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American artist

Sol LeWitt
Sol LeWitt.jpg

Sol LeWitt, c.1965
Built-in

Solomon LeWitt


(1928-09-09)September 9, 1928

Hartford, Connecticut
Died April 8, 2007(2007-04-08) (aged 78)

New York City
Nationality American
Education Syracuse Academy, School of Visual Arts
Known for Painting, Drawing, Sculpture
Movement Conceptual Art, Minimalism

Solomon "Sol" LeWitt (September 9, 1928 – Apr eight, 2007) was an American artist linked to diverse movements, including conceptual art and minimalism.[i]

LeWitt came to fame in the late 1960s with his wall drawings and "structures" (a term he preferred instead of "sculptures") merely 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 outset biography of the artist, Sol LeWitt: A Life of Ideas, by Lary Bloom, was published past Wesleyan University Press in the spring of 2019.[2]

Life [edit]

LeWitt was born in Hartford, Connecticut, to a family unit of Jewish immigrants from Russia. His mother took him to art classes at the Wadsworth Atheneum in Hartford.[3] After receiving a BFA from Syracuse Academy in 1949, LeWitt traveled to Europe where he was exposed to Former Master paintings. Before long thereafter, he served in the Korean War, first in California, then Japan, and finally Korea. LeWitt moved to New York City in 1953 and set upwards a studio on the Lower East Side, in the erstwhile Ashkenazi Jewish settlement on Hester Street. During this time he studied at the Schoolhouse of Visual Arts while as well pursuing his interest in blueprint at Seventeen magazine, where he did paste-ups, mechanicals, and photostats.[4] In 1955, he was a graphic designer in the office of architect I.M. Pei for a year. Around that time, LeWitt likewise 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 chore every bit 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'south co-workers included fellow artists Robert Ryman, Dan Flavin, Gene Beery, and Robert Mangold, and the future art critic and author, Lucy Lippard who worked equally a page in the library. Curator Dorothy Canning Miller'south at present famous 1960 "Sixteen Americans" exhibition with piece of work past 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 New York University and the School of Visual Arts, during the late 1960s. In 1980, LeWitt left New York for Spoleto, Italia. Afterwards returning to the United States in the late 1980s, LeWitt fabricated Chester, Connecticut, his primary residence.[4] He died at age 78 in New York from cancer complications.[5]

Piece of work [edit]

LeWitt is regarded as a founder of both Minimal and Conceptual art.[iv] His prolific two and iii-dimensional piece of work ranges from wall drawings (over 1200 of which have been executed) to hundreds of works on newspaper extending to structures in the grade of towers, pyramids, geometric forms, and progressions. These works range in size from books and gallery-sized installations to monumental outdoor pieces. LeWitt'due south beginning serial sculptures were created in the 1960s using the modular course of the square in arrangements of varying visual complexity. In 1979, LeWitt participated in the design for the Lucinda Childs Dance Visitor'southward piece Dance.[half-dozen]

Sculpture [edit]

A representative example of LeWitt's "Modular Cube" structures. The large voids between the beams are in an 8.5:i ratio with the width of the material.

In the early 1960s, LeWitt kickoff began to create his "structures," a term he used to depict his three-dimensional work.[7] His frequent use of open, modular structures originates from the cube, a class that influenced the artist's thinking from the time that he first became an creative person. Later creating an early body of work fabricated up of closed-grade wooden objects, heavily lacquered by paw, in the mid-1960s he "decided to remove the peel altogether and reveal the structure." This skeletal form, the radically simplified open cube, became a basic building cake 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 8 corners to form a skeletal construction. From 1969, he would conceive many of his modular structures on a large scale, to be constructed in aluminum or steel past industrial fabricators. Several of LeWitt'south cube structures stood at approximate middle level. The artist introduced actual proportion to his fundamental sculptural unit of measurement at this scale.[8]

Following early on experimentation LeWitt settled on a standard version for his modular cubes, circa 1965: the negative space between the beams would stand to the positive space of the sculptural material itself in a ratio of 8.5:ane, or 17 2 {\displaystyle {\frac {17}{2}}} .[ix] [10] The material would also be painted white instead of blackness, to avoid the "expressiveness" of the black color of earlier, similar pieces. Both the ratio and the color were arbitrary aesthetic choices, merely once taken they were used consistently in several pieces which typify LeWitt's "modular cube" works.[eleven] Museums property specimens of LeWitt's modular cube works take published lesson suggestions for elementary education, meant to encourage children to investigate the mathematical properties of the artworks.[12] [13]

