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ALL IN DUE COURSE

ALL IN DUE COURSE , 2014 - Lawrence Weiner

ALL IN DUE COURSE , 2014

Lawrence Weiner

Print
100 x 50 cm / 39.37 x 19.69 inch
Edition of 30 copies, stamp-signed and hand numbered by the artist on accompanying luggage tag
€2685

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  • Medium: Three-colour silk screen print on cotton canvas
  • This work is unframed
  • Ships in 5 to 10 business days from London (UK)

about this work

Having exhibited at the South London Gallery in the group shows Independence in 2003 and Nothing is Forever in 2010, acclaimed American artist and reluctant pioneer of conceptual art Lawrence Weiner returned to the gallery with this solo exhibition entitled ALL IN DUE COURSE in 2014. A series of recent sculptures could be seen across the main and first floor galleries, as well as outdoors, on the expansive Victorian brick wall of the SLG’s Fox Garden. Visitors could also venture further; beyond the gallery to a nearby off-site work on the façade of the semi-derelict former Peckham Road Fire Station, located diagonally opposite the SLG. To accompany the exhibition, Lawrence Weiner has produced this limited edition canvas banner.

about Lawrence Weiner

°1942, New York (US) – lives and works in New York (US) and Amsterdam (NL) 

Lawrence Weiner is one of the central figures in the formation of conceptual art in the 1960s. Weiner’s early work included experiments with systematic approaches to shaped canvases and later, featured squares cut out of carpeting or walls. A turning point came in 1968, when he created a work for an outdoor exhibition organized by Siegelaub at Windham College in Putney, Vermont. Weiner proposed to define the space for his work with rather unobtrusive means: “A series of stakes set in the ground at regular intervals to form a rectangle with twine strung from stake to stake to demark a grid—a rectangle removed from this rectangle.” When students cut down the twine because it hampered their access across the campus lawn, Weiner realized that his piece could have been even less obtrusive: viewers could have experienced the same effect Weiner desired simply by reading a verbal description of the work. Not long after this, Weiner turned to language as the primary vehicle for his work, concluding 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.]”

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 Weiner 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.

(courtesy of the Guggenheim Collection)

Major solo exhibitions of Weiner’s work have been mounted at the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Institute of Contemporary Arts, London; Dia Center for the Arts, New York; Musée d’Art Contemporain, Bordeaux; SF MOMA; Walker Art Center, Minneapolis; Philadelphia Museum of Art; Museum Ludwig, Cologne; Museo Tamayo Arte Contemporáneo in Mexico City; Tate Gallery, London; and the Whitney Museum of American Art, New York.

Laurence Weiner is represented by the following galleries;
click through to discover more of his work.

Lisson Gallery, London / Milan / New York  

Dvir Gallery, Tel Aviv / Brussels  

Marian Goodman Gallery, New York / Paris / London  

Regen projects, Los Angeles  

i8 Gallery, Reykjavík 

Mai 36 Galerie, Zurich 

Blain Southern, London   

Learn more about this artist


Other works by Lawrence Weiner