About Carl Andre : critical texts since 1965 / edited by Paula Feldman, Alistair Rider and Karsten Schubert.

Enhanced descriptions from Syndetics:

Carl Andre is one of the most significant and influential artists of his generation. Alongside contemporaries such as Robert Morris and Donald Judd, his radically minimalist sculpture and poetry has fundamentally shifted the definitions and boundaries of art. Spanning four decades, this book charts the gradual evolution of consensus about the meaning of his art. The most significant essays and exhibition reviews have been collated into one volume, including texts written by some of the most influential art historians and critics: Clement Greenberg, Donald Kuspit, Lucy R. Lippard, Robert C. Morgan, Barbara Rose and Roberta Smith. Some essays appear here in English for the first time. This volume is an indispensable anthology on one of the central figures of Minimalism.

Table of contents provided by Syndetics

• Introduction (p. 8)
• About carl andre critical texts since 1965
• David Bourdon, More is Less, More or Less, 1965 (p. 19)
• Lucy R. Lippard, New York Letter, 1965 (p. 20)
• Scott Burton, Carl Andre, 1966 (p. 22)
• Hilton Kramer, Carl Andre, 1966 (p. 23)
• David Bourdon, The Razed Sites of Carl Andre; A sculptor laid low by the Brancusi syndrome, 1966 (p. 24)
• Kurt von Meier, Los Angeles, 1967 (p. 29)
• Jane Livingston, Carl Andre, 1967 (p. 34)
• Mel Bochner, Serial Art Systems: Solipsism, 1967 (p. 36)
• Hans Strelow, One hundred steel plates equals one sculpture: Konrad Fischer opens his gallery with the American artist Carl Andre, 1967 (p. 43)
• Georg Jappe, Floorplates and neon: Düsseldorf's galleries in November, 1967 (p. 45)
• Dan Graham, Carl Andre, 1987 (p. 47)
• Philip Leider, New York: Carl Andre, Dwan Gallery, 1368 (p. 51)
• Hans Strelow, Sculpture from the drawing board, Minimal Art in The Hague/First European overview, 1968 (p. 53)
• Dan Graham, Contesting the System, 1968 (p. 58)
• Dodie Gust, Andre: Artist of Transportation, 1968 (p. 60)
• Michel Claura, Prospect 68 - Düsseldorf: A panorama of the avant garde, 1968 (p. 66)
• John Chandler, The Last Word in Graphic Art, 1968 (p. 71)
• Hans Strelow, Simplicity as magic: Steel plates by Carl Andre, 1968 (p. 74)
• Hollis Frampton, Letter to Enno Develing, 1969 (p. 76)
• Charles Harrison, Against Precedents, 1969 (p. 85)
• Carel Blotkamp, Carl Andre: Sculpture as Place, 1969 (p. 86)
• Grégoire Müller, Carl Andre at the Guggenheim, 1970 (p. 90)
• Hans Strelow, From sculpture to floor-piece: Carl Andre's sculptures in New York's Guggenheim Museum, 1970 (p. 92)
• Enno Develing, Sculpture as place, 1970 (p. 95)
• Willis Domingo, New York Galleries: Carl Andre at Dwan, 1971 (p. 102)
• Kenneth Baker, Carl Andre, Dwan Gallery, 1971 (p. 105)
• Guy Brett, Sculpture takes its own shape, 1972 (p. 107)
• Artnews Editorial, Washington: The Politics of Cheese, 1973 (p. 109)
• Peter Schjeldahl, One Takes Away, the Other Piles It On, 1973 (p. 110)
• Douglas Crimp, New York Letter, 1973 (p. 113)
• Jan van der Marck, CarI Andre at the Portland Center for the Visual Arts, 1973 (p. 115)
• Jeremy Gilbert-Rolfe, Carl Andre, 1974 (p. 118)
• Donald B. Kuspit, Carl Andre at Weber, 1974 (p. 122)
• Roberta Smith, Carl Andre, John Weber Gallery, 1975 (p. 125)
• Fenelia Crichton, London: Carl Andre at Lisson, 1975 (p. 128)
• Marlis Gruterich, Review, 1975 (p. 130)
• Roberta Smith, Carl Andre, 1976 (p. 132)
• Colin Simpson, The Tate Drops a Costly Brick, 1976 (p. 135)
• Philip Mellor, What a Load of Rubbish: How the Tate dropped 120 bricks, 1976 (p. 138)
• Richard Morphet, Carl Andre's Bricks, 1976 (p. 140)
• Thomas B. Hess, Carl Andre has the Floor, 1976 (p. 152)
• Philip Larson, Carl Andre, 1977 (p. 157)
• David Bourdon, Carl Andre, 1977 (p. 159)
• Artnews Editorial (Milton Esterow), The 'Vasari' Diary: Andre's square one, 1977 (p. 162)
• Clement Greenberg, Interview with James Faure Walker, 1978 (p. 165)
• Barbara Rose, A Retrospective Note, 1978 (p. 166)
• David Bourdon, A Redefinition of Sculpture, 1978 (p. 170)
• Nicholas Serota, Carl Andre: Sculpture 1959-78, 1978 (p. 196)
• Lynda Morris, Andre's Aesthetics, 1978 (p. 220)
• Kenneth Baker, Andre in Retrospect, 1980 (p. 223)
• Reno Odlin, Rite of Passage, 1381 (p. 230)
• Donald Kuspit, Carl Andre, the Clocktower, 1984 (p. 241)
• Ida Panicelli, Carl Andre, Galleria Primo Piano, 1985 (p. 244)
• Michel Assenmaker, Carl Andre's sculpture and the composition of space in the work of W. Strzeminsky and K. Kobro, 1987 (p. 246)
• Holland Cotter, Carl Andre, Julian Pretto Gallery, 1992 (p. 259)
• Barry Schwabsky, Carl Andre: Paula Cooper Gallery, 1994 (p. 261)
• Pepe Karmel, Carl Andre: Sand-Lime Instar, 1995 (p. 263)
• Barry Schwabsky, Carl Andre, 1995 (p. 265)
• Beatrix Nobis, The Symmetry of the Heavens: A Major Carl Andre Retrospective in Krefeld and Wolfsburg, 1996 (p. 268)
• James Meyer, Carl Andre: Haus Lange/Haus Esters, Krefeld/Kunstmuseum Wolfsburg, 1996 (p. 272)
• Julia Bernard, Carl Andre 'Sculptor'?: Minimalism's Museological (Re)Locations, 1996 (p. 276)
• Adrian Searle, Bricks and mortality, 1996 (p. 293)
• Briony Fer, Carl Andre and the Fall of Sculpture, 1996 (p. 298)
• Sebastian Egenhofer, Against Death, 1997 (p. 310)
• David Sylvester, Carl Andre, Paula Cooper Gallery, Ace Gallery, Musée Cantini, 1997 (p. 313)
• Alex Potts, Edinburgh and Skipton Castle: Carl Andre and Alison Wilding, 1998 (p. 317)
• Alex Potts, London: Carl Andre, 2000 (p. 323)
• Robert C, Morgan, New York, Carl Andre, Paula Cooper Gallery, 2001 (p. 328)
• Dries Vande Velde, Carl Andre, 2001 (p. 331)
• Martin Gayford, The master bricklayer, 2004 (p. 334)
• Dominic Rahtz, Literality and Absence of Self in the Work of Carl Andre, 2004 (p. 338)
• Illustrations (p. 366)
• Copyright notices (p. 386)
• Photographic credits (p. 387)