Sol LeWitt

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Sol LeWitt
Conceptual Art, Minimalism

Solomon "Sol" LeWitt (September 9, 1928 – April 8, 2007) was an American artist linked to various movements, including conceptual art and minimalism.[1]

LeWitt came to fame in the late 1960s with his wall drawings and "structures" (a term he preferred instead of "sculptures") but was prolific in a wide range of media including drawing, printmaking, photography, painting, installation, and artist's books. He has been the subject of hundreds of solo exhibitions in museums and galleries around the world since 1965. The first biography of the artist, Sol LeWitt: A Life of Ideas, by Lary Bloom, was published by Wesleyan University Press in the spring of 2019.[2]

Life

lithograph
1992

LeWitt was born in

I.M. Pei for a year. Around that time, LeWitt also discovered the work of the late 19th-century photographer Eadweard Muybridge, whose studies in sequence and locomotion were an early influence for him. These experiences, combined with an entry-level job as a night receptionist and clerk he took in 1960 at the Museum of Modern Art
(MoMA) in New York, would influence LeWitt's later work.

At MoMA, LeWitt's co-workers included fellow artists

Lucy Lippard who worked as a page in the library. Curator Dorothy Canning Miller's now famous 1960 "Sixteen Americans" exhibition with work by Jasper Johns, Robert Rauschenberg, and Frank Stella created a swell of excitement and discussion among the community of artists with whom LeWitt associated. LeWitt also became friends with Hanne Darboven, Eva Hesse, and Robert Smithson
.

LeWitt taught at several New York schools, including

Spoleto, Italy. After returning to the United States in the late 1980s, LeWitt made Chester, Connecticut, his primary residence.[5] He died at age 78 in New York from cancer complications.[6]

Work

LeWitt is regarded as a founder of both

Minimal and Conceptual art.[5] His prolific two and three-dimensional work ranges from wall drawings (over 1200 of which have been executed) to hundreds of works on paper extending to structures in the form of towers, pyramids, geometric forms, and progressions. These works range in size from books and gallery-sized installations to monumental outdoor pieces. LeWitt's first serial sculptures were created in the 1960s using the modular form of the square in arrangements of varying visual complexity. In Issue 5 of 0 To 9 magazine, LeWitt's work 'Sentences on Conceptual Art' was published.This piece became one of the most widely cited artists' writings of the 1960s, exploring the relationship between art, practice and art criticism.[7] In 1979, LeWitt participated in the design for the Lucinda Childs Dance Company's piece Dance.[8]

Sculpture

In the early 1960s, LeWitt first began to create his "structures," a term he used to describe his three-dimensional work.[9] His frequent use of open, modular structures originates from the cube, a form that influenced the artist's thinking from the time that he first became an artist. After creating an early body of work made up of closed-form wooden objects, heavily lacquered by hand, in the mid-1960s he "decided to remove the skin altogether and reveal the structure." This skeletal form, the radically simplified open cube, became a basic building block of the artist's three-dimensional work. In the mid-1960s, LeWitt began to work with the open cube: twelve identical linear elements connected at eight corners to form a skeletal structure. From 1969, he would conceive many of his modular structures on a large scale, to be constructed in aluminum or steel by industrial fabricators. Several of LeWitt's cube structures stood at approximate eye level. The artist introduced bodily proportion to his fundamental sculptural unit at this scale.[10]

Following early experimentation LeWitt settled on a standard version for his modular cubes, circa 1965: the

positive space
of the sculptural material itself in a ratio of 8.5:1, or .[11][12] The material would also be painted white instead of black, to avoid the "expressiveness" of the black color of earlier, similar pieces. Both the ratio and the color were arbitrary aesthetic choices, but once taken they were used consistently in several pieces which typify LeWitt's "modular cube" works.[13] Museums holding specimens of LeWitt's modular cube works have published lesson suggestions for elementary education, meant to encourage children to investigate the mathematical properties of the artworks.[14][15]

