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At City Hall Park, on a pitch of grass, in the heart of grey Manhattan, those variations pick up on
New York’s ever- changing rhythms. Redefining art production by exploring ideas rather than
conventional aesthetics, he distilled art to its essentials. However, the order in which they are
displayed completely depends on which entrance visitors take on their way to lunch. His work —
sculptures of white cubes, or drawings of geometric patterns, or splashes of paint like Rorschach
patterns — tested a viewer’s psychological and visual flexibility. See a line. See that it can be
straight, thin, broken, curved, soft, angled or thick. Email This field is for validation purposes and
should be left unchanged. The idea is the main instrument which enables the creation of art, its
visual feedback instead is secondary, possible but not necessary. The blog will be a space for posting
information about the class, project descriptions, new artists and exhibitions, and other pertinent
information. In LeWitt’s case, as well as in many other minimalists, the idea is what rewrites the
coordinates in space, what separates it into its essential components in order to rearrange it in a more
analytical way for the audience to experience. LeWitt’s work has been the subject of hundreds of
solo exhibitions in museums and galleries and is represented in the collections of major museums
worldwide. By continuing to browse our site you agree to our use of cookies. LeWitt lived and
worked in New York City, where an installation of his three-dimensional structures, organized by the
Public Art Fund, was on view in City Hall Park through 2011. In addition, LeWitt filled the three
sides of a room next to these irregular forms with a colorful cubic pattern of strong three-
dimensional effect. The artist lays bare the parameters of his system, and it is up to us to make what
we will of it. For posting new artists, follow these instructions: 1. Viewers move from the early serial
pencil drawings, whose almost monkishly disciplined execution makes a strong impression
(particularly against the background of the digital techniques available today) to the Isometric
Figures (1981), whose strikingly three-dimensional feel is barely understood given the (seeming)
simplicity of its construction. Much of what he devised came down to specific ideas or instructions:
a thought you were meant to contemplate, or plans for drawings or actions that could be carried out
by you, or not. Here was someone who finally had disposed of the age-old distance between artwork
and viewer in a straightforward way. Retrospective exhibitions have been held at numerous venues,
including The Museum of Modern Art, New York (1978); the Stedelijk Museum, Amsterdam (1984),
the Tate Gallery, London (1986); and the Kunsthalle Bern, Switzerland (1989). In 1994 he took the
decisive step of designing new works for the group that he in the meantime had come to regard as
“classical”. But unlike some strict Minimalists, Mr. LeWitt was not interested in industrial materials.
Even more interesting is the experiment made by the Fondazione Carriero in Milan, the curators
(which included archistar Rem Koolhas ) decided to reproduce the lines of the drawing on a
enormous mirror which visually doubles the space in one of the baroque rooms of the building. We
had determined the selection of Sol LeWitt’s works together with the artist, as we did with others,
before building the walls and spaces for their presentation. Asked about the switch he made in the
1980’s — adding ink washes, which permitted him new colors, along with curves and free forms —
Mr. LeWitt responded, “Why not?” He added, “A life in art is an unimaginable and unpredictable
experience.” In: The New York Times. With his wall drawing, mural-sized works that sometimes took
teams of people weeks to execute, he might decide whether a line for which he had given the
instruction “not straight” was sufficiently irregular without becoming wavy (and like many more
traditional artists, he became more concerned in later years that his works look just the way he
wished). Sol Lewitt also creates very simple looking art which is very conceptual (hence the
minimalist and conceptual influences). LeWitt participated in seminal group exhibitions including
'Primary Structures', Jewish Museum, New York, NY, USA and '10', Dwan Gallery, New York, NY,
USA both in 1966, dOCUMENTA IV in 1968 and Harald Szeeman's exhibition 'When Attitude
Becomes Form', Kunsthalle Bern, Switzerland and Institute of Contemporary Art, London, UK
(1969). He and I worked intensively together embarking on projects, exhibitions at the gallery and
the production of work. As one of the first coherent proponents of conceptual art with his writings,
Sentences on Conceptual Art (1969), LeWitt's work continues to be regarded and referred to by a
younger generation of artists as one of the seminal investigations into 'idea' and 'concept' art. Email
This field is for validation purposes and should be left unchanged. In a 2003 exhibition at the Edams
Museum for example the scheme was recreated on a window, therefore turning the drawing into a
sort of lens capable of measuring the outside world.
