An Interview with Carl Andre

DO YOU MAKE SCULPTURE without a location in mind?

No, because I never work in the abstract to that extent. I never have been the kind of person who, let’s say, works on a drawing, then makes a model, then makes the model larger and larger, and then finally makes a piece. For me, my cliché about myself is that I’m the first of the post-studio artists (that’s probably not true). But my things are conceived in the world. For me, they begin in the world and the world is full of different kinds of spaces, different generic classes of spaces; inside gallery spaces, inside private dwelling spaces, inside

print December 1969

An Interview with Richard Van Buren

Why did you stop making forms in terms of boxes?

At the time, I think the major problem was that it was a boring job. I got to the point where I really hated doing it. That probably has more to do with what I’m doing now than anything else; just the fact of disliking it so much. It’s economics, economics with time. I was spending so much time doing things that are boring, like sanding. It’s not a question of having a good time in your studio, but I don’t want to be that much of a bummer either. If I had to list the things I was doing in my studio for a job opening, I just wouldn’t even think