Beginning in the mid-1980s, LeWitt composed some of his sculptures from stacked cinder blocks, still generating variations within self-imposed restrictions. At this time, he began to work with concrete blocks. In 1985, the first cement Cube was built in a park in Basel.[16] From 1990 onwards, LeWitt conceived multiple variations on a tower to be constructed using concrete blocks.[10] In a shift away from his well-known geometric vocabulary of forms, the works LeWitt realized in the late 1990s indicate vividly the artist's growing interest in somewhat random curvilinear shapes and highly saturated colors.[17]

In 2007, LeWitt conceived 9 Towers, a cube made from more than 1,000 light-coloured bricks that measure five meters on each side. It was installed at the Kivik Art Centre in Lilla Stenshuvud, Sweden, in 2014.[18]

Wall drawings

In 1968, LeWitt began to conceive sets of guidelines or simple diagrams for his two-dimensional works drawn directly on the wall, executed first in graphite, then in crayon, later in colored pencil and finally in chromatically rich washes of India ink, bright acrylic paint, and other materials.[19] Since he created a work of art for Paula Cooper Gallery's inaugural show in 1968,[20] an exhibition to benefit the Student Mobilization Committee to End the War in Vietnam, thousands of LeWitt's drawings have been installed directly on the surfaces of walls.[21] Between 1969 and 1970 he created four "Drawings Series", which presented different combinations of the basic element that governed many of his early wall drawings. In each series he applied a different system of change to each of twenty-four possible combinations of a square divided into four equal parts, each containing one of the four basic types of lines LeWitt used (vertical, horizontal, diagonal left, and diagonal right). The result is four possible permutations for each of the twenty-four original units. The system used in Drawings Series I is what LeWitt termed 'Rotation,' Drawings Series II uses a system termed 'Mirror,' Drawings Series III uses 'Cross & Reverse Mirror,' and Drawings Series IV uses 'Cross Reverse'.[22]

Sol LeWitt's wall installation.
Sol LeWitt's installation on the rooftop at the Metropolitan Museum of Art, 2005.[23]

In Wall Drawing #122, first installed in 1972 at the Massachusetts Institute of Technology in Cambridge, the work contains "all combinations of two lines crossing, placed at random, using arcs from corners and sides, straight, not straight and broken lines" resulting in 150 unique pairings that unfold on the gallery walls. LeWitt further expanded on this theme, creating variations such as Wall Drawing #260 at the Museum of Modern Art, New York, which systematically runs through all possible two-part combinations of arcs and lines.[24] Conceived in 1995, Wall Drawing #792: Black rectangles and squares underscores LeWitt's early interest in the intersections between art and architecture. Spanning the two floors of the Barbara Gladstone Gallery, Brussels, this work consists of varying combinations of black rectangles, creating an irregular grid-like pattern.[25]

LeWitt, who had moved to Spoleto, Italy, in the late 1970s credited his transition from graphite pencil or crayon to vivid ink washes, to his encounter with the frescoes of Giotto, Masaccio, and other early Florentine painters.[20] In the late 1990s and early 2000s, he created highly saturated colorful acrylic wall drawings. While their forms are curvilinear, playful and seem almost random, they are also drawn according to an exacting set of guidelines. The bands are a standard width, for example, and no colored section may touch another section of the same color.[26]

In 2005 LeWitt began a series of 'scribble' wall drawings, so termed because they required the draftsmen to fill in areas of the wall by scribbling with graphite. The scribbling occurs at six different densities, which are indicated on the artist's diagrams and then mapped out in string on the surface of the wall. The gradations of scribble density produce a continuum of tone that implies three dimensions.

Albright-Knox Art Gallery
.

