LAWRENCE WEINER (1942, The Bronx, New York)

Upon graduating from high school, Weiner worked in a variety of jobs - on an oil tanker, on docks, and unloading railroad cars. He traveled throughout North America before returning to New York, where he exhibited at the Seth Siegelaub Gallery in 1964 and 1965. Weiner's early work included experiments with systematic approaches to shaped canvases and, later, cutting out squares of material from carpeting or walls. A turning point in Weiner's approach came in 1968, when he created a work for an outdoor exhibition organized by Siegelaub at Windham College in Putney, Vermont. Not long after this, Weiner turned to language as the primary vehicle for his work, stating in 1968 that: "(1) The artist may construct the piece. (2) The piece may be fabricated. (3) The piece may not be built. [Each being equal and consistent with the intent of the artist, the decision as to condition rests with the receiver upon the occasion of receivership.]" Like other Conceptual artists who gained international recognition in the late 1960s and early 1970s, Weiner has investigated forms of display and distribution that challenge traditional assumptions about the nature of the art object. As the sole contribution to a presentation organized by Siegelaub in 1968, Weiner created a small book entitled Statements; since the work consisted of nothing but words, there was no reason to display a physical object. That same year, Weiner also contributed pages to Siegelaub's "Xeroxbook," a compendium of photocopies by seven Conceptually oriented artists. The wall installations that have been a primary medium for Weiner since the 1970s consist solely of words in a nondescript lettering painted on walls. The lettering need not be done by the artist himself, as long as the sign painter complies with the instructions dictated by the artist. Although this body of work focuses on the potential for language to serve as an art form, the subjects of his epigrammatic statements are often materials, or a physical action or process. In the succeeding decades, Weiner explored the interaction of punctuation, shapes, and color to serve as inflections of meaning for his texts. Weiner lives in New York and Amsterdam.

2011    "Personal Structures", 53rd Biennale di Venezia, Venice, Italy.
2010    "Personal Structures Time-Space-Existence", Georg Kargl Fine Arts, Austria
2010    "Personal Structures Time-Space-Existence", Kuenstlerhaus Bregenz, Austria.

"Personal Structures Time", Arti et Amicitiae, Amsterdam, Netherlands

• De Jongh, Karlyn & Sarah Gold, PERSONAL STRUCTURES: TIME SPACE EXISTENCE 2, Global Art Affairs Foundation, 2013
• De Jongh, Karlyn & Sarah Gold, Lawrence Weiner: Skimming the Water (Menage A Quatre). In: Carte d'Arte #3, Italy, 2013
• De Jongh, Karlyn & Sarah Gold, PERSONAL STRUCTURES: La Biennale di Venezia 2011. Exhibition Catalogue for PERSONAL STRUCTURES, part of the Venice Biennale, at Palazzo Bembo in Venice, 2011
• De Jongh, Karlyn & Sarah Gold, Lawrence Weiner in interview with Karlyn De Jongh & Sarah Gold. In: d’Art International, Volume 13, Number 2, Canada, Spring 2011
• De Jongh, Karlyn & Sarah Gold, LAWRENCE WEINER. SKIMMING THE WATER [MÉNAGE À QUATRE], PSAP #01, GlobalArtAffairs Foundation, Netherlands, 2010
• De Jongh, Karlyn, 24 hours with Lawrence Weiner: On Lawrence Weiner’s ‘Skimming the water [Ménage à Quatre]’. In: <H>ART International #66, May 2010
• Lodermeyer, Peter, Karlyn De Jongh & Sarah Gold, PERSONAL STRUCTURES: TIME SPACE EXISTENCE, DuMont Verlag, Cologne, Germany, 2009