Biography of Carl Andre (1935-VVVV)

American sculptor, minimalist trend, born September 16, 1935 in Quincy, Massachusetts. Between 1951 and 1953 he/she teaches at the Phillips Academy in Andover; in 1954 he/she traveled to Europe and visit the ruins of Stonehenge and some other Neolithic sites, in which is a sense of order that much influence his future work.

At the end of the 1950s he/she meets Frank Stella and shares a Studio with him for some time; It is at this time, influenced by the minimalist paintings of Stella, when he/she begins to make large-scale sculptures, the first of them, in carved wood, which reflect his interest in the work of Brancusi (in parts as the Last Ladder and Pyramid of 1959), both by direct carving and its relationship with soil. Between 1960 and 1964 he/she is forced to work as a driver of train and keeps the Pennsylvania railway company to maintain, which turns out to be a crucial and decisive experience for his sculpture, which since then is organized horizontally and basis of serial and repeated modules. In 1964 he/she participated in some collective of what would soon be called minimalism, and in 1965 made his first individual exhibition in the Tobor de Nagy Gallery in New York. In 1966 he/she participated in the exhibition entitled Primary Structures in the Jewish Museum in New York, where he/she presents Lever, a succession of 139 refractory bricks.

Andre himself described his contribution to the sculpture as a transformation of the form and structure in place; the central content of his work is the site specific (many of his works are designed for the space where they will be exposed) and the way in which the viewer perceives it. His works most features are built based on sheets of aluminum, copper and other metals, arranged on the ground and likely to be stepped on by the spectator. Materials used, as understood by minimalism, are the industrial handling or processing.

In 1968 he/she participated in the exhibition entitled Minimal Art in the Gemeentemuseum in the Hague and in Documenta IV of Kassel. In 1969, he/she also participated in when attitudes become form organized in Bern in 1969.

My work has never been architectural. I started generating forms, then generating structures, then generating sites. A place in this sense is a pedestal for the rest of the world...Works of art are fetishes, i.e. material objects of human production that we imbuimos of extramateriales powers. My works are made to provide pleasure, nothing more...My work does not refer to the mere condition of the art but the necessary condition of art. I will always try my work have just what you need...The influence of Stella was to practice and deeply ethical. What calling for himself and those around him was that the artist must discover between itself and the world art that is unique to him and then purge it of all the effects that do not serve its purposes"(Andre).


American Art in the 20th century, New York, Prestel, 1993.