Listen to the interview and tick the names of the people

1 Paris
2 Sister Wendy Beckett v
3 Massachussetts v
4 Seurat
5 Brancusi
6 Stonehenge v

Typescript (Ex. 2A)
Interviewer: You are 65 now and you have been sculpting for a long time.
Yet i dont see any obvious progression in your work. Instead, you seem to keep
returning to a number of established ways of working.
Andre: You are absolutely right. This is really because of key moments and influences
in my career... 1958, for example, was a turning point for me. It was a period of so
many realizations. The visions I had then were radical and I keep on returning to them.
Interviewer: You also mentioned influences...
Andre: Yeah! Childhood in Massachusetts, four years working on the railroad, then later
Brancusis work and minimalism.
Interviewer: When I look at photographs of your early work, I am very struck by the way
the small wooden pieces set up an impression of positive and negative: the negative" is
the space around the sculpture and the sculpture acts on it and changes it...
Andre: This idea of space is really important to me. My pieces arc different in every place
I put them. Thats why l wont have anything on the walls when my work is on the floor. It would
distract you from seeing whats there.
Interviewer: It seems odd for an artist to work so much with mathematical and geometrical
fonns. Isnt there a contradiction there?
Andre: Not really. Mathematics and geometry have a simple beauty. Think of Stonehenge.
Its a structure where number becomes form, even landscape. Im also including poetry in the
show, and the work I am using is based on systems of repetition and structuring.
Interviewer: And why do you never fix the parts of your pieces together? Andre: because that
way they can be easily moved and reordered. I am
interested in their potential, and the less I do to the materials, the greater this potential is. And
I wont have people touching my work. The oils in a human hand are the most destructive
agents I know of.