According to the principle of his work, LeWitt's wall drawings are usually executed by people other than the artist himself. Even after his death, people are still making these drawings.[28] He would therefore eventually use teams of assistants to create such works. Writing about making wall drawings, LeWitt himself observed in 1971 that "each person draws a line differently and each person understands words differently".[29] Between 1968 and his death in 2007, LeWitt created more than 1,270 wall drawings.[30] The wall drawings, executed on-site, generally exist for the duration of an exhibition; they are then destroyed, giving the work in its physical form an ephemeral quality.[31] They can be installed, removed, and then reinstalled in another location, as many times as required for exhibition purposes. When transferred to another location, the number of walls can change only by ensuring that the proportions of the original diagram are retained.[32]

Permanent murals by LeWitt can be found at, among others, the

Embassy of the United States in Berlin; the Wadsworth Atheneum; and John Pearson's House, Oberlin, Ohio. The artist's last public wall drawing, Wall Drawing #1259: Loopy Doopy (Springfield) (2008), is at the United States Courthouse in Springfield, Massachusetts (designed by architect Moshe Safdie). Wall Drawing #599: Circles 18 (1989) — a bull's eye of concentric circles in alternating bands of yellow, blue, red and white — was installed at the lobby of the Jewish Community Center, New York,in 2013.[33]

Gouaches

In the 1980s, in particular after a trip to Italy, LeWitt started using gouache, an opaque water-based paint, to produce free-flowing abstract works in contrasting colors. These represented a significant departure from the rest of his practice, as he created these works with his own hands.[9] LeWitt's gouaches are often created in series based on a specific motif. Past series have included Irregular Forms, Parallel Curves, Squiggly Brushstrokes and Web-like Grids.[35]

Although this loosely rendered composition may have been a departure from his earlier, more geometrically structured works visually, it nevertheless remained in alignment with his original artistic intent. LeWitt painstakingly made his own prints from his gouache compositions. In 2012, art advisor Heidi Lee Komaromi curated, "Sol LeWitt: Works on Paper 1983-2003", an exhibition revealing the variety of techniques LeWitt employed on paper during the final decades of his life.

Artist's books

From 1966, LeWitt's interest in seriality led to his production of more than 50

Walter Robinson, Ingrid Sischy, Pat Steir, Mimi Wheeler, Robin White and Irena von Zahn. LeWitt was a signal innovator of the genre of the "artist's book," a term that was coined for a 1973 exhibition curated by Dianne Perry Vanderlip at Moore College of Art and Design, Philadelphia.[36]

Printed Matter was one of the first organizations dedicated to creating and distributing artists' books, incorporating self-publishing, small-press publishing, and artist networks and collectives.[37] For LeWitt and others, Printed Matter also served as a support system for avant-garde artists, balancing its role as publisher, exhibition space, retail space, and community center for the downtown arts scene,[38] in that sense emulating the network of aspiring artists LeWitt knew and enjoyed as a staff member at the Museum of Modern Art.

Architecture and landscaping

LeWitt collaborated with architect Stephen Lloyd to design a synagogue for his congregation

wooden synagogues of eastern Europe.[39][40]

In 1981, LeWitt was invited by the Fairmount Park Art Association (currently known as the Association for Public Art) to propose a public artwork for a site in Fairmount Park. He selected the long, rectangular plot of land known as the Reilly Memorial and submitted a drawing with instructions. Installed in 2011, Lines in Four Directions in Flowers is made up of more than 7,000 plantings arranged in strategically configured rows. In his original proposal, the artist planned an installation of flower plantings of four different colors (white, yellow, red & blue) in four equal rectangular areas, in rows of four directions (vertical, horizontal, diagonal right & left) framed by evergreen hedges of about 2' height, with each color block comprising four to five species that bloom sequentially.[41][42]

Sol LeWitt's Incomplete Open Cube series.

In 2004, Six Curved Walls sculpture was installed on the hillside slope of Crouse College on Syracuse University campus. The concrete block sculpture consists of six undulating walls, each 12 feet high, and spans 140 feet. The sculpture was designed and constructed to mark the inauguration of Nancy Cantor as the 11th Chancellor of Syracuse University.[43][44][45]

Collection

Since the early 1960s he and his wife, Carol Androccio, gathered nearly 9,000 works of art through purchases, in trades with other artists and dealers, or as gifts.