In so doing, Mr. LeWitt gently reminded everybody that architects are called artists — good
architects, anyway — even though they don’t lay their own bricks, just as composers write music
that other people play but are still musical artists. As with other works by LeWitt, they try to
decipher the guiding logical principle of organization which cannot be found here, because it does
not exist. Mr. LeWitt was devising what you might call his own grammar and syntax of cubes and
spheres, a personal theory of visual signs. The text at the lower edge of the sheet explains the symbols
in the key boxes below the cube stacks. Partilhar no Twitter Partilhar no Facebook Partilhar no
Pinterest. The same mechanisms needs to be applied to works of art: the concept, the idea is what is
necessarily coming from the artist but the production can be, and in many cases should be, executed
by external operators at any given time and in any given space. LeWitt participated in seminal group
exhibitions including 'Primary Structures', Jewish Museum, New York, NY, USA and '10', Dwan
Gallery, New York, NY, USA both in 1966, dOCUMENTA IV in 1968 and Harald Szeeman's
exhibition 'When Attitude Becomes Form', Kunsthalle Bern, Switzerland and Institute of
Contemporary Art, London, UK (1969). He tried to suppress all interest in him as opposed to his
work; he turned down awards and was camera-shy and reluctant to grant interviews. The concept, he
wrote, is the most important thing about the work; it is “the machine that makes the art.” 1 Following
LeWitt’s logic, any drawing or diagram produced by the artist is to be regarded as part of his thought
process and thus occupies a privileged position in his oeuvre as a record of the artist’s ideas. In-
between I practiced my art in NYC and overseas in Scotland. He emphasized the space with clear
three-dimensional edges and used the quality of two-dimensionality on planes of all sizes. Asked
about the switch he made in the 1980’s — adding ink washes, which permitted him new colors, along
with curves and free forms — Mr. LeWitt responded, “Why not?” He added, “A life in art is an
unimaginable and unpredictable experience.” In: The New York Times. Briefly describe the artwork
and its appeal to you. The idea is the main instrument which enables the creation of art, its visual
feedback instead is secondary, possible but not necessary. Email This field is for validation purposes
and should be left unchanged. Sarah Louise Eckhardt, “Sol LeWitt,” in Helfenstein and Fineberg,
Drawings of Choice, 82. But he always gave his team wiggle room, believing that the input of others
— their joy, boredom, frustration or whatever — remained part of the art. His work is very simple,
which is why I see a definite link between his work and Don Hertzfeld's. Instead the viewers
perceive with rising admiration the process of production that allowed a result of great complexity
and power to develop simply through the reduced means LeWitt employed and the precision of the
work’s execution. I don't know much about him, but I like the work I've seen. His work — sculptures
of white cubes, or drawings of geometric patterns, or splashes of paint like Rorschach patterns —
tested a viewer’s psychological and visual flexibility. See a line. See that it can be straight, thin,
broken, curved, soft, angled or thick. Moreover the works at the Hallen fur Neue Kunst not only find
the space they needed, but also have sufficient time to unfold their impact through a long-term
presentation. He is also known for his geometric sculptures and installations which are equally simple
and yet very interesting. The blog will be a space for posting information about the class, project
descriptions, new artists and exhibitions, and other pertinent information. Other solo exhibitions have
been held recently at Metropol Kunstraum, Munich (2007); the Wadsworth Atheneum Museum of
Art, Hartford, Connecticut (2010); MASS MoCA, North Adams, Massachusetts (2011); Museum
Wiesbaden, Germany (2012). Nicholas Baume (Hartford, CT: Wadsworth Atheneum Museum of Art;
Cambridge, MA: MIT Press, 2001), 21. LeWitt, like no other artist of his generation, had always
maintained the importance of the concept or idea and, apart from his original works on paper, the
work is executed by others to clear and strict instructions. The white stainless steel of LeWitt's
modular building-blocks complements the sleek enameled skin of the Woolworth tower, which
shoots toward the sky from another end of the park. At City Hall Park, on a pitch of grass, in the
heart of grey Manhattan, those variations pick up on New York’s ever- changing rhythms. Sol
LeWitt’s idea proves to be a dialogue which is still ongoing even more ten years after his departure,
timeless proof that the space, as well as the artwork, is rewritten and re-experienced and remains up
to date with the observer in the present.
