Carl Andre Quotes

In the years when I was trying to get my work shown and accepted and so forth, I went to work for the Pennsylvania Railroad and that was my formal art school. You can learn a hell of a lot about sculpture, working in a railroad. The thing about getting a job outside of art is the fact that you can finds out whole areas of materials. I don't mean new ones. I mean old ones like scrap iron. A railroad is essentially a big collection of scrap iron, and that’s why it's great. You get out and beyond the art confine.

A work will be treated as art within a certain circle – that is, within the circle of let's say ten thousand people. There are about ten thousand in the world today who are prepared to take it on face value if you present anything to them as art, they deal with it straight on as art and tell you whether it stimulates them, moves them, or not. Some of them might even buy it.. .Anyway, it seems to me that within that ring of ten thousand, fortunately, that sincerity issue [the issue: is something art or not] is over. The reason why that issue failed is that it became obvious no one would live a life of art, a life of poverty, just to pull somebody's legs. In other words, there were compensating sacrifices for what people did.

We live in a world of replicas, and I try desperately in a world of replicas to produce things that are not replicas of anything.

Magnets have an inherent quality that they can adhere to each other, so there are certain things you can do with magnets that you can't do with non-magnetic material. There are certain characteristic things you can do with very heavy things you can't do with very light things. By that, I mean it seems to me that very light things and very small things have a different characteristic way that they should be arranged, and big heavy things have a different characteristic way they should be arranged. That's subjective. I can't prove that to you. So my work is essentially combining particles – but again, combining particles according to the properties of individual particles, not imposing properties on the particles. These particles, of course, always work in a gravitational space and meet the plane of resistance that you always meet, as long as you aren't the center of the earth.

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.

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 its own materials without pretension to other materials. And communistic because the form is equally accessible to all men.

I think it's called Arte Povera. But it doesn't mean 'poor art'. It means the art which you would do out there if you were nobody at all. Aspects of this are street art and so forth. Earthworks interest me to the single extent that it means a great extension of the possibilities of materials. Dirt is a wonderful material to make things out of. And mud and rocks and things like this...

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.

PROPOSAL FOR AN
EXPLOSION -
An appropriate contractor is
retained to place and fuse
an explosive charge sufficient
to produce a crater 12 inches
deep and 144 inches diameter.
The charge is detonated by the sculptor, Carl Andre
5-7- 67

I realized the wood was better before I cut it, than after. I did not improve it in any way [by carving it].

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]

People keep on wanting fetish figures, and things like that are very popular. That's Pop art. There was an enormous resistance to Abstract Expressionism and there still is to that school, which is not dead at all. But Pop art came as a reaction to that because kids can't paint abstract expressionism unless they're under five year of age. Because it really is tremendously hard work and it's very challenging. But the point is, people love an immediately recognizable word – if you put a word in anything, they lie it.. .I am not interested in culture at all. Once a work of art has gotten into the culture, its dead as far as I'm concerned. I think there is a difference between art and culture. Or as the sage once said, 'Art is what we do; culture is what is done to us'.

I'm an anti-Platonist, so I wouldn't say that stock was a stock of ideas or certainly not an ideal form, because I don't believe there is something out there, except out there. There's something in here and there's something out there, and there's mediation between the two.

Up to a certain time I was cutting into things. Then I realized that the thing I was cutting was the cut. Rather than cut into the material, I now use the material as the cut in space.

It comes to me as a desire to have something in the world. And again to quote Blake, 'It is better to murder an infant in the cradle than to nurse an ungratified desire.'.. .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.