Gilbert and George, Alex Katz, Robert Mangold, Brice Marden, Mario Merz, Shirin Neshat, Pat Steir, and many other artists.[47]

Exhibitions

Sol LeWitt, Tower, Figge Art Museum, Davenport, Iowa, USA, 1984.

LeWitt's work was first publicly exhibited in 1964 in a group show curated by

Jewish Museum in New York (a seminal show which helped define the minimalist movement), submitting an untitled, open modular cube of 9 units. The same year he was included in the "10" exhibit at Dwan Gallery, New York. He was later invited by Harald Szeemann to participate in "When Attitude Becomes Form," at the Kunsthalle Bern
, Switzerland, in 1969. Interviewed in 1993 about those years LeWitt remarked, "I decided I would make color or form recede and proceed in a three-dimensional way."

The

Whitney Museum of American Art
, New York.

In 2006, LeWitt's Drawing Series… was displayed at

Dia:Beacon and was devoted to the 1970s drawings by the conceptual artist. Drafters and assistants[52] drew directly on the walls using graphite, colored pencil, crayon, and chalk
. The works were based on LeWitt's complex principles, which eliminated the limitations of the canvas for more extensive constructions.

Public installation by Sol LeWitt at Olympic Sculpture Park, 2014.

"Sol LeWitt: A Wall Drawing Retrospective", a collaboration between the

MASS MoCA (Massachusetts Museum of Contemporary Art), and the Williams College Museum of Art (WCMA) opened to the public in 2008 at MASS MoCA in North Adams, Massachusetts.[53] The exhibition will be on view for 25 years and is housed in a three-story 27,000-square-foot (2,500 m2) historic mill building in the heart of MASS MoCA's campus fully restored by Bruner/Cott and Associates architects (and outfitted with a sequence of new interior walls constructed to LeWitt's specifications.) The exhibition consists of 105 drawings — comprising nearly one acre of wall surface — that LeWitt created over 40 years from 1968 to 2007 and includes[citation needed
] several drawings never before seen, some of which LeWitt created for the project shortly before his death.

Furthermore, the artist was the subject of exhibitions at P.S. 1 Contemporary Center, Long Island City (Concrete Blocks);[54] the Addison Gallery of American Art, Andover (Twenty-Five Years of Wall Drawings, 1968-1993); and Wadsworth Atheneum Museum of Art, Hartford (Incomplete Cubes), which traveled to three art museums in the United States. At the time of his death, LeWitt had just organized a retrospective of his work at the Allen Memorial Art Museum in Oberlin, Ohio. At Naples Sol LeWitt. L'artista e i suoi artisti opened at the Museo Madre on December 15, 2012, running until April 1, 2013.

Museum collections

LeWitt's works are found in the most important museum collections including:

MASS MoCA, North Adams, Massachusetts Institute of Technology List Art Center's Public Art Collection,[56] Cambridge, National Gallery of Art, Washington D.C., and the Hirshhorn Museum and Sculpture Garden.[57]
The erection of Double Negative Pyramid by Sol LeWitt at Europos Parkas in Vilnius, Lithuania was a significant event in the history of art in post Berlin Wall era.

Influence

Black Form Dedicated to the Missing Jews, Altona City Hall, Altona, Hamburg, Germany, 1987.

Sol LeWitt was one of the main figures of his time; he transformed the process of art-making by questioning the fundamental relationship between an idea, the subjectivity of the artist, and the artwork a given idea might produce. While many artists were challenging modern conceptions of originality, authorship, and artistic genius in the 1960s, LeWitt denied that approaches such as Minimalism, Conceptualism, and Process Art were merely technical or illustrative of philosophy. In his Paragraphs on Conceptual Art, LeWitt asserted that Conceptual art was neither mathematical nor intellectual but intuitive, given that the complexity inherent to transforming an idea into a work of art was fraught with contingencies.[58] LeWitt's art is not about the singular hand of the artist; it is the idea behind each work that surpasses the work itself.[59] In the early 21st century, LeWitt's work, especially the wall drawings, has been critically acclaimed for its economic perspicacity. Though modest—most exist as simple instructions on a sheet of paper—the drawings can be made again and again and again, anywhere in the world, without the artist needing to be involved in their production.[60]

