Having Been Said: Writings & Interviews Of Lawrence Weiner 1968-2003


Lawrence Weiner's art uses language in reference to materials. Language itself is a material and at the same time a means of presentation of his work. Weiner evolved this approach in the context of the Conceptual art of the late 60s, yet he does not see his own work as "conceptual." The "space" he works within is the entire cultural context, and his works are associated with various different media and forms of presentation: books, posters, videos, films, records, drawings, multiples, installations indoors and ...
See more details below
Available through our Marketplace sellers.
Other sellers (Paperback)
  • All (7) from $39.95   
  • New (1) from $145.00   
  • Used (6) from $39.95   
Sort by
Page 1 of 1
Showing All
Note: Marketplace items are not eligible for any BN.com coupons and promotions
Seller since 2015

Feedback rating:



New — never opened or used in original packaging.

Like New — packaging may have been opened. A "Like New" item is suitable to give as a gift.

Very Good — may have minor signs of wear on packaging but item works perfectly and has no damage.

Good — item is in good condition but packaging may have signs of shelf wear/aging or torn packaging. All specific defects should be noted in the Comments section associated with each item.

Acceptable — item is in working order but may show signs of wear such as scratches or torn packaging. All specific defects should be noted in the Comments section associated with each item.

Used — An item that has been opened and may show signs of wear. All specific defects should be noted in the Comments section associated with each item.

Refurbished — A used item that has been renewed or updated and verified to be in proper working condition. Not necessarily completed by the original manufacturer.

Brand new.

Ships from: acton, MA

Usually ships in 1-2 business days

  • Standard, 48 States
  • Standard (AK, HI)
Page 1 of 1
Showing All
Sort by
Sending request ...


Lawrence Weiner's art uses language in reference to materials. Language itself is a material and at the same time a means of presentation of his work. Weiner evolved this approach in the context of the Conceptual art of the late 60s, yet he does not see his own work as "conceptual." The "space" he works within is the entire cultural context, and his works are associated with various different media and forms of presentation: books, posters, videos, films, records, drawings, multiples, installations indoors and outdoors, and more. Since his earliest days as a professional artist, Weiner has given written and verbal expression to questions concerning his work and its context. These utterances--statements, interviews, lectures and conference contributions--have been collected together in this publication for the first time, and ordered chronologically. Taken as a whole they afford an insight both into a complex individual biography and into the wider development of art and culture and the challenge that this entails.
Read More Show Less

Product Details

  • ISBN-13: 9783775791946
  • Publisher: Hatje Cantz Verlag GmbH & Co KG
  • Publication date: 11/2/2004
  • Pages: 496
  • Product dimensions: 9.50 (w) x 6.70 (h) x 1.30 (d)

Meet the Author

Lawrence Weiner was born in 1942 in the Bronx, New York. Upon graduating from high school, he worked in a variety of jobs—on an oil tanker, on docks, and unloading railroad cars—and then traveled throughout North America before returning to New York, where he exhibited at the Seth Siegelaub Gallery in 1964 and 1965. Since the 1970s, wall installations consisting solely of words in a nondescript lettering have been a primary medium for Weiner. Solo exhibitions of his work have been mounted at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., ICA London, Dia Center for the Arts in New York, San Francisco Museum of Modern Art, and the Walker Art Center in Minneapolis, among others. Weiner lives in New York and Amsterdam.

Cindy Sherman was born in 1954. She began her Film Stills series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980—key early shows included a first survey at the Stedelijk Museum, Amsterdam, in 1982 and a retrospective at the Whitney Museum of American Art in 1987. Sherman is the recipient of a MacArthur Foundation "genius" award, a John Simon Guggenheim Memorial Fellowship, and the Guild Hall Academy of the Arts Lifetime Achievement Award for Visual Arts.

