Carl Andre (born 1935) was a poet before he was an artist, and between 1960 and 1965 he produced a substantial body of innovative visual poetry. Arranging language on paper as carefully and as sculpturally as he was later to arrange pieces of metal or bricks on the floor, Andre approached words as adjustable entities, to be moved around within the limits of the space of the sheet of paper. These works, made during the height of the international Concrete poetry movement, appeared alongside his sculptures in exhibitions and were excerpted in scholarly writings about the artist. With this volume, Andre’s influential poetic oeuvre is now gathered comprehensively for the first time. The poems, which were often typed on 8 x 11 paper, are reproduced in quasi-facsimile, to convey Andre’s sculptural intentions. Also included are essays by art historians Gavin Delahunty and Valérie Mavridorakis, and curator Lynn Kost.
Exhibition catalogue published by Museum zu Allerheiligen Schaffhausen and JRP|Ringier, on the occassion of “Carl Andre: Poems 1958-1969,”
(May 15 - August 17, 2014)
Hardcover, 11 x 10.75 in. / 144 pgs / 100 color / 50 bw.
Tate Publishing, London and The Carl Andre and Melissa L. Kretschmer Foundation are working together to create a complete catalogue of the poems of Carl Andre (American, born September 16 1935). The publication will record and illustrate some 1,500 poems made by the artist between 1957 and 2000. Each work will be accompanied by detailed information about its origin, provenance, exhibition history, and a bibliography, in addition to extensive supporting material.
While there have been numerous catalogues on Andre’s work since the 1960s, this will be the first comprehensive catalogue of the artist’s poetry. The Complete Poems will provide an indispensable resource for poets, artists, scholars, art institutions, and others interested in the artist’s oeuvre.
For More information on the project, please visit:
Rotor Reflector Review, 1967
Drawing on paper
© Carl Andre/VAGA, New York and DACS, London 2002
Published by Dia Art Foundation on the occassion of the exhibition "Carl Andre: Sculpture as Place, 1958 - 2010," the first major retrospective of Andre’s work in the United States since the late 1970s. The book will offer original essays by co-curators Philippe Vergne and Yasmil Raymond and contributions by internationally respected authors and scholars such as art historians Arnauld Pierre, Alistair Rider, Anne Rorimer, Phyllis Tuchman and Mika Yoshitake; poetry scholar Marjorie Perloff; curators Christophe Cherix and Manuel Cirauqui; classicist Brooke Holmes; and poet Vincent Katz. Co-edited by Michelle Piranio and Jeremy Sigler, the publication will also include a comprehensive exhibition history, bibliography and chronology. The book’s designer is the award-winning Purtill Family Business.
Hardcover: 400 pages
Publisher: Yale University Press (May 27, 2014)
For more information on the exhibition and publication:
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. 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."
Hardcover: 339 pages
Publisher: The MIT Press (May 27, 2005)
Published by the Haags Gemeentemuseum in conjunction with the exhibition 'Carl Andre," August 23 - October 5, 1969. Republished by Daled Brussels in February 1975 with the approval of Carl Andre.