Carl Andre
Artist in American minimalism, recognized for his ordered linear format and grid format sculptures.
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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.
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. 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. (December 1969, talking with the audience)
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.
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.
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