Lawrence Weiner, FIRE AND BRIMSTONE SET IN A HOLLOW FORMED BY HAND 1988. ARTIST ROOMS Tate and National Galleries of Scotland. © Lawrence Weiner.

ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, STRAIGHT DOWN TO BELOW  1988

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artworks in ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, FIRE AND BRIMSTONE SET IN A HOLLOW FORMED BY HAND  1988

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artworks in ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, SILVER THREADS ENTWINED IN THREADS OF GOLD  1988

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artworks in ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, TAKEN UP WITH  1988

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artworks in ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, WIPED OFF THE FACE OF THE EARTH  1988

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artworks in ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, TIED UP IN KNOTS  1988

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artworks in ARTIST ROOMS: Lawrence Weiner

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Lawrence Weiner, TUCKED IN AT THE CORNERS  1988

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artworks in ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, ROUGHLY RIPPED APART  1988

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artworks in ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, DAUBED WITH MUCK AND MIRE  1988

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artworks in ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, CRUSHED BETWEEN COBBLESTONES  1988

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artworks in ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, HIT HARD (&) JUST ON THE OTHER SIDE  1990

Lawrence Weiner is one of the chief protagonists in the development of conceptual art. In the 1960s he was a key figure in expanding the definition of a work of art. Along with his contemporaries including Joseph Kosuth (born 1945; see Clock (One and Five), English/Latin Version, 1965, Tate T01909) and Douglas Huebler (1924-1997; see Variable Piece No. 44, 1971, Tate P07234), Weiner challenged the notion that an artwork had to consist of a definite physical object, contending instead that it could comprise a concept or idea with which the viewer would be invited to engage. Weiner’s practice focuses on this interaction between artwork and viewer or, in his terminology, the ‘receiver’ of the work of art. The principles underlying his art were outlined in a ‘statement of intent’ that Weiner first published in 1969:

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artworks in ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, CROSSED OVER (&) JUST ON THE OTHER SIDE  1990

Lawrence Weiner is one of the chief protagonists in the development of conceptual art. In the 1960s he was a key figure in expanding the definition of a work of art. Along with his contemporaries including Joseph Kosuth (born 1945; see Clock (One and Five), English/Latin Version, 1965, Tate T01909) and Douglas Huebler (1924-1997; see Variable Piece No. 44, 1971, Tate P07234), Weiner challenged the notion that an artwork had to consist of a definite physical object, contending instead that it could comprise a concept or idea with which the viewer would be invited to engage. Weiner’s practice focuses on this interaction between artwork and viewer or, in his terminology, the ‘receiver’ of the work of art. The principles underlying his art were outlined in a ‘statement of intent’ that Weiner first published in 1969:

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artworks in ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, GROUND DOWN (&) JUST ON THE OTHER SIDE  1990

Lawrence Weiner is one of the chief protagonists in the development of conceptual art. In the 1960s he was a key figure in expanding the definition of a work of art. Along with his contemporaries including Joseph Kosuth (born 1945; see Clock (One and Five), English/Latin Version, 1965, Tate T01909) and Douglas Huebler (1924-1997; see Variable Piece No. 44, 1971, Tate P07234), Weiner challenged the notion that an artwork had to consist of a definite physical object, contending instead that it could comprise a concept or idea with which the viewer would be invited to engage. Weiner’s practice focuses on this interaction between artwork and viewer or, in his terminology, the ‘receiver’ of the work of art. The principles underlying his art were outlined in a ‘statement of intent’ that Weiner first published in 1969:

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artworks in ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, ATTACHED TO (&) JUST ON THE OTHER SIDE  1990

Lawrence Weiner is one of the chief protagonists in the development of conceptual art. In the 1960s he was a key figure in expanding the definition of a work of art. Along with his contemporaries including Joseph Kosuth (born 1945; see Clock (One and Five), English/Latin Version, 1965, Tate T01909) and Douglas Huebler (1924-1997; see Variable Piece No. 44, 1971, Tate P07234), Weiner challenged the notion that an artwork had to consist of a definite physical object, contending instead that it could comprise a concept or idea with which the viewer would be invited to engage. Weiner’s practice focuses on this interaction between artwork and viewer or, in his terminology, the ‘receiver’ of the work of art. The principles underlying his art were outlined in a ‘statement of intent’ that Weiner first published in 1969:

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artworks in ARTIST ROOMS: Lawrence Weiner

Lawrence Weiner, CROSSED OUT (&) JUST ON THE OTHER SIDE  1990

Lawrence Weiner is one of the chief protagonists in the development of conceptual art. In the 1960s he was a key figure in expanding the definition of a work of art. Along with his contemporaries including Joseph Kosuth (born 1945; see Clock (One and Five), English/Latin Version, 1965, Tate T01909) and Douglas Huebler (1924-1997; see Variable Piece No. 44, 1971, Tate P07234), Weiner challenged the notion that an artwork had to consist of a definite physical object, contending instead that it could comprise a concept or idea with which the viewer would be invited to engage. Weiner’s practice focuses on this interaction between artwork and viewer or, in his terminology, the ‘receiver’ of the work of art. The principles underlying his art were outlined in a ‘statement of intent’ that Weiner first published in 1969:

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artworks in ARTIST ROOMS: Lawrence Weiner

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Lawrence Weiner, AS FAR AS THE EYE CAN SEE: Melodic Noise for Radio  2007

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artworks in ARTIST ROOMS: Lawrence Weiner

Art in this room

AR00131: STRAIGHT DOWN TO BELOW
Lawrence Weiner STRAIGHT DOWN TO BELOW 1988
AR00132: FIRE AND BRIMSTONE SET IN A HOLLOW FORMED BY HAND
Lawrence Weiner FIRE AND BRIMSTONE SET IN A HOLLOW FORMED BY HAND 1988
AR00133: SILVER THREADS ENTWINED IN THREADS OF GOLD
Lawrence Weiner SILVER THREADS ENTWINED IN THREADS OF GOLD 1988
AR00134: TAKEN UP WITH
Lawrence Weiner TAKEN UP WITH 1988
AR00135: WIPED OFF THE FACE OF THE EARTH
Lawrence Weiner WIPED OFF THE FACE OF THE EARTH 1988
AR00136: TIED UP IN KNOTS
Lawrence Weiner TIED UP IN KNOTS 1988

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