Read More Show Less

Table of Contents

Symposium at Bradford Junior College 13
Symposium at Windham College 16
Statement of intent 21
Interview 22
One standard Air Force dye marker thrown into the sea : interview 23
From an interview 26
Interview "Prospect 69" 28
Art without space : a symposium 29
From an interview 34
"18 Paris IV. 70" 35
"Art in the mind" 36
"48-page-exhibition" 37
Sol LeWitt 38
The artist and politics : a symposium 39
Response to three statements by David Lamelas 40
Interview 41
Lawrence Weiner at Amsterdam : interview 43
Interview 52
Variation of statement of intent 55
Marcel Duchamp 56
Art and its cultural context : a Congress in Brussels 57
Question/answer 65
Variation of statement of intent 66
Red as well as green as well as yellow as well as blue : interview 67
Notes for a talk introducing a screening of "A first quarter" 73
Variation of statement of intent 74
A second quarter : interview 75
Dialogue with Kathryn Bigelow in the video "Green as well as blue as well as red" 77
Some questions and five answers relative to moved pictures 80
Artists' books 82
Regarding a relation to (with) a gallery 83
Regarding the (a) use of language within the context of art 84
Answer to a letter from Rene Denizot 85
Answer to an open letter 87
Variation of statement of intent 88
Variation of statement of intent 89
Variation of statement of intent 90
An international strike of artists? 91
The level of water 93
Answers to questions about Gerry Schum's television gallery 94
A structure as a means of presenting work... 95
"Advances" and the contemporary avant-garde 98
A conversation with Robert C. Morgan 100
Media (audio) 105
Regarding a relation to (with) a presentation situation 106
Art is not a metaphor 107
A conversation with William Furlong concerning 20 works 108
Notes from the California lectures 112
Apartment number : a conversation with Colin Lochhead 114
Passage to the North 116
Regarding a personal point in the time... 118
Early work : interview 119
Notes from art 130
Leo Castelli 132
Portraits : from a conversation 133
Section 2 135
Response to the project "How to paint with dice" 136
Interview 137
Variation of statement of intent 139
Radio Inspiegato 140
Lawrence Weiner's "Plowmans lunch" : interview 141
Interview 144
Text on media 147
Albert as well as Lawrence : interview with Albert Mertz and Lawrence Weiner 148
The purpose & manner of construction 151
Progetto Genazzano 152
From a dialogue with Edward Leffingwell 153
Edition after Henrik Have 154
Gordon Matta-Clark : from an interview 156
Answers to two questions 157
Mondrian or Volendam 158
When you offer stones you get stones 160
Can one tell to see the difference? : or : learn to read art 161
Interview 162
Landscape 164
Drawing 165
Posters 166
Regarding : A Pierre et Marie (Une exposition en travaux) 169
What does "modern" look like?... 170
Vienna 171
The success of failure 172
Hard-boiled eggs 173
Towards a theatrical engagement 174
On and about constructing a structure 176
The work is about informal objects... 177
Notes on a table 178
Statement concerning so-called conceptual art 180
The return of Arthur R. Rose 181
I don't converse with heaven : interview 182
Andy Warhol 185
I am not content : interview 186
The need of a place (a table) 191
Interview 192
Books, catalogues, designed books 198
The peripatetic artist : from an interview 199
A log of some time with some people someplace in New Guinea 202
Interview in preparation for the conference "Art meets science and spirituality in a changing economy" 204
Essentially the question is... 211
A poster is the writing on the wall : discussion at the Ecole superieure d'art visuel in Geneva 212
If the shoe fits, wear it : a conversation with Edward Leffingwell 218
An evening forum at the Vancouver Art Gallery 223
From an interview 234
Interview 235
Stars don't stand still in the sky 238
Art meets science and spirituality in a changing economy : a conference in Amsterdam 240
Skimming the water : the gondolas of John Chamberlain : a conversation with John Chamberlain 255
Interview 259
Regarding the relationship of collector to artist 261
Show (&) tell : interview 262
Excerpts from an interview 262
Films, video 271
A public conversation with Willard Holmes 272
Public art 278
Spheres of influence 279
Interview 280
I never did ask Albert : why red & why blue? 283
Over time : a forum on art making 284
Biography 285
From an interview 286
From an interview 288
Answer to a question 289
A conversation with Barbaralee Diamonstein 290
Notes around & about art 298
But can they bake a cherry pie? 302
Two objects on a table : a conversation with Jean Nouvel et al. 303
Question/answer 309
Response to a questionnaire about Antwerp 310
Installation of a work... 312
Neue Slowenische Kunst 313
Wide white space : interview 314
Yesterday, today & tomorrow 317
The role of the artist in society 318
As language is understood 319
Interview 320
Joan Jonas 323
Interview 324
Carl Th. Dreyer/ a fable of women & water 328
From an interview 332
Mortal remains 333
The only thing that knows its own essence is the thing itself : interview 334
From an interview 339
Floating merely means... 340
Response to a questionnaire about Marcel Broodthaers 342
From an interview 343
A translation from one language to another 344
From an interview 346
Interview 347
A tale of a maiden or two 349
Interview 351
Homeport 358
Let's talk about art : symposium 360
Let's talk about art : coffee break talk 364
Then/now & then 365
Smithson, Alexander Graham Bell & the non-site 366
In relation to a public sculpture 367
Letter to Akademie Schloss Solitude, Stuttgart 369
"The artist's reserved rights transfer and sale agreement" : interview 370
From an interview 371
A conversation with Benjamin H. D. Buchloh 373
The objectification of a Mise-en-Scene... 377
T.V. as T.V. 378
1 after 2 after... 380
The role of contemporary art 381
Regarding the Jackson Pollock retrospective at MoMA, NYC 382
The fact that as art in the culture context of its own 383
Eins nach zwei nach 386
A conversation with Christine Breyhan 387
The concept of an artist assuming the role of historian 390
The question seems to be 391
Interview 392
Art is & functions as... 395
A child once told... 396
Interview 398
Two interviews 399
Given the light 403
As the artist is part of the public... 404
From a fax conversation with Alicia Chillida 405
A conversation with Frank Perrin 406
Question/answer 408
If an accumulation reflects a life... 410
Time & again 411
Is Gillick begging the question? 412
Regarding Hegel 414
A conversation with Judith Hoffberg on books 415
Interview 422
Towards a theatrical engagement 426
Essay by Gregor Stemmrich 429
Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star


4 Star


3 Star


2 Star


1 Star


Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation


  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)