Art world

His auction record of $749,000 was set in 2014 for his gouache on paperboard piece Wavy Brushstroke (1995) at Sotheby's, New York.[61]

Selected books

See also

References

  1. ^ McNay, Michael. "Obituary: Sol LeWitt: American artist whose treatment of forms and colours defied critical analysis". The Guardian, April 11, 2007. Accessed April 17, 2011.
  2. .
  3. ^ "Sol LeWitt". Retrieved August 3, 2022.
  4. New York Times
    .
  5. ^ a b c Solomon R. Guggenheim Museum. Collection online: Sol LeWitt Archived March 12, 2012, at the Wayback Machine. Accessed April 17, 2011.
  6. ^ Ulaby, Neda. "Sol LeWitt: conceptual art pioneer dies at 78." All Things Considered, NPR, April 9, 2007. Accessed April 17, 2011.
  7. ISSN 0266-6286
    .
  8. ^ "Lucinda Childs Dance - History".
  9. ^ a b Sol LeWitt: Structures and Drawings, April 28 - June 30, 2011 Archived May 19, 2011, at the Wayback Machine Barbara Mathes Gallery, New York.
  10. ^ a b Sol LeWitt: Structures 1965-2006, May 24 – December 2, 2011 Public Art Fund, New York.
  11. ^ "SFMoMA Acquires Important Early Structure Work by Sol LeWitt". San Francisco Museum of Modern Art. July 18, 2011.
  12. Whitney Museum of American Art
    .
  13. The Museum of Modern Art
    . pp. 59, 71, 27.
  14. ^ "Sol LeWitt's Concepts and Structures". National Gallery of Art.
  15. ^ "Lesson Concept: Sol LeWitt 1 2 3 4 5 6". Virginia Museum of Fine Arts.
  16. ^ Sol LeWitt: Concrete Block, December 17, 1999 - February 27, 2000. MoMA P.S.1 Contemporary Art Center, New York. Accessed April 17, 2011.
  17. ^ Sol LeWitt on the Roof: Splotches, Whirls and Twirls, April 26, 2005 – October 30, 2005 Metropolitan Museum of Art, New York.
  18. ^ Gareth Harris and Hanne Cecilie Gulstad (January 1, 2014), Europe is set for a summer of big sculpture Archived January 6, 2014, at the Wayback Machine The Art Newspaper.
  19. ^ Christopher Knight (April 10, 2007), Sol LeWitt, 78; sculptor and muralist changed art Los Angeles Times.
  20. ^ a b Sol LeWitt, September 3 - October 10, 2013 Paula Cooper Gallery, New York.
  21. Albright-Knox Art Gallery
    , Buffalo.
  22. MASS MoCA
    , North Adams, MA.
  23. ^ "Sol LeWitt on the Roof". The Metropolitan Museum of Art. Retrieved April 11, 2023.
  24. ^ Sol LeWitt: Arcs and Lines, May 7 - August 26, 2011 Paula Cooper Gallery, New York.
  25. ^ Sol LeWitt, September 11 - October 30, 2010[permanent dead link] Barbara Gladstone Gallery, Brussels.
  26. MASS MoCA
    , North Adams, MA.
  27. MASS MoCA
    , North Adams, MA.
  28. ^ Sol LeWitt Archived October 8, 2011, at the Wayback Machine National Gallery, Washington, D.C.
  29. ^ Adrian Searle (December 7, 2006), Second thoughts The Guardian.
  30. Wall Street Journal
    .
  31. ^ Sol LeWitt. Wall Drawings from 1968 to 2007 Centre Pompidou-Metz.
  32. ^ Sol LeWitt, Wall Drawing #1136 (2004) Tate, London.
  33. ^
    New York Times
    .
  34. Albright-Knox Art Gallery
