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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Jun 5, 2019 | Dorotheum | Vienna | Contemporary Art I | 254 | $****** - ****** | Lockblox |
sculpture
40 x 20 x 8 cm (15.75 x 7.87 x 3.15 in)
concrete capstones
Galerie Tschudi, Zuoz, Switzerland (acquired directly from the artist)
Private Collection, Spain
Private Collection, Europe (acquired from the above in 2014)
Glarus, Galerie Tschudi, Carl Andre, Antonio Calderara, Alan Charlton, Martin Gerwers, Martina Klein, Richard Long, Niele Toroni Group Show, 1998
Zuoz, Galerie Tschudi, Carl Andre,
Pythagorean Sculptures, 2006 Zuoz, Galerie Tschudi, Carl Andre, 2012
6 units on stretcher edge spaced by 5pairs on header edge, all units abutting at edges)
(each) 40 x 20 x 8 cm.
15.7 x 7.9 x 3.1 in.
(overall) 40 x 40 x 148 cm.
15.7 x 15.7 x 58.3 in.
This work is accompanied by a certificate of authenticity, and is intended to be included in the forthcoming Catalog Raisonne prepared by the Carl Andre & Melissa L. Kretschmer Foundation.
Provenance:
Gallery Tschudi, Zuoz, Switzerland (taken directly from the artist)
Private Collection, Spain
Private Collection, Europe (acquired from the above in 2014)
Exhibition:
Glarus, Galerie Tschudi, Carl Andre, Antonio Calderara, Alan Charlton, Martin Gerwers, Martina Klein, Richard Long, Niele Toroni Group Show, 1998
Zuoz, Galerie Tschudi, Carl Andre,
Pythagorean Sculptures, 2006 Zuoz, Galerie Tschudi, Carl Andre, 2012
"Up to a certain time I was cutting into things. Then I realized that thing
I was cutting what the cut. Rather than cut into the material,
I now use the material as the cut in space. ''
David Bourdon, Carl Andre: Sculpture 1959-1977, New York, 1978, p. 19
Composed of 16 solid and rectangular concrete capstones arranged in a simple arithmetic combination on the floor, the present Lockblox by Carl Andre, which dates from 1998, embodies the essence of this quote. The material, size, solidity, rigidity and the unforgiving nature of this work means that it has been successfully put into the space, and that it has the power to cut into the space attention of the viewer.
With his first major retrospective exhibition taking place at the Guggenheim Museum, New York in 1970, Carl Andre found he was critically accused of his early career. He has since featured in many international exhibitions, including a very recent touring exhibition titled 'Carl Andre, Sculpture as place, 1958-2010', which has been published in Andre's monumental sculptures. He is today Considered as one of the most prominent and influential of Minimal sculptors and his works embody one of the most important tenets of the minimalist movement; This modular repetition can be the basis for artistic exploration of the material world. Constantin Brancusi and the painter Frank Stella were two figures who were integral to Andre's artistic development. For Andre, both artists appealed to the disparity of their interest in paring down physical materials or painted depictions of their most elemental and essential forms.
It was during the early 1960s, when Andre was sharing a studio with Frank Stella, while working as a railroad freight brakesman and director of the Pennsylvania Railroad, that he began to develop his career ideas and oeuvre. During this time, he begins to work on the New York Rail Yards, and placing them in standardized and rhythmic patterns which enabled him to artistically explore spatial relationships. In these sculptures, Andre was careful to arrange and present the materials in a way that distanced them from the forms of their original use, thus placing them in a new context which would prompt the viewer to become aware of the inherent qualities of the material ,
In a way, the arrangement itself and the individual modular units in which works Andre's only artistic intervention, and when we look at many of his sculptures, they could conceivably be taken apart and reconstructed in a completely different format the artist so desired. By approaching sculpture in this manner, Andre deliberately moved away from the more traditional sculptural processes such as carving, where the idea is that it is being made into a block of material, or even the process of creating a form by binding the different parts together using agents search as nails or welds.
Although the present Lockblox was created in the 90s, some time after Andre's initial explorations of these ideas, it demonstrates his continued interest in embodying his additive, rather than the reductive approach to sculpture, as well as the preference for building up and assembling modular these are not limited by any binding agents and are instead reliant upon himself as the artist and fabricator.
This artwork is not shy or retiring; it challenges the traditional process of sculptural representation and offers a new approach to the construction of materials and materials, which succeeds in attracting attention.
