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Marian Goodman Gallery
24 West 57th Street
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One of the central figures in the formation of conceptual art in the 1960s, Lawrence Weiner became known for his acutely succinct integration of language within material constructs.
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, and it is these, along with a series of drawings, that the New York- and Amsterdam-based artist is currently presenting in an exhibition at New York’s Marian Goodman Gallery until the end of January.
Showcased in the North Gallery are five works that float on a curvilinear constructed wall. While further a-field in the South Gallery, a single large work is spread out on its floor.
To round things off, ’Gyroscopically Speaking’ - a new drawing series on paper and DVD cartoon - can be seen from the North Gallery Viewing Room.
’Pushed Forward / Close By / Pushed Aside / Close By / With Graceful Haste’, 2009
Photography courtesy of Lawrence Weiner and Marian Goodman Gallery, New York / Paris
’Pushed Forward / Close By / Pushed Aside / Close By / With Graceful Haste’, 2009
Photography courtesy of Lawrence Weiner and Marian Goodman Gallery, New York / Paris
A poster of the Lawrence Weiner exhibition in New York
Image courtesy of Lawrence Weiner and Marian Goodman Gallery, New York / Paris
A poster of the Lawrence Weiner exhibition in New York
Image courtesy of Lawrence Weiner and Marian Goodman Gallery, New York / Paris
Installation view from left to right:
’And & So It Is & So It Was - Placed & So It Is / Moved & So It Is / Tilted & So It Is / Obscured & So It Is / Placed & So It Was / Moved & So It Was / Tilted & So It Was / Obscured & So It Was’ 2003
’Niter & Brimstone Kept Apart’, 1993
’Le Sable Fn Le Sable Gros Le Sable Chaud Brought To Rest At The Same Time & The Same Point & Left To Disperse After Time’, 2008
’Every Which Way + Up’, 2010’
Photograph by Sheidan Collins, courtesy of Lawrence Weiner and Marian Goodman Gallery, New York / Paris
Installation view from left to right:
’And & So It Is & So It Was - Placed & So It Is / Moved & So It Is / Tilted & So It Is / Obscured & So It Is / Placed & So It Was / Moved & So It Was / Tilted & So It Was / Obscured & So It Was’ 2003
’Niter & Brimstone Kept Apart’, 1993
’Le Sable Fn Le Sable Gros Le Sable Chaud Brought To Rest At The Same Time & The Same Point & Left To Disperse After Time’, 2008
’Every Which Way + Up’, 2010’
Photograph by Sheidan Collins, courtesy of Lawrence Weiner and Marian Goodman Gallery, New York / Paris
Installation view from left to right:
’Taken From The Wind & Bolted To The Ground’, 2009
’And & So It Was / Moved & So It Was / Tilted & So It Was / Obscured & So It Is / Placed & So It Was / Moved & So It Was / Tilted & So It Was / Obscured & So It Was’, 2003
Photograph by Sheldan Collins, courtesy of Lawrence Weiner and Marian Goodman Gallery, New York / Paris
Installation view from left to right:
’Taken From The Wind & Bolted To The Ground’, 2009
’And & So It Was / Moved & So It Was / Tilted & So It Was / Obscured & So It Is / Placed & So It Was / Moved & So It Was / Tilted & So It Was / Obscured & So It Was’, 2003
Photograph by Sheldan Collins, courtesy of Lawrence Weiner and Marian Goodman Gallery, New York / Paris