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"The relations of the parts of a work to each other may be thought of as the rythm of the work and the relations of the parts to the whole of the work may be considered its meter."
"Every work of art is located in space somewhere. A work of mine disappeares when placed in storage exactly the way your lap disappeares when you stand up. My sculpture is completed only when it is experienced by someone other than myself. Art, like justice, must be seen to be done."
"I was aware of poetry as an art before I was aware of sculpture as an art. Before I could read, I delighted in the shapes of poems on the page. Later, in poetry and sculpture, I attempted, not to arrange elements to express a previous experience, but to arrange elements to create a new experience never encountered before."
"Objectivly, my work is part of a human tradition that extends back to the dawn-time of our existance. Stonehenge in England provided my most powerful early experience of sculpture."
"Every work of art that exists is someplace. Occupies some space. Any sculpture can be analyzed in terms of form, structure, place, and material. For me, there can never be an art of ideas because ideas are linguistic constructs. Art for me must always be a material intermediation between human sensibilities, in real space and time".
"I work in the horizontal plane because that offers a more efficient disposition of a given mass than a vertical stack does. The area above a horizontal work becomes much more part of its territory than does tha area around a vertical stack."
"The mass of materials has always interested me. The mass of an object on the earth and on the moon is the same, its weight is different. My sculpture has a great deal to do with the relations betweeen mass volume and area. A gram of gold can be beaten into a 6 square foot sheet or a wire 1.5 miles long. The properties of matter fascinates and inspires me."
References: Carl Andre unpublished annotations for Ace gallery. Written upon the occasion of CA's exhibition in 1997 at AG NY. CA is showing a new series of aluminium pieces at Ace in LA 1/12 - 4/15 2002 and this was transcribed from the anouncement.
Paul Corell DE
Icky Twerp Fort Worth
container 96
Tony Smith Stamos house
shipping containers make Dwell magazine's top 10 for 2001 list
Ken Bradshaw
TARKUS NO
anti-oedipal house
quake proof
a surplus of containers
dymaxion house Ford museum Detroit
covering all aspects of off-grid shipping container living on the cheap cheap cheap :
container housing parts 1 and 2
off-gridding
off-grid appliancies
the dirt cheap builder
Albert Kahn Detroit
Pierre Koenig houses
Lustron homes
Clemens House Hartford
Meyers Manx dune buggy
200 motels
26 gasoline stations
Drive-By Truckers
Blossom Dearie
Jobriath
Sylvester and the hot band
The GTO's
a wizard a true star
ubu : visual_concrete_sound
Nowottny sighting :
Marianne Nowottny
Manmade Girl
Abaton Book Co
You can't judge a book by its cover, but usually you can judge a compact disc by its. Or, more explicitly, a sage shopper can usually expertly discern internal audio quality by the typeface a record's artwork chooses to sport. In this case, this rule of thumb doesn't apply. And not because our blessed Jersey girl Marianne Nowottny is an exception to the rule, but because she's beyond any of the standard devices one uses to measure the pop music. Nowottny makes total outsider art, and, thus, she's in an anchoritic artistic world abstracted from what's-hot-lists and self-consciousness and careful composition and, like, fontal fashions. So, she need not concern herself with such social notions as taste and refinement; she need only lose herself in the dirty floors and spun webs and spidery melodies of her awkwardly arachnid art; need only grind her cheap keyboards through a slew of silly effects; need only affect gothic seriousness in a situation in which she surely must be joking. Nowottny is the queen of caprice, can't commit to a notion as notional as "song," has a natural aversion for the less-is-more ethos, and has a voice deeper than a news anchor. Her expressionist impressions, as slaves to capriciousness, evoke churlish childhood tales in their poetic petulance. Singing songs for children, Nowottny could conform to expectation and make out like a musical Mother Goose, but from the shadowy safety of her own little outsider enclave she's more like the bastard-child Grimm sister, authoring tales for only the child-within with a wilful sense of the grotesque.
Musically, Manmade Girl forsakes the absurd Arabic arabesques and sinewy synth-preset snake-charmings that colored her Afraid of Me debut in fearful shades of a desert's palette; instead, it's deeper and darker, somewhat dapper. It comes with a second disc of instrumentals, but without the sound of her voice, Nowottny's stumbling un-songs lack the forward progression abstrusely afforded by her sung narratives. This second disc does allow her a chance to test her hand at non-keyboard instruments — ranging from guitars to wooden flute — but Nowottny is at her best when she's destroying the artful artifice of the songwriter behind the piano; even finding, by ways of her wandering way, the time to moan over the drone of a harmonium. This, of course, could lead to comparisons with Nico, but comparisons be best left aside. Nowottny is beyond such standard devices used to measure the pop music, off in a world in which OCR-A is perfectly pretty.
by Anthony Carew
Neumu
Jacob A Riis lower east side
other music for uplifting gormandizers
hobo nickels
International Belt Sander Drag Race Association
trailer dwellings Missouri
Gordon Matta-Clark
The Brill Building NYC
Dan Graham Jersey City
moondog
Objectile NZ