Cuts: Texts 1959-2004

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MIT Press, 2005 - Art - 317 pages
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Statements, dialogue, letters, epigrams, and poems by sculptor Carl Andre, a central figure in minimalism.

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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Cuts: texts 1959-2004

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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 ... Read full review

Contents

Art is what we do Culture is what
30
Cataract Basel 1980
31
Equivalent VIII 19661969
44
Seventeen Timber Line Vancouver 1969
52
Decay Nixons Second Inauguration
59
BERND AND HILLA BECHER
65
Lever New York 1966
70
CAPITALISM
71
David Novros
164
Neolithic and Skeuomorphic 1963
171
OTHER ARTISTS
174
1962 with Hollis Frampton
176
PLACE
181
A Vermeer must exist in an
188
Excerpt On Certain Poems and
196
Red Cut from America Drill 1963
200

CERTAINTY
73
Aluminum Cloud Glarus Switzerland 2001
76
Shipyard Quincy Massachusetts 1973
82
Excerpt taped interview New York 1970
83
SUVERO
89
Joint Putney Vermont 1968
93
ENTROPY AFTER SMITHSON
95
The forms of my work have never
99
Untitled Negative Sculpture
104
ARSHILE GORKY
106
Equivalents LeonNew York 1966
111
INFINITY
112
Cuts Los Angeles 1967
117
KONRAD FISCHER
119
Dusseldorf 1967
124
LANGUAGE
125
LITERATURE
131
In the Matter of Lee Lozano 1983
134
Triskaidek New York 1979
139
Matter mattering 1996
140
Hearth Dusseldorf 1980
145
It is the copper at the center of
146
I
147
ROBERT MORRIS
153
Poetry does not supply experience 1963
202
Words Preface 1964
210
EZRA POUND
216
RAILROAD
222
RUSSIAN CONSTRUCTIVISM
229
Broken is the High Column
238
Chaintomb Ode 1965
244
I am drawn to what I
245
Our Ruins Are Not Empty undated
253
Art is always somewhere 1972
259
Bent Long Pipe Run The Hague
262
Any task can be accomplished 1991
275
UNITED STATES OF AMERICA
278
Congressional Directory from Passport
279
MY WORK
288
ShilohNew York 1980
292
Stillness Silence Peace 1997
294
Bibliography
303
A Word for John Chamberlain 1972
306
Index
310
213
311
153
313
266
316
Copyright

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About the author (2005)

Carl Andre is a sculptor and poet.

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