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"Language as Sculpture":
 Physical/Topological Concepts



   Friedrich Achleitner
  Constellation I
  (1956)
red
instead of
red
instead of
red
instead of
red
instead of
red
instead of
red
   William Anastasi

Twelve Ounces of Tap Water on a Floor. (1966)
One Gallon Industrial High Enamel, Thrown. (1966)
One Gallon Industrial High Enamel, Poured. (1966)



       


One Gallon Industrial High Enamel, Poured.  (1966)



Lawrence Weiner: "Statements"

(1) The artist may construct the piece.
(2) The piece may be fabricated.
(3) The piece need not be built.

Each being equal and consistent with the intent of artist, the decision as to condition rests with the receiver upon the occasion of receivership.
Lawrence Weiner, 1968.

A SERIES OF STAKES SET IN THE GROUND AT REGULAR INTERVALS TO FORM A RECTANGLE / TWINE STRUNG FROM STAKE TO STAKE TO DEMARK A GRID / A RECTANGLE REMOVED FROM THIS RECTANGLE

Nr. 001, 1968

One Quart Exterior Industrial Enamel Thrown on a Brick Wall

Nr. 002, 1968

GLOSS WHITE LACQUER SPRAYED FOR 2 MINUTES AT FORTY POUND PRESSURE DIRECTLY UPON THE FLOOR

Nr. 007, 1968

ONE HOLE IN THE GROUND APPROXIMATELY 1' x 1' x 1' / ONE GALLON WATER BASED PAINT POURED INTO THIS HOLE

Nr. 010, 1968

TWO MINUTES OF SPRAY PAINT DIRECTLY UPON THE FLOOR FROM A STANDARD AEROSOL SPRAY CAN

Nr. 017, 1968


ONE PINT GLOSS WHITE LAQUER POURED DIRECTLY UPON THE FLOOR AND ALLOWED TO DRY

1968

A 2 INCH WIDE AND 1 INCH DEEP TRENCH CUT ACROSS A STANDARD ONE-CAR DRIVEWAY

1968
A WALL CRATERED BY A SINGLE SHOTGUN BLAST

1968

A 36" X 36" REMOVAL TO THE LATHING OR SUPPORT WALL OF PLASTER OR WALL-BOARD FROM A WALL

Nr. 021, 1968

FIRE CRACKER RESIDUE OF EXPLOSIONS AT EACH CORNER OF THE EXHIBITION AREA

NR. 027, 1968

THE RESIDUE OF A FLARE IGNITED UPON A BOUNDARY

Nr. 029, 1969

A FIELD CRATERED BY SIMULTANEOUS STRUCTURED TNT EXPLOSIONS

Nr. 030, 1968

A REMOVAL OF THE CORNER OF A RUG IN USE

Nr. 050, 1969

A SQUARE REMOVAL FROM A RUG IN USE

Nr. 054, 1969

Five Gallons water base tempera poured directly upon the floor and allowed to remain for the duration of the exhibition

1969

A TRANSLATION FROM ONE LANGUAGE INTO ANOTHER (EEN VERTALING VAN DE ENE TAAL NAAR DE ANDERE)

Nr. 071, 1969

IGNITED

Nr. 081, 1969

TRANSFERRED

Nr. 088, 1969

A STAKE SET

Nr. 091, 1969

THROWN

Nr. 129, 1969
A RUBBER BALL THROWN AT THE SEA

1969
A GLACIER VANDALIZED

1969
10 LBS. MERCURY TOSSED FROM FINLAND TO SWEDEN

1970
EARTH TO EARTH ASHES TO ASHES  DUST TO DUST

Nr. 151, 1970
TO THE SEA
ON THE SEA
FROM THE SEA
AT THE SEA
BORDERING THE SEA

Nr. 157-161, 1971

DONE WITHOUT

Nr. 223, 1971

BESIDE ITSELF

Nr. 229, 1971

OVER AND OVER. OVER AND OVER. AND OVER AND OVER. AND OVER AND OVER.

Nr. 234, 1971

IN AND OUT – OUT AND IN – AND IN AND OUT – AND OUT AND IN

NR. 237, 1971
UNDERLAIN AND/OR OVERLAIN

Nr. 256, 1971

NOISE MADE VERY SOFTLY (pianissimo) AND/OR MODERATELY SOFTLY (mezzopiano)

Nr. 286, 1972
[TURNED] RED AS WELL AS BLACK

Nr. 288, 1972

... AND THEN UTILISED AS TO ANOTHER GENDER

Nr. 311, 1972

AND THEN UNTENDED AS ...  

1972

A (       ) C
SHARPENED CARRIED DONE AGAIN PERHAPS ...
A C
(        )

Nr. 324, 1973

... DIRECTLY BUT CLOSE ...

Nr. 353, 1973

RIGHT IN THE MIDDLE OF _________
RIGHT IN THE MIDDLE OF (            )
RIGHT IN THE MIDDLE OF ...
... RIGHT IN THE MIDDLE OF _________

362, 1973
HAVING STOOD DOWN [AS] (HAVING WAVED)

Nr. 407, 1975

1973/1974

HUNG ABOUT (WITHIN A CONTEXT OF RENEWAL) [i.e. DONE ALL OVER] OFTEN DONE ALL OVER [WITHIN A RATIONALE OF RENEWAL]

429, 1976

A BIT OF MATTER AND A LITTLE BIT MORE

Nr. 430, 1976

PUT IN PLACE

1978

Many coloured objects placed side by side to form a row of many coloured objects

Nr. 462, 1979

AN ACCUMULATION OF SUFFICIENT ABRASION TO REMOVE ENOUGH OF AN OPAQUE SURFACE TO LET LIGHT THROUGH WITH MORE INTENSITY

1981

The salt of the earth mingled with the salt of the sea.

