9.4 Carl Andre

Carl Andre, a key figure in Minimalism, revolutionized sculpture with his use of industrial materials and floor-based arrangements. His work challenged traditional notions of art, emphasizing simplicity, repetition, and viewer interaction.

Andre's sculptures, like "Equivalent VIII" and "144 Magnesium Square," explore space and materiality. His approach influenced contemporary art, sparking debates about the nature of sculpture and the relationship between art and its audience.

Early life and education

• Born in Quincy, Massachusetts in 1935, Carl Andre grew up in a working-class family
• Attended Phillips Academy in Andover, Massachusetts, where he was exposed to modern art and literature
• Studied art at Kenyon College in Ohio from 1953 to 1954, but left after one year to move to New York City
• In New York, Andre worked various jobs, including as a freight brakeman and conductor for the Pennsylvania Railroad, experiences that would later influence his artistic practice

Minimalist sculpture

Arrangements of basic forms

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• Andre's sculptures often consist of simple geometric forms, such as squares, rectangles, and lines
• He arranges these forms in repetitive patterns, creating grid-like structures or linear progressions
• The simplicity of the forms emphasizes the inherent properties of the materials used, such as weight, texture, and color
• Andre's arrangements challenge traditional notions of sculpture as a vertically-oriented, figurative art form

Industrial and natural materials

• Andre frequently employs industrial materials, such as metal plates, bricks, and wood blocks, in his sculptures
• He also incorporates natural materials, like stones and logs, highlighting the contrast between the man-made and the organic
• The use of these materials reflects Andre's interest in the physical properties of the world around him and the ways in which humans interact with and manipulate their environment
• Examples of materials used include copper (Copper-Magnesium Alloy Square), steel (37 Pieces of Work), and wood (Cedar Piece)

Viewer interaction and space

• Andre's sculptures often occupy the same space as the viewer, placed directly on the floor without a pedestal
• This placement encourages viewers to engage with the work on a physical level, walking around or even on top of the sculpture
• The sculptures' relationship to the surrounding space becomes an integral part of the artwork itself
• By blurring the boundaries between art and the viewer's space, Andre challenges traditional notions of sculpture as a static, untouchable object

Influences and contemporaries

Constantin Brâncuși

• Andre was influenced by the Romanian sculptor Constantin Brâncuși, known for his abstract, simplified forms
• Like Brâncuși, Andre sought to reveal the essential nature of his materials and create a sense of harmony and balance in his compositions
• However, while Brâncuși's sculptures often maintained a vertical orientation, Andre's works were primarily horizontal and floor-based

Frank Stella and Minimalism

• Andre was a key figure in the development of Minimalism, alongside artists like Frank Stella, Donald Judd, and Dan Flavin
• Minimalist artists sought to reduce art to its most essential elements, emphasizing simple forms, industrial materials, and the viewer's experience of the work in space
• Andre's sculptures exemplify Minimalist principles through their use of repetition, geometric forms, and the rejection of traditional sculptural techniques like carving and modeling

Differences from Abstract Expressionism

• Minimalism emerged as a reaction against the emotionally charged, gestural style of Abstract Expressionism that dominated the post-war American art scene
• While Abstract Expressionists emphasized the artist's subjective experience and the act of creation, Minimalists focused on the objective properties of the artwork itself
• Andre's sculptures, with their impersonal, industrial materials and simple geometric forms, stand in stark contrast to the expressive brushwork and personal symbolism of Abstract Expressionist paintings

Major works and exhibitions

Equivalent series

• Andre's Equivalent series, begun in 1966, consists of sculptures made from identical units of materials, such as bricks or metal plates, arranged in various configurations
• The series explores the concept of equivalence, as each sculpture contains the same number of units, but the arrangement of these units creates distinct visual and spatial experiences
• Examples from the series include Equivalent VIII (1966), made from 120 firebricks, and Equivalent I-VIII (1966), a set of eight sculptures using different materials like aluminum, zinc, and steel

144 Magnesium Square

• 144 Magnesium Square (1969) is one of Andre's most well-known works, consisting of 144 magnesium tiles arranged in a 12x12 grid on the floor
• The sculpture exemplifies Andre's interest in creating works that engage with the surrounding space and the viewer's movement
• The use of magnesium, a lightweight metal, challenges traditional notions of sculpture as a heavy, monumental art form

Lever and floor sculptures

• Lever (1966) is a seminal work in Andre's oeuvre, consisting of 137 firebricks arranged in a straight line on the floor
• The sculpture's title refers to the way in which the work "levers" the viewer's attention from the vertical to the horizontal plane
• Andre's floor sculptures, like 37 Pieces of Work (1970) and 5 x 20 Altstadt Rectangle (1967), invite viewers to walk on and around the artwork, engaging with it in a physical, interactive manner

Critical reception and legacy

Institutional critique

• Andre's work has been interpreted as a form of institutional critique, challenging the traditional ways in which art is presented and experienced within the museum or gallery setting
• By placing his sculptures directly on the floor and encouraging viewer interaction, Andre questions the hierarchical relationship between artwork, institution, and audience
• His use of industrial materials and simple geometric forms can be seen as a rejection of the art world's emphasis on precious materials and virtuosic craftsmanship

Commodification vs. artistic intent

• Despite Andre's anti-commercial stance, his sculptures have become highly valued commodities within the art market
• This tension between the artist's original intent and the work's eventual commodification raises questions about the nature of art in a capitalist society
• Andre's own ambivalence towards the art world and its institutions has further complicated the reception and interpretation of his work

Ongoing influence on contemporary art

• Andre's contributions to Minimalism and his innovative approach to sculpture have had a lasting impact on subsequent generations of artists
• His emphasis on the viewer's experience, the use of industrial materials, and the engagement with the surrounding space have become key concerns in contemporary art practice
• Artists like Felix Gonzalez-Torres, Wolfgang Laib, and Maya Lin have built upon Andre's legacy, creating works that invite viewer participation and challenge traditional notions of sculpture and materiality

Controversies and personal life

Acquittal in Ana Mendieta's death

• In 1985, Andre was charged with second-degree murder in the death of his wife, artist Ana Mendieta, who fell from the window of their 34th-floor apartment
• Andre was acquitted of the charges in 1988, but the controversy surrounding Mendieta's death has continued to shape the public perception of the artist and his work
• Some critics and activists have argued that Andre's acquittal was a miscarriage of justice and have called for a reevaluation of his legacy in light of the accusations

Relationship with museums and collectors

• Throughout his career, Andre has had a complex and sometimes contentious relationship with museums, galleries, and collectors
• He has been critical of the art world's emphasis on commercial success and has often refused to participate in exhibitions or sell his work to certain institutions
• However, Andre's work is now held in major museum collections worldwide, including the Museum of Modern Art in New York, the Tate Modern in London, and the Centre Pompidou in Paris
• The tension between Andre's anti-establishment stance and his eventual acceptance by the art world institutions he critiqued remains a subject of ongoing debate and analysis