Editing Carl Andre (section)

== Work ==
=== Early work ===
Andre cited Brâncuși as an inspiration for his early wood sculptures,<ref>{{Cite web|url=https://brooklynrail.org/2014/07/artseen/the-nature-of-carl-andre|title=The Nature of Carl Andre|last=Rose|first=Barbara|date=2014-07-15|website=The Brooklyn Rail|language=en-US|access-date=2020-03-26}}</ref> but his conversations with Stella about space and form led him in a different direction. While sharing a studio with Stella, Andre developed a series of wooden "cut" sculptures<ref name="ReferenceB" /> (such as ''Radial Arm Saw cut sculpture'', 1959 and ''Maple Spindle Exercise'', 1959). Stella is noted as having said to Andre (regarding hunks of wood removed from Andre's sculpture), "Carl, that's sculpture, too."<ref name="ReferenceA" />

From 1960 to 1964, Andre worked as a freight [[brakeman]] and conductor in New Jersey for the [[Pennsylvania Railroad]]. His experience with blue collar labor and the ordered nature of conducting [[freight trains]] would later influence Andre's sculpture and artistic personality. For example, it was not uncommon for Andre to dress in [[overalls]] and a blue work shirt, even to the most formal occasions."<ref name="ReferenceA" />

During this period, Andre focused mainly on writing, and there is little notable sculpture of his on record between 1960 and 1965. His poetry resurfaced later, most notably in a book published in 1980 by [[NYU Press]] called ''12 Dialogues'', in which Andre and Hollis Frampton took turns responding to one another at a typewriter using mainly poetry and free-form essay-like texts.<ref name="ReferenceB" /> Andre's [[concrete poetry]] has been exhibited in the United States and Europe, a comprehensive collection of which is in the collection of the [[Stedelijk Museum]] in Amsterdam.<ref>{{Cite web|url=https://www.stedelijk.nl/en/collectie/maker/380-carl-andre|title=Carl Andre|website=Stedelijk Museum|language=en|access-date=2019-05-22}}</ref>

=== Mature work ===
{{multiple image|perrow = 1/2|total_width=320
 | image1 = Carl Andre 144 Magnesium Square 144 thin magnesium plates measuring 144 by 144 inches.jpg
 | caption1 = Carl Andre, ''{{vanchor|144 Magnesium Square}}'', 1969, 144 thin magnesium plates, each measuring {{convert|12|by|12|inches}}, {{cvt|144|x|144|inches}}
 | image2 = KMM Andre.JPG
 | caption2 = Sculpture ''43 Roaring forty'' by Carl Andre at [[Kröller-Müller Museum]], 1968, Netherlands
 | image3 = Carl Andre Satier Zinc on Steel 1989 Zinc and steel in two parts 0.44 x 6 x 11.44 inches.jpg
 | caption3 = Carl Andre,
''{{vanchor|Satier: Zinc on Steel}}'', 1989, zinc and steel, in two parts, {{cvt|0.44|x|6|x|11.44|in}}
}}
In 1965, Andre had his first public exhibition of his work in the ''Shape and Structure'' show curated by [[Henry Geldzahler]] at the [[Tibor de Nagy Gallery]].<ref name="AAA">{{cite web | year=2011 | title=Oral history interview with Carl Andre, 1972 Sept | work=Research collections | publisher=[[Archives of American Art]] | url=http://www.aaa.si.edu/collections/interviews/oral-history-interview-carl-andre-13302 | access-date=June 17, 2011}}</ref>

In the late 1960s, entrepreneur Karl Ströher from [[Darmstadt]], Germany, acquired three major works from Andre to give them on loan to the [[Hessisches Landesmuseum Darmstadt]].<ref>{{Cite book|title=[[Rolf Lauter|Lauter, Rolf]] (ed.): Das Museum für Moderne Kunst und die Sammlung Ströher: zur Geschichte einer Privatsammlung; [eine Ausstellung des Museums für Moderne Kunst Frankfurt vom 5.12.1994-8.1.1995 in der Galerie Jahrhunderthalle Hoechst]|publisher=Societaetsverlag Frankfurt|year=1994|isbn=3-7973-0585-0|location=Frankfurt}}</ref> [[Peter Iden]] then acquired these works for the [[Museum für Moderne Kunst]] [[Frankfurt]]<ref>[[Peter Iden|Iden, Peter]]; [[Rolf Lauter|Lauter, Rolf]] (ed.): ''Bilder für Frankfurt. Bestandskatalog des Museums für Moderne Kunst''. München 1985. {{ISBN|978-3-7913-0702-2}}</ref> in 1981.<ref>{{Cite web|url=https://collection.mmk.art/de/sammlung-stroeher/|title=MMK Sammlung|website=MMK Museum für Moderne Kunst Frankfurt}}</ref> The works have since been shown in various "Change of Scene"<ref>Bee, Andreas: ''Zehn Jahre Museum für Moderne Kunst Frankfurt am Main'', Köln 2003, {{ISBN|3832156291}}</ref> exhibitions (1992–2002) at the museum in Frankfurt<ref>[[Rolf Lauter|Lauter, Rolf]] : ''Carl Andre : extraneous roots,'' Museum für Moderne Kunst Frankfurt at Monastery of the Carmelites, Frankfurt 1991,  {{ISBN|3882704616}}</ref> and internationally.<ref>[[Peter Iden|Iden, Peter]], [[Rolf Lauter|Lauter, Rolf]]: ''Dalla pop art americana alla nuova figurazione : opere del Museo d'arte moderna di Francoforte'', Padiglione d'arte contemporanea, Milan, 1987 {{ISBN|9788820207632}}</ref>

