I was one of the first post-studio artists. I used to do my works in the streets. I used to find them in the streets, and I used to leave them in the streets.
If you're any good as an artist, you have to be doing something nobody else has interest in. Nobody would be interested in my work except a few crazy people.
An artist, to achieve anything in art, has to finally do the thing that nobody else wants to do and nobody else has thought to do.
Lenin thought abstract art was a conspiracy by the bourgeois to demoralize the proletariat. Yeah, socialist realism!
The world is imperfect, and young people are always trying to perfect it and they always fail - which is a good thing. Who'd want to live in a perfect world?
I've never been a representational artist at all. Most artists have been representational. That's when you discover yourself.
I believe that woman are superior to men.
I'm a feminist. I've always been in favor of women.
I was hanging out and drinking as long as I could afford it, or as long as somebody else could afford it.
I grew up in a brick house. What's wrong with bricks? An Englishman took me aside and said, "You have to understand, all the bricklayers in England are Irish, and the English hate the Irish."
I've often stopped working for long periods.
Money is a very complicated problem. The history of money is very curious.
People are always trading their excess for somebody else's excess. One country has a lot of aluminum so they trade aluminum for sugar. It's the law of supply and demand.
It seems with progress you gain certain things and you lose certain things. The automobile replaced the horse and buggy but you lost all of that nice manure.
You could own coins but you couldn't have bars of gold. We were on the gold standard. I think it was Nixon who took us off the gold standard.
I think my work is very American because I'm American. But I found that Europeans like uncertainty and doubt.
Look at the chaos of European history. Europeans cannot believe in certainty. But Americans believe in certainty. Americans think this can go on like this forever. Just as it is. No change.
What I made depended on what I found on the street. At least in the beginning, my materials came from the street.
SoHo was called Hell's Hundred Acres because it was full of sweatshops - without fire escapes. Completely not up to code. Every once in a while, these buildings would burn and 26 Puerto Ricans would be killed.
If you forge a Carl Andre, it's just another Carl Andre. It's not like a Vermeer.
Once you turn something into something, its universal usage is over.
My works have always been unjoined. People were always making variations of my works, and I just said, "I don't want to know." You can't put limits on those pieces. You can't be there all of the time when they're installed.
Why carve? It's a better sculpture that way. I'll never improve the block. So I just started using uncarved blocks.
Americans understand better than the Europeans and the English that any publicity is good.
I was never good at painting. The great turning point came when I had a block of wood and I carved a shape into the wood and put a small piece of timber into that space - like a negative - and so it made an endless column, only inward.
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