Carl Andre

(1935 ) - Artworks Wikipedia® - Carl Andre
ANDRE Carl Small Equivalent Ii

Sotheby's /Sep 24, 2014
37,089.24 - 51,924.93
88,088.75

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Artworks in Arcadja
222

Some works of Carl Andre

Extracted between 222 works in the catalog of Arcadja
Carl Andre - 34 Bay State Hard Line

Carl Andre - 34 Bay State Hard Line

Original 1965
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Lot number: 475
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Description:
Carl Andre (B. 1935) 34 Bay State Hard Line grinding blocks each: 1/2 x 1/2 x 4 in. (1.2 x 1.2 x 10.1 cm.) overall: 1/2 x 1/2 x 136 in. (1.2 x 1.2 x 345.4 cm.) Executed in 1965. This work is accompanied by a statement of authenticity from the artist. Vivian Horan Fine Art, New York Acquired from the above by the present owner PROPERTY FROM A PRIVATE COLLECTION WITH PROCEEDS INTENDED TO BENEFIT ENVIRONMENTAL ORGANIZATION Eindhoven, Stedelijk van Abbemuseum, Carl Andre, January-March 1987, p. 20, no. 1965-5. Carl Andre Sculptor 1996: Krefeld at Home, Wolfsburg at Large, exh. cat., Stuttgart, Kunstmuseum, 1996, p. 134.
Carl Andre - Irregular Rectangle Composed Of Four Unequal Parts.

Carl Andre - Irregular Rectangle Composed Of Four Unequal Parts.

Original 1985
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Lot number: 110
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CARL ANDRE Irregular Rectangle Composed of Four Unequal Parts. Steel sculpture in four parts, 1985. 205x250 mm; 8 1/8x9 3/4 inches (overall). Ex-collection Galerie Plus-Kern, Brussels; J.J. de Back, Huizen; and Galerie Klaas Beeldman, Naarden. With a certificate of authenticity, signed by the artist in Brussels, 1985. Andre (born 1935) is one of the foremost Minimalist sculptors. After studying art at Phillips Academy in Andover, and serving in the U.S. Army, Andre arrived in New York in 1956, where he reconnected with his former classmate Frank Stella. Together with their contemporaries, Donald Judd, Sol LeWitt and Ellsworth Kelly, the artists departed from Abstract Expressionism, the dominated movement of the late 1950s, to pioneer a more objective, geometric aesthetic. Andre's sculptures, consisting of separate pieces of unaltered material, are easily dismantled and rearranged, realizing their intentioned form only as an installation. His work has drawn attention for its aggressively industrial quality, most notably in 1976 when the Tate Gallery, London, exhibited Equivalent VIII, an arrangement of 120 fire bricks, and the public criticized its acquisition as a waste of taxpayer money. Despite controversy, Andre's works are a mainstay of Post-War Modern art; the current work serves as a prime example of Andre's characteristic, minimal methods.
Carl Andre - Bend Smithson

