CARL ANDRE (B. 1935)
This lot has been imported from outside of the UK … Read more
CARL ANDRE (B. 1935)

7, 11 Prime Couple

Details
CARL ANDRE (B. 1935)
7, 11 Prime Couple
hot-rolled steel, in twenty-one parts
each: 0 3⁄8 x 19 5⁄8 x 19 5⁄8in. (1 x 50 x 50cm.)
overall: 0 3⁄8 x 98 3⁄8 x 216 1⁄2in. (1 x 250 x 550cm.)
Executed in 1993
Provenance
Galerie Tschudi, Glarus.
Galleria Tucci Russo, Torre Pellice.
Acquired from the above by the present owner in 2005.
Literature
C. Andre and E. Meyer-Hermann (eds.), Carl Andre: Sculptor 1996, Krefeld at home, Wolfsburg at large, exh. cat., Krefeld, Museum Haus Lange, 1996, pp. 194 and 282.
E. Meyer-Hermann, Carl Andre: Glarus 1993-2004, Cologne 2005, pp. 36 and 39 (illustrated in colour, p. 37).
Exhibited
Glarus, Galerie Tschudi, Carl Andre, 1993 (installation view of Galerie Tuschudi illustrated in colour on the cover and p. 37).
Torre Pellice, Tucci Russo Studio per l'Arte Contemporanea, Carl Andre, Giovanni Anselmo, Daniel Buren, Luciano Fabro, Sol Lewitt, Richard Long, Mario Merz, Bruce Nauman, Giulio Paolini, Giuseppe Penone, 2004-2005.
Special notice
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Further details
This work is accompanied by a certificate of authenticity signed by the artist.

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Lot Essay

Carl Andre’s 7, 11 Prime Couple is a graceful evocation of space and form. The work is composed of twenty-one steel plates which Andre has arranged in a geometric snake. Simple and elegant, the work is part of the artist’s ongoing series of metal grid works which he first began in the 1950s. Over the decades, Andre’s commitment to material autonomy has remained resolute, as has his approach, which is neither hierarchical nor referential. Instead of deeming himself an all-powerful creator, he cedes autonomy to his materials, viewing them as ‘cuts into space’ in command of their environment (C. Andre, quoted in Carl Andre: Sculptor 1996, exh. cat., Museen Haus Lange und Haus Esters, Krefeld 1996, p. 54). The shape of his sculptures is thus determined by the materials themselves and the environment in which they are placed: save for arranging the component parts, Andre intervenes little. Nevertheless, in their profound occupation of a space, Andre’s sculptures encourage a bodily experience; they demand an interaction. ‘My work has never been architectural,’ he explained. ‘I began by generating forms, then generating structures, then generating places. A place in this sense is a pedestal for the rest of the world’ (C. Andre, quoted in K. Baker, Minimalism: Art of Circumstance, New York, 1988, p. 45).

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