Carl Andre, Sculp­ture as Place

Art Press - - LONG VIEW -

With his use of in­dus­trial ma­te­rials, a constant in his work ever since the ear­ly days, Carl Andre fa­mous­ly re­de­fi­ned the pa­ra­me­ters of sculp­ture. Fe­wer people know that he did the same with poe­try by his ir­re­verent use of lan­guage. The recent show that ope­ned last year at Dia: Beacon, New York, Carl Andre: Sculp­ture as Place, 19582010, was the first re­tros­pec­tive to co­ver the whole fif­ty years of is ca­reer. Com­pri­sing 45 sculp­tures and over 160 poems and works on pa­per, it used a loose chro­no­lo­gi­cal fra­me­work and was di­vi­ded in­to th­ree sec­tions: sculp­ture, poe­try, and un­clas­si­fiable works—a mix of enig­ma­tic as­sem­blages, postcards, and found ob­jects cal­led Da­da For­ge­ries. Cur­rent­ly tou­ring at the Mu­seo de Arte Rei­na Sofía in Ma­drid,(1) this show al­so sheds light on the concerns that Andre shares with other ar­tists in the Dia Art Foun­da­tion col­lec­tion, such as Dan Fla­vin, Do­nald Judd, Sol Le­Witt, Robert Smith­son and Richard Ser­ra.

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