    , Buffalo.
  35. ^ Sol LeWitt: Gouaches, September 6 - October 15, 2005. Paula Cooper Gallery, New York. Accessed April 17, 2011.
  36. ^ Ault, Julie (December 2006). "Interview with Lucy R. Lippard on Printed Matter". Printed Matter, Inc. Retrieved July 28, 2015.
  37. ProQuest 1299906511
    .
  38. ^ Smith, Dinitia (January 29, 1990). "After Andy: Ingrid Sischy, Queen of the Downtown Art Scene, Takes over at Interview". New York. p. 48. Retrieved July 25, 2015.
  39. ^ Ivry, Benjamin (May 8, 2009). "Sol LeWitt: A Jewish Artist's Leap Into the Unknown". Forward.
  40. ^ Zimmer, William (December 9, 2001). "Art Takes a Prominent Spot In Chester's New Synagogue". New York Times.
  41. ^ Sol LeWitt: Lines in Four Directions in Flowers Philadelphia Museum of Art.
  42. ^ Chelsea Allison (June 5, 2012), The Supernaturalists: Fresh Ellsworth Kelly and Sol LeWitt Exhibitions Bloom on the East Coast Archived March 31, 2014, at the Wayback Machine Vogue.
  43. ^ Gruber, Samuel D. (December 10, 2011). "At Syracuse University, Undulating Walls Commemorate Vanishing Barriers". The Forward. Retrieved March 22, 2021.
  44. ^ "Light Work Collection / Artwork / Six Curved Walls, Syracuse [2487]". Light Work. Retrieved March 22, 2021.
  45. ^ Buckley, Madeleine (April 24, 2016). "Explore the SU campus through these 6 historic statues". The Daily Orange. Retrieved March 22, 2021.
  46. ^ Genocchio, Benjamin. "LeWitt the collector, filling up a warehouse." New York Times, January 1, 2004. Accessed April 17, 2011.
  47. ^ LeWitt x 2, September 9 – December 9, 2007 Weatherspoon Art Museum, Greensboro, NC.
  48. ^ Roberts, Veronica, ed. "Converging Lines: Eva Hesse and Sol LeWitt." Austin: Blanton Museum of Art. Distributed by Yale University Press, 2014.
  49. ^ Kennedy, Randy (June 26, 2009). "A Round Peg". The New York Times. Retrieved June 7, 2009.
  50. ^ Sol LeWitt: Works on Paper, May 8 - June 19, 2009. Paula Cooper Gallery, New York. Accessed April 17, 2011.
  51. ^ Sol LeWitt, September 15 - October 23, 2004. Lisson Gallery, London.
  52. ^ "Sol LeWittDrawing Series . . " (PDF). Dia Art Foundation. 2006.
  53. ^ Holland Cotter, "Now in Residence: Walls of Luscious Austerity" New York Times, December 4, 2008.
  54. ^ MoMA PS1 Exhibition Page
  55. ^ "Incomplete Open Cube 8/2 • Pérez Art Museum Miami". Pérez Art Museum Miami. Retrieved April 11, 2023.
  56. ^ "Bars of Color within Squares (MIT), 2007 | MIT List Visual Arts Center". listart.mit.edu. January 13, 2022. Retrieved April 11, 2023.
  57. ^ Sol LeWitt Lisson Gallery, London.
  58. ^ "Paragraphs".
  59. ^ Adam D. Weinberg (August 21, 2007). "Backstage Stars". CULTURE+TRAVEL. Retrieved April 29, 2008. {{cite journal}}: Cite journal requires |journal= (help)
  60. ^ "Modest Proposals: Joe Scanlan on Artistic Production".
  61. ^ Sol LeWitt, Wavy Brushstroke, Sale 226 Sotheby's, CONTEMPORARY ART DAY AUCTION, November 12, 2014, New York.

External links