Lawrence Weiner / Statements.
WEINER Lawrence (New York, Bronx 1942 - 2021), New York, The Louis Kellner Foundation/Seth Siegelaub, 1968, 17,7x10 cm., softcover, pp. (64), typographic cover, artist’s book made up of 24 statements by Lawrence Weiner (12 “General Statements" and 12 “Specific Statements”). First artist’s book by the artist. Edition of 1000 unnumbered and unsigned copies. [Bibliography: Bury 2015: page 53; Moeglin Delcroix 2011: page 191 e 436; Joosten - Roettig 2018: pp. 142-143; Jurgerek - Koller - Federer - Stadler 2018: page 146; Lailach 2005: page 167; Mantura 1974: page 421; Schwarz 1989; n.1 pp. 10-11, page 126, pp. 136-139; Roth - Aaron - Lehmann 2017: pp. 291-292]
WEINER Lawrence (New York, Bronx 1942 - 2021), New York, The Louis Kellner Foundation/Seth Siegelaub, 1968, 17,7x10 cm., softcover, pp. (64), typographic cover, artist’s book made up of 24 statements by Lawrence Weiner (12 “General Statements" and 12 “Specific Statements”). First artist’s book by the artist. Edition of 1000 unnumbered and unsigned copies. [Bibliography: Bury 2015: page 53; Moeglin Delcroix 2011: page 191 e 436; Joosten - Roettig 2018: pp. 142-143; Jurgerek - Koller - Federer - Stadler 2018: page 146; Lailach 2005: page 167; Mantura 1974: page 421; Schwarz 1989; n.1 pp. 10-11, page 126, pp. 136-139; Roth - Aaron - Lehmann 2017: pp. 291-292]
WEINER Lawrence (New York, Bronx 1942 - 2021), New York, The Louis Kellner Foundation/Seth Siegelaub, 1968, 17,7x10 cm., softcover, pp. (64), typographic cover, artist’s book made up of 24 statements by Lawrence Weiner (12 “General Statements" and 12 “Specific Statements”). First artist’s book by the artist. Edition of 1000 unnumbered and unsigned copies. [Bibliography: Bury 2015: page 53; Moeglin Delcroix 2011: page 191 e 436; Joosten - Roettig 2018: pp. 142-143; Jurgerek - Koller - Federer - Stadler 2018: page 146; Lailach 2005: page 167; Mantura 1974: page 421; Schwarz 1989; n.1 pp. 10-11, page 126, pp. 136-139; Roth - Aaron - Lehmann 2017: pp. 291-292]
“Statements is divided into «General Statements» and «Specific Statements». The two sections reflect the transition from painting as a work process that is necessarily concentrated on a specific object to a linguistic representation of the use of materials in general. However this classification is not as distinct as would seem. Apart from a few precise measurements in the «specific statements», there is little that distinguishes them from the general ones, and since the dimensions are not delivered from specific givens but are purely arbitrary, they do not detract from the general applicability of the statements. (...) The statements are printed in blocks and the lines are broken at random, so that the division of the words is often unconventional. This lends the works an object-like appearance, not in the illustrative fashion of visual poetry, but rather in reference to the indipendent materiality of the written word...”. (Dieter Schwarz).