Carl Andre - Bend Smithson

Original 1997
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Lot number: 5
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Carl Andre (American, born 1935) Bend Smithson (The Old Rattler), in 48 parts 1997 Each: steel Overall: 350.5 by 7.5 by 0.3 cm. 138 by 2 15/16 by 1/8 in. Each triangle: 10 by 10 by 14.5 by 0.3 cm. 3 15/16 by 3 15/16 by 5 11/16 by 1/8 in. Square: 10.2 by 10.2 by 0.3 cm. 4 by 4 by 1/8 in. This work was executed in 1997. Footnotes This work is accompanied by a certificate of authenticity. Provenance ACE Gallery, Los Angeles Acquired directly from the above by the present owner in 2005 Exhibited Los Angeles, ACE Gallery, Carl Andre , 1997 Carl Andre is an artist who has long remained elusive, a master minimalist who has avoided the celebrity which so often envelops artists of his stature. For him, the work needs to speak for itself, with no background narrative of the art-world superstar or myth of the tortured genius. As such, the present work, entitled Bend Smithson (The Old Rattler) from 1997 offers us something rare, namely the chance to decipher details of Andre's life and its influence on his work. The clues are there, if you know where to look. While he is known as an innovator, indeed a revolutionary, Andre views himself as the inheritor of a long sculptural tradition which steps back through Brancusi, Rodin and beyond. For him, works such as Bend Smithson (The Old Rattler) are just the latest leg of a long and convoluted journey. With 48 steel elements, comprising 47 triangles and a single square, Bend Smithson (The Old Rattler) strikes out across the floor of a gallery space, slicing it in two. Typical of Andre's work, however, this is not a sculpture which separates or excludes. For while it may be unmissable, cutting a bold swathe along the ground, this work becomes part of the space that it inhabits, integrating with it rather than breaking it up or disturbing it. There is no monumentality here, although that is not to say that the work is unimpressive; instead, Andre sources artistic energy from the medium itself, and its relationship with the world around it, discarding the artifice of mimesis in favour of the purity of materiality and form. Bend Smithson (The Old Rattler) can be stepped over, or stepped upon, allowing its audience to perceive and interact with it in unanticipated ways. It is in that materiality, and in its repetitive modular form, that we find the first hints of Andre the man in the present lot. Between 1960 and 1964 the artist worked as a freight brakeman on the Pennsylvania Railroad, and this experience with rail tracks, their endless repetition of wood and steel elements which lock together to create something unfathomably immense, has had a profound effect on his output. The job of dismantling a train, known as drilling, is referenced in one of Andre's most important poems, America Drill of 1963, and the rattling rhythm of the train as it speeds along the track across the vast American plain is undoubtedly echoed too in the systematic linearity of the present lot. The title of this work also requires analysis. "Bend Smithson" refers to Robert Smithson, a contemporary of Andre who is celebrated above all for his land art, but who also produced smaller-scale works in glass, sand and metal as the one illustrated on the left page. Given their similar aims, it is hardly surprising that the two were friends, both playing major roles in the redefinition of sculpture in the second half of the twentieth century. In creating this work, Andre was surely remembering his late friend with irreverent affection; the slant of Bend Smithson (The Old Rattler) mirrors bend sinister seen in heraldry, in which a left to right diagonal represents bastardy, the "Old Rattler" of the title recalling an American folk song about a faithful, if rather geriatric, dog, and also suggesting that Smithson could be, to put it bluntly, a bit of a snake. Given the endurance of their relationship, it is safe to assume that these apparently scurrilous references are delivered tongue very much in cheek.
Carl Andre - Small Equivalent Ii

Carl Andre - Small Equivalent Ii

Original 1975
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Lot number: 27
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Daniel Weinberg Gallery, San Francisco, 1975 Exh. Cat., The Hague, Haags Gemeentemuseum; Eindhoven, Stedelijk Van Abbemuseum, Carl Andre, 1987, cat. no. 1975.2, pp. 86-87, illustrated GOOD TO GO: PROPERTY FROM THE COLLECTION OF JONI GORDON OF NEWSPACE GALLERY Carl Andre SMALL EQUIVALENT II SMALL EQUIVALENT II stainless steel, in 30 parts Overall: 1/16 by 10 5/8 by 28 3/8 in. 0.2 by 27 by 72 cm. Each: 1/16 by 2 7/8 by 3 5/8 in. 0.2 by 2.1 by 9.2 cm. Executed in 1975, this work is accompanied by a certificate of authenticity.
Carl Andre - Zinc-steel Dipole (n/s)

Carl Andre - Zinc-steel Dipole (n/s)

Original
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Lot number: 51
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Lot Description Carl Andre (b. 1935) Zinc-Steel Dipole (N/S) two elemets-zinc and steel each: 1/4 x 19 5/8 x 39 3/8 in. (.5 x 50 x 100 cm.) overall: 1/4 x 39 1/4 x 38 3/8 in. (.5 x 100 x 100 cm.) Executed in 1975. This work is accompanied by a certificate of authenticity signed by the artist. Provenance Mario Fiorentino, Rome Faggionato Fine Arts, London Acquired from the above by the present owner Literature Carl Andre, exh. cat., The Hague & Eindhoven, 1987, p. 92, no. 1975.39. Exhibited Eindhoven, Stedelijk van Abbemuseum and Haags Gemeentemuseum, Carl Andre, November 1986-March 1987, no. 39 (The Hague) (illustrated). Post-Lot Text “Sculpture, you might say, is matter mattering. We compliment a painter when we call her a colorist. My vocation is to be a matterist” (C. Andre, as quoted by T. Marlow, “Interview with Carl Andre,” Tate Magazine 9 (Summer 1996), pp. 36-41).
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