Carl Andre quotes
Carl Andre is an American artist and a leading figure in the Minimalist art movement. His sculptures, often constructed from simple blocks or metal plates, challenge traditional notions of form and space. He is renowned for his floor-based works that invite viewers to experience art in new and interactive ways. Here are 40 of his quotes:
You might say that a creative person is a person who simply has a desire to have something, to add something to the world that's not there yet, and goes about arranging fort that to happen.. ..when you desire a work of art and make it, you've added to the stock of art in the world. Artists are one of the people who can do that: add to the stock of things.
Carl Andre
I mean artists like Joseph Beuys, who is really a tough, strong artist. B E U Y S. He's been working in Germany for years. He doesn't bother with the burden of ideas. What he desires to do is fill your house with margarine. Let you live encased in fat, die encased in fat. He would take three hundred pounds of margarine and put it exactly where Pat Kelly is now, and then leave it there. That's sort of the tenor of his work.
Carl Andre
The Duchamp thing is played both ways. The 'Urinal' [famous 'ready-made' of Marcel Duchamp ] signed R. Mutt, is played as an art object, and then as the opposite of a legitimate art object. And it vacillates back and forth. Well perhaps that is a nice thing, but I don't know. I find Duchampianism a bore. It's very adolescent. I was very much excited by it when I was a teenager.. .My tradition is quite different. My conscious tradition is through Constantin Brâncuși, and Brancusi just strikes me as an infinitely wiser and infinitely more talented, an infinitely stronger figure than Duchamp. I think I could have done my work if Duchamp had not lived. I could not have done my work if Brancusi had not lived.
Carl Andre
Fortunately, the less you have to rely on art materials – what are considered classic art materials which are all overpriced anyway – the more you can rely on materials at large in the culture and the more you should rely on them. The more free you are because you're not tied down to a higher-priced set of materials. That's the advantage of getting out in to the streets. I find that work I'm interested in now is made out of things which have been discarded by people – metals and things which I find in vacant lots. I don't want all of it. I want only certain kinds for certain purposes. But this is of interest to me now, just so I won't get into a trap where I have to work and continue with more and more expensive materials.
Carl Andre
Well sure, my sculptures are floor pieces. Each one, like any area on the surface of the earth, supports a column of air that weighs – what is it? – 14.7 pounds per square inch. So in a sense, that might represent a column. It's not an idea, it's a sense of something you know, a demarked place. Somehow I think I always thought of it going that way, rather than an idea of a narrowing triangle going to the center of the earth... I have nothing to do with Conceptual art [in contrast to his Physical Art, as Carl Andre called his sculpture art already in 1969]]. I'm not interested in ideas. If I were interested in ideas, I'd be in a field where what we think in is ideas... I don't really know what an idea is. One thing for me is that if I can frame something in language, I would never make art out of it. I make art out of things which cannot be framed in any other way. [quote from a talk with the audience, December 1969].
Carl Andre
As I have said many times, for me an artist is a person who says he's an artist, and an artwork is what an artist says is an artwork. Although for myself, I am not interested in ideas as the burden of art.... the important thing about art is how it stimulates us. I think the more you are stimulated by more different kinds of art, the more demanding you're going to become on the level of your stimulation. The key to art is experience of it and proximity to it.
Carl Andre
I've been educated in some pretty lively barrooms, like the Cedar Bar in New York. And I went to high school with Frank Stella and when he got out of college he went to New York and started painting... I was working with sculpture in a kind of dilatory way, and he said to come up and work in his tiny loft when he wasn't there. At the same time I sort of dabbled in a little bit of painting, and a kind of confusion. I was an eye, ear, nose, and throat person too... One day Frank Stella just said to me, 'Look, if you paint another painting I'm going to cut off your hands.' I asked, 'Can't I become a good painter?' Frank said, 'No, because you are a good sculptor now.' That's really my formal education.... the company of artists is the great education. We educate each other. I've learned from older, wiser people by the old Greek method of sitting down and drinking with them. And that's how I received my education.
Carl Andre
Talking about the particles, I know I don't have any special theory of particles. It's just the way it came out and that's the way I want to do it. Also, there are advantages to particles: you can't break them; they don't break apart. They don't have any rigid connections; there are no rigid connections to break. The particles are always shifting around a little bit and you have to kick them back into shape. It's like tuning a piano every once in a while. I like the idea of something being permanent by being non-rigid, being absolutely non-rigid but not having a rigid form that can be broken. But a theory of particles, I don't know. Maybe late one night after a few drinks I explained to Lucy Lippard a theory of particles. I'm sure I didn't remember the next day.
Carl Andre
My work is atheistic, materialistic and communistic. It's atheistic because it's without transcendent form, without spiritual or intellectual quality. Materialistic because it's made out of it's own materials without pretension to other materials. And communistic because the form is equally accessible to all men.
Carl Andre
When I visit places remote from where I ordinarily work, people ask me long, elaborate questions that could not possibly have any relationship to my work. The people haven't ever seen it, and so I say: 'But my dear sir, have you ever seen my work?' The response is: 'Of course, I've seen many of your works.' - 'But where?' - 'In Artforum, Art in America..' - I say: 'Have you ever actually seen one of the objects, have you actually stood on one of them?
Carl Andre