1982

DROPS OF BLUE WATER FORCED OVER THE RIM OF A POT MADE OF CLAY

1986

OVER THE WATER
+
INTO THE TREES

Nr. 529, 1986

Painted stones surrounding the ruins of a structure made of unpainted stones

Nr. 534, 1986

 

 

WE ARE SHIPS AT SEA
AND NO DUCKS ON A POND

1989

Nr. 615, 1989

nr. 645, 1990

Nr. 652, 1990

PLACED UPON THE HORIZON (CASTING SHADOWS)

1990

DE GROSSES PIERRES DÉPLACÉES ICI ET LÀ ENTRE LES CIEUX ET LA TERRE

1990

SMASHED TO PIECES
(IN THE STILL OF THE NIGHT)


Nr. 670, 1991

Nr. 672, 1991

 

Nr. 687, 1991

 

Nr. 691, 1991

 

AS LONG AS IT LASTS


1992


712A/712B, 1992

Nr. 713, 1992

Nr. 728, 1993

nr. 730, 1993
SOME LIMESTONE () SOME SANDSTONE ENCLOSED FOR SOME REASON

1993

STRETCHED AS TIGHTLY AS POSSIBLE
(SATIN) & (PETROLEUM JELLY)

1994
DRY EARTH & SCATTERED ASHES OR DRY EARTH & BURIED GOLD OR

1994
VON PUNKT ZU PUNKT OHNE DIE EIGENSCHAFTEN VERBUNDEN MIT STAHL, EISEN & STEIN

1995

THE LIGHT OF DAY (SUCH AS IT IS) & ICELAND SPAR (AS CLOSE AS PURE)

1996

 

ROWS OF CABBAGES MARKED WITH RED INK AND BURIED TOMORROW

REIHEN VON KOHL MARKIERT MIT ROTER TINTE UND MORGEN VERGRABEN

1998


 


Lawrence Weiner: "The piece may be fabricated."

     


GLOSS WHITE LACQUER SPRAYED FOR 2 MINUTES AT FORTY POUND PRESSURE DIRECTLY UPON THE FLOOR

Nr. 007, 1968


TWO MINUTES OF SPRAY PAINT DIRECTLY UPON THE FLOOR FROM A STANDARD AEROSOL SPRAY CAN

Nr. 017, 1968 [2007]


ONE PINT GLOSS WHITE LAQUER POURED DIRECTLY UPON THE FLOOR AND ALLOWED TO DRY

1968 [2007]


A 36" X 36" REMOVAL TO THE LATHING OR SUPPORT WALL OF PLASTER OR WALL-BOARD FROM A WALL

Nr. 021, 1968

 

Lawrence Weiner: Text Exhibits


One Quart Exterior Industrial Enamel Thrown on a Brick Wall

Nr. 002, 1968 [1986]
     


A 36" X 36" REMOVAL TO THE LATHING OR SUPPORT WALL OF PLASTER OR WALL-BOARD FROM A WALL

Nr. 021, 1968

A TRANSLATION FROM ONE LANGUAGE INTO ANOTHER (EEN VERTALING VAN DE ENE TAAL NAAR DE ANDERE)

Nr. 071, 1969 [1996]

1972


A BIT OF MATTER AND A LITTLE BIT MORE

Nr. 430, 1976 [1983]


1979


1986

1987

 

1988 [2000]

1990

1991

1991

1992

1995

1995

More or less / Give or take, 1997

 

STONES & STONES & STONES, 1997

1998   

1999

 


2000



2000

 

 

2001


2003

 

 

2006 

 



References & Sources


Gerhard Rühm (ed.): Die Wiener Gruppe. Achleitner Artmann Bayer Rühm Wiener. Reinbek: Rowohlt Verlag, 1967, p. 39.

 

Aaron Levy & Jean-Michel Rabaté (eds.): William Anastasi's Pataphysical Society: Jarry, Joyce, Duchamp and Cage. Philadelphia: Slought Books, 2005, pp. 103-105.

 

Stephan Beyst: "Lawrence Weiner. And the flesh became word...", 2002.

Charlie Finch: "I AM STONED (ARE YOU STONED?)", 2007.

Colin Lochhead: "A conversation with Lawrence Weiner." Apartment Number. Toronto: A Space, 1982.

Jean-Louis Maubant: Lawrence Weiner. Specific & General Works. Nouveau Musée de Villeurbanne / Institut d'Art Contemporain, 1993.

Robert C. Morgan, "A Conversation with Lawrence Weiner," Reallife 11–12 (Winter 1983).

Maureen Mullarkey: "Weiner's World. The reductio ad absurdum of conceptual art." The Weekly Standard, Vol. 13, # 6 (12/31/2007).

Birgit Pelzer: "Dissociated Objects: The Statements/Sculptures of Lawrence Weiner." October, Vol. 90 (Autumn, 1999), pp. 76-108.

Lawrence Weiner: Statements (October 12, 1969).

Lawrence Weiner: "Notes from Art (4 pages)". In Clive Phillpot (ed.): Words and Word Works. Art Journal 42, no. 2 (Summer 1982).



     




Concept Art & Poetry


"Before he became a painter, Weiner was a poet. He no longer writes, but his book, Statements, published by Seth Siegelaub in 1968, presents his work in a form generally associated with poetry – a single phrase per page, with blank facing page, no punctuation, and such eccentric, nonhyphenated word breaks as f/rom, st/andard, pressur/e."

Lucy R. Lippard: "Art Within the Arctic Circle." The Hudson Review, XXII, 4 (February 1970), pp. 665-674.
Reprinted in: Changing. Essays in Art Criticism. New York: E.P. Dutton, 1971, pp. 277-291 [p. 286].