Eye-candy opulence emerged from the same seemingly prosaic instructions he had come up with
years before. It is also very refreshing to see such formal works that still have lots of depth, and
make you think. A patron and friend of colleagues young and old, he was the opposite of the artist
as celebrity. I've been using this blog to situate Boston art and artists amongst the International scene
of contemporary art. The artwork’s intensity becomes physically palpable and thus narrows any
intellectual distance the viewers may have in favor of a more emotional appeal. In 2008 we recorded
our impressions in a contribution to the book Sol LeWitt, 100 Views, which was published in 2009
by MASS MoCA in collaboration with Yale University Press. In LeWitt’s case, as well as in many
other minimalists, the idea is what rewrites the coordinates in space, what separates it into its
essential components in order to rearrange it in a more analytical way for the audience to experience.
But upon further exploration, I learned that his work is far from ordinary because it does pack so
much meaning if you only take the time to notice it. We had determined the selection of Sol LeWitt’s
works together with the artist, as we did with others, before building the walls and spaces for their
presentation. This is a concept which is not very different from what distinguished painters of the
renaissance who used the perspective as their tool in order to breach the walls and the representation
of reality. Email This field is for validation purposes and should be left unchanged. Sometimes these
plans derived from a logical system, like a game; sometimes they defied logic so that the results
could not be foreseen, with instructions intentionally vague to allow for interpretation. Viewers move
from the early serial pencil drawings, whose almost monkishly disciplined execution makes a strong
impression (particularly against the background of the digital techniques available today) to the
Isometric Figures (1981), whose strikingly three-dimensional feel is barely understood given the
(seeming) simplicity of its construction. Through subtle alterations, in both two and three dimensions,
LeWitt was able to create visually captivating and intellectually rigorous systems, groups and
variants. Comments This field is for validation purposes and should be left unchanged. Visitors who
sit in this room cannot get enough of the diversity and equality of the color tones. For posting new
artists, follow these instructions: 1. Due to the simplicity of their materials and forms, as well as the
physical directness of their production, they seem to possess a natural timelessness. In this way, I
think my work is drastically different from Sol Lewitt's, because I have no intention of having social
meaning behind my photographs. Like massive clouds, two forms float on the dark background, each
the inversion of the other. Like other Conceptual artists, LeWitt used language as a metaphor for this
process: he spoke of the cube as both the “grammar” and the “syntax” of the total work—literally the
elemental building block from which limitless variants could be constructed. 7. He is also known for
his geometric sculptures and installations which are equally simple and yet very interesting. We are
showing sculptures and wall drawings dating from 1967 through the 1990s in a permanent
installation and have been delighted to see that the fascination for these works persists despite recent
artistic trends and technical innovations. He emphasized the space with clear three-dimensional
edges and used the quality of two-dimensionality on planes of all sizes. Much of what he devised
came down to specific ideas or instructions: a thought you were meant to contemplate, or plans for
drawings or actions that could be carried out by you, or not. Using the cube as a “grammatical
device,” LeWitt’s work is characterized by serialization, repetition, and progression, exemplified by
his iconic open-grid structures. In 2008, MASS MoCA opened Sol LeWitt: A Wall Drawing
Retrospective, which will remain on view through 2033. I really like this artist because of his brilliant
use of simple geometric shapes in both his photography and sculpture. Mr. LeWitt, by his methods,
permitted other people to participate in the creative process, to become artists themselves. He
accepted contradiction and paradox, the inconclusiveness of logic.” He took an idea as far as he
thought it could go, then tried to find a way to proceed, so that he was never satisfied with a
particular result but saw each work as a proposition opening onto a fresh question.
Even more interesting is the experiment made by the Fondazione Carriero in Milan, the curators
(which included archistar Rem Koolhas ) decided to reproduce the lines of the drawing on a
enormous mirror which visually doubles the space in one of the baroque rooms of the building. Both
labels might tempt us to view his work in terms of formal reduction and a systematic objectification
of the artwork. A retrospective in 2000, organized by the San Francisco Museum of Modern Art,
which traveled to the Whitney Museum of American Art in New York and the Museum of
Contemporary Art in Chicago, concluded with some of these newly colorful wall drawings. (Mr.
