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Weiner, Lawrence

LAWRENCE WEINER A Means To An End, 2006 - Signed

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The original poster titled A Means to an End, hand-signed in black pen by Lawrence Weiner, was created for his exhibition at Le Musée de Sérignan from September 2006 to January 2007. The title suggests a philosophical exploration of the relationship between intention and outcome in artistic practice. Weiner's work often emphasizes the role of language and text in shaping our understanding of art, and this piece likely invites viewers to consider the process of creation itself as a meaningful aspect of the artistic journey.

Details

Sku: CB7119-B

Artist: Lawrence Weiner

Title: A Means To An End

Year: 2006

Signed: Yes

Medium: Offset Lithograph

Edition Size: Unknown

Framed: No

Frame Suggestion: Inquire with our experts for framing suggestions.

Condition: B: Very Good Condition, with signs of handling or age

Dimensions

Paper Size: 27.5 x 19.5 inches ( 70 x 50 cm )

Image Size: 27.5 x 19.5 inches ( 70 x 50 cm )

LAWRENCE WEINER A Means To An End, 2006 - Signed

$700

About the Artist

Lawrence Weiner

Lawrence Weiner (born 1942) is an American conceptual artist. He is one of the central figures in the formation of conceptual art in the 1960s. His work often takes the form of typographic texts. Weiner was born in the Bronx, New York, the son of a candy-store owner. After graduating from Stuyvesant High School at 16, he had a variety of jobs—he worked on an oil tanker, on docks, and unloading railroad cars. After studying at Hunter College for less than a year, he traveled throughout North America before returning to New York. Weiner is regarded as a founding figure of Postminimalism's Conceptual art, which includes artists like Douglas Huebler, Robert Barry, Joseph Kosuth, and Sol LeWitt. Weiner began his career as an artist as a very young man at the height of Abstract Expressionism. His debut public work/exhibition was at the age of 19, with what he called Cratering Piece. An action piece, the work consisted of explosives set to ignite simultaneously in the four corners of a field in Marin County, California. That work, as Weiner later developed his practice as a painter, became an epiphany for the turning point in his career. His work in the early 1960s included six years of making explosions in the landscape of California to create craters as individual sculptures. He is also known during his early work for creating gestures described in simple statements leading to the ambiguity of whether the artwork was the gesture or the statement describing the gesture: e.g."Two minutes of spray paint directly on the floor.." or " A 36" x 36" removal of lathing or support wall ..." (both 1968).
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