Carl Andre
05 May - 12 Oct 2015
CARL ANDRE
Sculpture as Place, 1958-2010
5 May - 12 October 2015
Carl Andre. Sculpture as Place, 1958-2010 offers an in-depth study of a crucial period in contemporary art by virtue of the work of Carl Andre (Quincy, Massachusetts, 1935). The artist’s oeuvre falls under the categories of Minimalism, Land Art and Conceptual Art, reflecting the formal concerns of his epoch, for instance appropriation, the “unaltered”, the standardisation of industrial materials, the use of stark geometric forms and the introduction of the site-specific concept.
The exhibition features around 200 sculptures and works on paper produced over the past 50 years, ranging from his most influential works made with metallic plates, levers, ribbons and slopes, to other unique examples of his artistic practice, serving as an example with which to understand the development of his progressive concept of “sculpture as form, sculpture as structure, sculpture as place”. In addition to this broad selection of sculptural works, the exhibition focuses on the key role of language in Andre’s artistic practices via a large number of visual and concrete poetry series, textual collages and works on paper realised between 1958 and 1972. Lastly, the exhibition will assemble, for the first time in 20 years, an exceptional group of works entitled Dada Forgeries, expounding his jocular relationship with Duchamp’s readymades.
Sculpture as Place, 1958-2010
5 May - 12 October 2015
Carl Andre. Sculpture as Place, 1958-2010 offers an in-depth study of a crucial period in contemporary art by virtue of the work of Carl Andre (Quincy, Massachusetts, 1935). The artist’s oeuvre falls under the categories of Minimalism, Land Art and Conceptual Art, reflecting the formal concerns of his epoch, for instance appropriation, the “unaltered”, the standardisation of industrial materials, the use of stark geometric forms and the introduction of the site-specific concept.
The exhibition features around 200 sculptures and works on paper produced over the past 50 years, ranging from his most influential works made with metallic plates, levers, ribbons and slopes, to other unique examples of his artistic practice, serving as an example with which to understand the development of his progressive concept of “sculpture as form, sculpture as structure, sculpture as place”. In addition to this broad selection of sculptural works, the exhibition focuses on the key role of language in Andre’s artistic practices via a large number of visual and concrete poetry series, textual collages and works on paper realised between 1958 and 1972. Lastly, the exhibition will assemble, for the first time in 20 years, an exceptional group of works entitled Dada Forgeries, expounding his jocular relationship with Duchamp’s readymades.