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Carl Andre died last week at the age of 88. He is survived by his wife, artist Melissa L. Kretschmer, and his sister, according to a release from Paula Cooper Gallery, which has represented Carl Andre since 1964.The gallery will continue to operate a scholarship to support André’s work, which is currently being prepared receive catalog His sculptures.
André’s career as an artist was overshadowed by his involvement in the death of Cuban-American artist Ana Mendieta, who became André’s third wife less than a year later . Mendieta, who called 911 after his body fell from the window of their 34th-floor apartment on Sept. 8, 1985, said they had gotten into an argument because he was a more well-known artist. Andre was tried for murder but found not guilty. Anna Chave said that more than a decade later, the judge told a reporter that he believed Andre “probably did just that” and that the verdict was based in part on the limited evidence allowed and the district attorney’s “Administrative errors” by officials and police.Article “Graves Matter: Positioning Carl Andre at the End of His Career,” published in 2014 art magazine. This lack of justice fueled a movement to recognize Mendieta’s work and hindered Andre’s further elevation as a central figure in the Minimalist movement. This was united in protest under the slogan “Where is Ana Mendieta?” When news of Andre’s death was announced, many took to social media to express feelings of “getting rid of it all.”
Ironically, André’s work appears so sober, and his life seems to have been soaked in alcohol. In a 2013 interview with Barbara Rose, Andre said: “My mind has been destroyed by alcohol. I want you to know that.”
Andre’s misogyny is an ongoing issue. Chave found that in the text of the 1978 exhibition catalog he wrote: “Wood is the mother of matter. Like all women cut down and ravaged by men, she renews herself by giving, she gives herself by renewing.” Although Ander Lieutenant supported female artists, but his contemporaries were also critical of Andre’s work: Eva Hesse described his metal airplanes as “concentration camps.”
Arranging raw materials into stacks, grids, planes and compositions, Andre’s post-industrial works recalibrate assumptions about sculpture. They have also long been studied as original architectural works.Written by Jeffrey Inaba Assembleexpressed this idea in a 1999 article, noting André’s focus on location and the title of his work (already, crib, coin, compound, Excellent…) and its materials.Lucy Lippard will his equivalent In a 1967 installation, bricks of the same volume were clustered in rectangles of different sizes on the plane, while remaining aligned with the grid of the Tibor de Nagy gallery’s parquet floor.for installation reef In 1970, at the Guggenheim Museum, Andre stacked large blocks of Styrofoam between two of the building’s exterior columns.
André’s works use scrap construction materials from supply yards, city streets, construction sites and ruins, at least conceptually – pieces used later sometimes rely on higher quality materials such as titanium. (Much has been made of his youth spent in Quincy, Massachusetts, and the fact that his grandfather was a bricklayer.) Andre retained part of his working-class origins: He wore overalls, He wears a beard, exudes an Amish vibe, and prefers to install his creations himself.
His floor sculptures work well in galleries –pant, you can even walk on some of them! — but sometimes they escape into the city.I remember a scene mourn for children Installed on an outdoor site in Long Island City, each block is aligned with a piece of underlying sidewalk. To me, these blocks evoke the gridded concerns of architects, including Bernard Tschumi’s Parc La Villette. André’s work now also pays cryptic homage to Tschumi’s 1978 architecture ad, which includes a freeze-frame shot of a man pushing out of a window. “To truly appreciate architecture, you might even need to kill someone,” the caption read.
André’s interest in things themselves and the labor of their arrangement (they were often not fastened together, and at one point, according to Inaba, the weight of the wooden structure buckled the floor of the main gallery) predates current architectural conversations about material flows. and the actual conditions of construction. Andre’s stacked or arranged bricks are related to the general forms of modernism; some of his sculptures may be confused with the volumetric models or volumes in Hilbersemer’s planning scheme. Ross said his work “could also be seen as a criticism of contemporary architecture, with its pretentiousness, over-design, eccentric facades and exotic and expensive materials.”
Although it seems serious, there is also some politics and humor in it. Andre participated in Max Protetch’s “1974” political art Exhibited at his Washington, D.C. gallery.Last year, Andre installed America’s decline, a 12 x 18 foot wide piece of cheese (500 gallons) topped with 10 gallons of tomato sauce. The piece references Nixon’s favorite lunch during the presidential campaign.According to comments, the chaos lasted for two days american artthen demolished due to a “putrid smell that pervaded the house.”
Carl Andre’s typewriter work had a profound impact on me. The first time I came into contact with his postmodern textual art was when I was an intern at the Chinati Foundation. This simplicity made sense to me, a young person interested in both language and architecture. André uses single words as units, often empty of their meaning. I loved the operation of the monospaced grid created by the typewriter, and the countless ways to rearrange the 26 characters of the alphabet. The act of building occurs on the page, 1:1, rather than in a drawing that suggests a larger structure. Architecture is expensive, but word art is cheap. With the help of a collection of typewriters I borrowed from my father, I produced hundreds of pieces over the next few years. The act is calming: once I figure out the direction, I don’t have to think, just type and count. All I knew then was that I loved the job; I know better now.
Word art often wanders between the realms of seriousness and silliness.exist art in landscapea book published in 2000 that documents a 1995 seminar at the Chinati Foundation, in which Andre provides a page of stacked text:
Willif
european country network
TER
you
time
yes
Business unit
Tweed
DIEI
time
One can’t deny the existential accuracy of this quote, but to me it’s incredibly emotive, like the cursive font on T-shirts you see on Hot Topic at your local mall.
André’s death is another invitation between artists and their art. Perhaps artists make adjustments and judgments more easily than architects. Mendieta’s death remains controversial. While protests continued to preserve her memory, the Paula Cooper Gallery made no mention of Andre’s death when it announced the news.
A “wall of silence” emerged after Andre’s trial, as explored by Robert Katz, who published Naked by the window, a 1990 book about Andre and Mendieta’s relationship. Andre had a retrospective exhibition at Dia Beacon in 2014. The associated workshop divided the presentations into two days, divided by the gender of the speaker. Chave recalled that Andre was present only on the days when the men spoke.
I’ll end this article with statistics, just like Chafe does in her article. It is a common fact that men still commit violence against women. According to 2021 U.S. statistics, 34% of “female victims of murder and manslaughter” were killed by an intimate partner. (Compared to 6 percent of men.) The CDC says, “More than half of women and nearly one-third of men experience sexual violence involving physical contact in their lifetime.” In our post middleroe A broader attack on women’s rights is underway in the United States.
André’s work is still noticed and influenced – and, I think, it should continue to be – but it has been transformed by his actions (or inactions). Had Mendieta survived her encounter with Andre, she would have been 75 years old today.Her job is a key part of that trend, just closed in Dallas. Still, one question hangs in the air like dust: Where is Mendieta’s retrospective at Dia Lighthouse?
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