In 1969, Andre helped organize the [[Art Workers Coalition]].<ref>{{Cite web |title=Art Workers' Coalition |url=https://www.oxfordreference.com/display/10.1093/oi/authority.20110803095427234 |access-date=2024-01-26 |website=Oxford Reference: A Dictionary of Modern and Contemporary Art |language=en-UK }}</ref>

In 1970, he had a solo exhibition at the [[Solomon R. Guggenheim Museum]].{{citation needed|date=February 2022}}

=== ''Equivalent VIII'' ===
{{Main|Equivalent VIII{{!}}''Equivalent VIII''}}
In 1972, Britain's [[Tate Gallery]] acquired Andre's ''[[Equivalent VIII]]'', an arrangement of 120 [[firebrick]]s.

The piece was exhibited several times without incident, but became the center of controversy in 1976 after being featured in an article in ''[[The Sunday Times]]'' and later being defaced with blue [[food dye]].  The "Bricks controversy" became one of the most famous public debates in Britain about contemporary art.<ref>John Walker. (1999). [http://www.artdesigncafe.com/Carl-Andre-bricks-Tate-Gallery-1976 "Carl Andre's 'pile of bricks'- Tate Gallery acquisition controversy – 1976"]. ''Art & outrage''/''artdesigncafe''. Retrieved December 23, 2011.</ref><ref>{{cite web|url=http://www.tate.org.uk/archivejourneys/historyhtml/people_public.htm |archive-url=http://webarchive.nationalarchives.gov.uk/20130802144417/http://www.tate.org.uk/archivejourneys/historyhtml/people_public.htm |url-status=dead |archive-date=2013-08-02 |title=[ARCHIVED CONTENT] Archive Journeys: Tate History – People, The Public – Tate }}</ref><ref name="BBC Four, Bricks">{{Cite serial |title=Bricks! |date=17 August 2017 |network=[[BBC Four]] |url=http://www.bbc.co.uk/programmes/b07w6hdm}}</ref>

=== ''Lever'' ===
{{Main|Lever (1966){{!}}''Lever'' (1966)}}
Andre's ''Lever'' consists of a single line of 137 firebricks.<ref name="financial_times">{{Cite web|title= My work doesn't mean a damn thing |url= https://www.ft.com/content/0b6db36e-6486-11e2-934b-00144feab49a |archive-url=https://ghostarchive.org/archive/20221210/https://www.ft.com/content/0b6db36e-6486-11e2-934b-00144feab49a |archive-date=December 10, 2022 |url-access=subscription |last=Belcove|first= Julie |work=Financial Times |date=25 Jan 2013|language=en-US|access-date=23 Aug 2020}}</ref> The work concisely divides a space as the bricks hug the floor.<ref name="Canada">{{Cite web|title= Carl Andre – Lever|url= https://www.gallery.ca/collection/artist/carl-andre |website= gallery.ca |publisher=The National Gallery of Canada |language=en-US|access-date=23 Aug 2020}}</ref> The exhibition of ''Lever'' at the 1966 exhibition [[Primary Structures]] at the [[Jewish Museum]] in New York brought considerable recognition to Carl Andre.<ref name="New_Yorker">{{Cite magazine|title= The Materialist – Carl Andre's eminent obscurity |url= https://www.newyorker.com/magazine/2011/12/05/the-materialist |url-access=limited |last=Tompkins|first= Calvin |magazine=The New Yorker |date=28 Nov 2011|language=en-US|archive-url=https://web.archive.org/web/20221115182942/https://www.newyorker.com/magazine/2011/12/05/the-materialist |archive-date=2022-11-15 |url-status=live |access-date=23 Aug 2020}}</ref>