LeWitt always called them drawings, even when the medium became acrylic paint.) Some people
who had presumed that Mr. LeWitt’s Conceptualism was arcane and inert were taken aback.
Viewers move from the early serial pencil drawings, whose almost monkishly disciplined execution
makes a strong impression (particularly against the background of the digital techniques available
today) to the Isometric Figures (1981), whose strikingly three-dimensional feel is barely understood
given the (seeming) simplicity of its construction. The stacked windows and faceted planes of the
architecture, distinctly shadowed in the summer sun, look suddenly more sculptural. In fact, however,
with his understanding and approach LeWitt created a groundbreaking opening for art in its function
and manifestations. Comments This field is for validation purposes and should be left unchanged.
Visitors who sit in this room cannot get enough of the diversity and equality of the color tones.
Curley’s claim that the cubes’ incompletion signals, among other things, “the inability of scientific
thought to restore wholeness to society”—imply that LeWitt may have knowingly played with the
relationship between the rational and the irrational as a form of social commentary. 10 His drawings
and sculptures suggest a process of endless serial production that remains incomplete, even futile, for
all that LeWitt continued to make them. He was focused on systems and concepts — volume,
transparency, sequences, variations, stasis, irregularity and so on — which he expressed in words that
might or might not be translated into actual sculptures or photographs or drawings. But unlike some
strict Minimalists, Mr. LeWitt was not interested in industrial materials. We had determined the
selection of Sol LeWitt’s works together with the artist, as we did with others, before building the
walls and spaces for their presentation. Josef Helfenstein and Jonathan Fineberg (Champaign, IL:
Krannert Art Museum, 2002), 14. Here, LeWitt’s art connects with the chaotic world, with a fabric
of existence outside his head and removed from his obsessive need for control. He accepted
contradiction and paradox, the inconclusiveness of logic.” He took an idea as far as he thought it
could go, then tried to find a way to proceed, so that he was never satisfied with a particular result
but saw each work as a proposition opening onto a fresh question. Successful ideas generally have
the appearance of simplicity because they seem inevitable.”. Since then LeWitt’s works have asserted
themselves generously and remarkably serenely in their bright surroundings that overlook the green
water of the Rhine flowing past. His art, deceptively simple geometric sculptures and drawings and
ecstatically colored and jazzy wall paintings established him as a lodestar of modern American art.
The artist is somebody who is capable of thinking and designing artefacts that will later be physically
produced by somebody else without affecting their qualities and originality. The book contains the
prints 3-3-1 and 3-1-3, which are identical to two drawings in the Kramarsky collection: Three-Part
Variations on Three Different Kinds of Cubes 331 (1967) and Three-Part Variations on Three
Different Kinds of Cubes 313 (1968). It can be anything you want it to be.” Gary Garrels, a curator
who organized Mr. LeWitt’s retrospective for San Francisco in 2000, said: “He didn’t dictate. In so
doing, Mr. LeWitt gently reminded everybody that architects are called artists — good architects,
anyway — even though they don’t lay their own bricks, just as composers write music that other
people play but are still musical artists. At City Hall Park, on a pitch of grass, in the heart of grey
Manhattan, those variations pick up on New York’s ever- changing rhythms. He and I worked
intensively together embarking on projects, exhibitions at the gallery and the production of work. His
work — sculptures of white cubes, or drawings of geometric patterns, or splashes of paint like
Rorschach patterns — tested a viewer’s psychological and visual flexibility. See a line. See that it
can be straight, thin, broken, curved, soft, angled or thick. Over the years we increasingly perceived
the complexity of the effects resulting from Sol’s choice of materials, his determination of the
works’ dimensions, and their exactly specified execution. I think that is becoming very important in
our commercialized world. Nicholas Baume (Hartford, CT: Wadsworth Atheneum Museum of Art;
Cambridge, MA: MIT Press, 2001), 21. 10. John J. Curley, “Pure Art, Pure Science: The Politics of
Serial Drawings in the 1960s,” in Infinite Possibilities: Serial Imagery in Twentieth-Century
Drawings (Wellesley, MA: Davis Museum and Cultural Center, 2004), 33. Here was someone who
finally had disposed of the age-old distance between artwork and viewer in a straightforward way.
Through subtle alterations, in both two and three dimensions, LeWitt was able to create visually
captivating and intellectually rigorous systems, groups and variants.