Lawrence Weiner Boeken

Lawrence Weiner's art uses language in reference to materials. Language itself is a material and at the same time a means of presentation of his work. Weiner evolved this approach in the context of the Conceptual art of the late 60s, yet he does not see his own work as "conceptual." The "space" he works within is the entire cultural context, and his works are associated with various different media and forms of presentation: books, posters, videos, films, records, drawings, multiples, installations indoors and outdoors, and more. Since his earliest days as a professional artist, Weiner has given written and verbal expression to questions concerning his work and its context. These utterances--statements, interviews, lectures and conference contributions--have been collected together in this publication for the first time, and ordered chronologically. Taken as a whole they afford an insight both into a complex individual biography and into the wider development of art and culture and the challenge that this entails.

For this series, artist Lawrence Weiner has made an artist's book of new statements and instructions, in exactly the same format (A6) and with the same number of pages (24) as his first contribution to Documenta, in 1972.

Neither storybook nor autobiography, Something to Put Something On is rather a "questioning book" for children, at once moving and intriguing in its I WAS A CHILD & AS MOST CHILDREN I DID MAKE THINGSI TRIED TO FIND A PLACE TO PUT THE THINGS I HAD MADEAGAIN & AGAIN I FOUND THAT THE SUPPORT OR PLINTH OR TABLEALL RESTED UPON THE EARTH & I REALIZED THAT ALL PEOPLE OFALL AGESWHO HAD MADE SOMETHING HAD TO FIND A PLACE TO PUTWHAT THEY HAD MADETHOSE PEOPLE WHO ASK THE QUESTION & THOSE PEOPLE WHO TRYTO ANSWER THE QUESTION ARE FUNCTIONING AS ARTISTS.I WAS A CHILD & DECIDED TO BE AN ARTIST.Something to Put Something On poses direct questions about art-making to and for young readers. Generously endowed with its maker's legendary wit, it is also, appropriately, the first title in the Little Steidl program.

Featuring an introductory essay by exhibition curator Grant Arnold--who has worked with the Lawrence Weiner Poster Archive since the mid-1990s--and short commissioned texts from artists, scholars and curators who worked closely with Weiner over the course of his career, OF & ABOUT POSTERS: THE LAWRENCE WEINER POSTER ARCHIVE (1965-2021) AT THE VANCOUVER ART GALLERY will be the definitive text on this central aspect of the artist's production. Lawrence Weiner is considered one of the foremost conceptual artists worldwide. Over the past half-century, his work has been conveyed in language. The posters, which are a fundamental part of his practice and are designed by the artist himself, have appeared as promotions for exhibitions as well as works in and of themselves. This publication will include a full presentation of the Lawrence Weiner Poster Archive, consisting of more than 250 posters from the collection of the Vancouver Art Gallery; together they convey the evolution of Weiner's work over a period spanning more than 50 years.

Für die Edition Ex Libris hat der New Yorker Konzeptkünstler Lawrence Weiner drei seiner eigenen frühesten Künstlerbücher ausgewählt und diese als neues Künstlerbuch unter dem Titel „BREMERHAVEN“ zusammengefasst: „Within Forward Motion“/„Innerhalb vorwärtsgerichteter Bewegung“(1973), „Towards A Reasonable End“/ „Auf ein vernünftiges Ende zu“ (1975), „With A Touch Of Pink“/„Mit einem Hauch von Rosa“(1978). Die ursprünglich jeweils englisch/deutsch publizierten Künstlerbücher erscheinen jetzt als ein Buch jeweils englisch und deutsch in chronologischer Abfolge und getrennt durch die ursprünglichen Umschläge der Weiner- Künstlerbücher. Der von Weiner neu gestaltete Umschlag fasst diese drei äußerst gesuchten Bücher zu einem neuen Künstlerbuch zusammen und setzt es durch den Titel „BREMERHAVEN“ in Bezug zum Entstehungsort in den 70er Jahren. (Kabinett für aktuelle Kunst, Bremerhaven).

During the 1970s, Lawrence Weiner began to inscribe his works directly onto the walls of galleries and exhibition spaces. He had already been sending out his work on postcards, publishing it in newspapers, or replicating it on matchboxes. For this installation at the Kunstmuseum Wolfsburg, Weiner conceived a work that deals with colors and the immateriality of light. He drew his inspiration from the play of green, yellow, red, and violet of the Northern Lights. Stripes in these colors were applied to each of the gallery's walls, while the writing appears only in white. Weiner's work does more than simply reflect a natural among other things Bent and Broken Shafts of Light generates a complex interplay of different levels of perception in the viewer reading the texts in the exhibition space. This artist's book shows all the walls realized for this project, as well as earlier works both indoors and ouside in the open air.

Mit der Édition Séparée ist eine Reihe entstanden, die es sich zur Aufgabe gemacht hat, Künstlern die Möglichkeit zu geben, authentische Beiträge zur Tradition des Künstlerbuches zu realisieren. Ohne jede kunstwissenschaftliche Erklärung oder Interpretation enthaltenen die einzelnen Nummern dieser Reihe nur das, was der Künstler realisieren wollte. Textbeiträge stammen entweder vom Künstler selbst oder von von ihm ausgewählten Autoren. Dabei wird Wert darauf gelegt, daß diese Texte den Künstlerbeitrag begleiten und ergänzen, sich aber nicht interpretierend einmischen. Die während des ersten Jahres entstandenen Ausgaben präsentieren Originalbeiträge aus den Bereichen Fotografie, Theorie, Typographie, Zeichnung und elektronischer Bildbearbeitung. Diese von Reiner Speck und Gerhard Theewen herausgegebene Künstlerbuch-Reihe stellt in schneller Abfolge speziell für diese Reihe entstandene, manchmal durch Texte ergänzte Beiträge zeitgenössischer Künstler vor. Es empfiehlt sich die Bestellung zur Fortsetzung! Zu jeder Nummer erscheint eine Vorzugsausgabe mit einer Beilage (Unikatcharakter) im Schuber: Auflage 50, DM 200.