirst.Carl Andre s writing and its materiality -- its stress on the visual and tactile qualities of language -- takes its place beside his sculpture and its materiality, its revelation of matter as matter rather than matter as symbol. Both assert the ethical and political primacy of matter in a culture that prizes the replica, the insubstantial, and the virtual. I am not an idealist as an artist, says Andre. I try to discover my visions in the conditions of the world. It s the conditions which are important. Nº de ref. de la librería AAS9780262012157

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Carl Andre
Editorial: MIT Press Ltd, United States (2005)
ISBN 10: 0262012154 ISBN 13: 9780262012157
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Descripción MIT Press Ltd, United States, 2005. Hardback. Estado de conservación: New. Language: English . Brand New Book. Just as Carl Andre s sculptures are cuts of elemental materials, his writings are condensed expressions, cuts of language that emphasize the part rather than the whole. Andre, a central figure in minimalism and one of the most influential sculptors of our time, does not produce the usual critical essay. He has said that he is not a writer of prose, and the texts included in Cuts -- the most comprehensive collection of his writings yet published -- appear in a wide variety of forms that are pithy and poetic rather than prosaic. Some texts are statements, many of them fifty words or less, written for catalog entries and press releases. Others are Socratic dialogues, interwoven statements, or in the form of questionnaires and interviews. Still others are letters -- public and private, lengthy missives and postcards. Some are epigrams and maxims (for example, on Damian Hirst: I DON T FEAR HIS SHARK. I FEAR HIS FORMALDEHYDE) and some are planar poems, words and letters arranged and rearranged into different patterns. They are organized alphabetically by subject, under such entries as Art and Capitalism, Childhood, Entropy (After Smithson), Matter, My Work, Other Artists, and Poetry, and they include Andre s reflections on Michelangelo and Duchamp, on Stein and Marx, and such contemporaries as Eva Hesse, Robert Smithson, Robert Morris, and Damien Hirst.Carl Andre s writing and its materiality -- its stress on the visual and tactile qualities of language -- takes its place beside his sculpture and its materiality, its revelation of matter as matter rather than matter as symbol. Both assert the ethical and political primacy of matter in a culture that prizes the replica, the insubstantial, and the virtual. I am not an idealist as an artist, says Andre. I try to discover my visions in the conditions of the world. It s the conditions which are important. Nº de ref. de la librería AAS9780262012157

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Andre, Carl
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Descripción The MIT Press, 2005. Hardcover. Estado de conservación: New. Never used!. Nº de ref. de la librería 0262012154

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Carl Andre
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