Kickoff in the mid-1980s, LeWitt composed some of his sculptures from stacked cinder blocks, even so generating variations within self-imposed restrictions. At this fourth dimension, he began to work with concrete blocks. In 1985, the kickoff cement Cube was built in a park in Basel.[14] From 1990 onwards, LeWitt conceived multiple variations on a belfry to exist constructed using concrete blocks.[8] In a shift abroad from his well-known geometric vocabulary of forms, the works LeWitt realized in the tardily 1990s bespeak vividly the artist'due south growing involvement in somewhat random curvilinear shapes and highly saturated colors.[xv]

In 2007, LeWitt conceived ix Towers, a cube made from more than than i,000 light-coloured bricks that measure 5 meters on each side. It was installed at the Kivik Art Centre in Lilla Stenshuvud, Sweden, in 2014.[16]

Wall drawings [edit]

Sol LeWitt, wall drawing, in May 2012 during the Wall Drawings from 1968 to 2007 Sol LeWitt retrospective exhibition at the Centre Pompidou-Metz, Metz, France.

In 1968, LeWitt began to excogitate sets of guidelines or simple diagrams for his two-dimensional works fatigued directly on the wall, executed commencement in graphite, then in crayon, later in colored pencil and finally in chromatically rich washes of Bharat ink, vivid acrylic paint, and other materials.[17] Since he created a work of art for Paula Cooper Gallery's inaugural bear witness in 1968,[eighteen] an exhibition to benefit the Student Mobilization Commission to End the War in Vietnam, thousands of LeWitt's drawings accept been installed direct on the surfaces of walls.[19] Between 1969 and 1970 he created four "Drawings Series", which presented dissimilar combinations of the basic element that governed many of his early on wall drawings. In each series he applied a different organization of change to each of twenty-four possible combinations of a square divided into 4 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 Four uses 'Cross Reverse'.[20]

In Wall Drawing #122, first installed in 1972 at the Massachusetts Plant of Technology in Cambridge, the work contains "all combinations of two lines crossing, placed at random, using arcs from corners and sides, directly, 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.[21] Conceived in 1995, Wall Drawing #792: Black rectangles and squares underscores LeWitt's early involvement in the intersections between art and compages. Spanning the two floors of the Barbara Gladstone Gallery, Brussels, this work consists of varying combinations of black rectangles, creating an irregular grid-similar pattern.[22]

LeWitt, who had moved to Spoleto, Italian republic, in the tardily 1970s credited his transition from graphite pencil or crayon to bright ink washes, to his encounter with the frescoes of Giotto, Masaccio, and other early Florentine painters.[xviii] In the late 1990s and early 2000s, he created highly saturated colorful acrylic wall drawings. While their forms are curvilinear, playful and seem nearly random, they are also drawn co-ordinate to an exacting set of guidelines. The bands are a standard width, for instance, and no colored section may touch another section of the same color.[23]

In 2005 LeWitt began a series of 'scribble' wall drawings, and so termed considering they required the draftsmen to fill in areas of the wall past scribbling with graphite. The scribbling occurs at six unlike densities, which are indicated on the creative person's diagrams and and so mapped out in string on the surface of the wall. The gradations of scribble density produce a continuum of tone that implies 3 dimensions.[24] The largest scribble wall drawing, Wall Drawing #1268, is on view at the Albright-Knox Fine art Gallery.

According to the principle of his piece of work, LeWitt's wall drawings are commonly executed past people other than the artist himself. Even after his expiry, people are nevertheless making these drawings.[25] 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".[26] Between 1968 and his death in 2007, LeWitt created more than than i,270 wall drawings.[27] The wall drawings, executed on-site, by and large exist for the duration of an exhibition; they are then destroyed, giving the work in its physical form an ephemeral quality.[28] They can exist installed, removed, and and then reinstalled in another location, as many times every bit required for exhibition purposes. When transferred to another location, the number of walls can alter merely by ensuring that the proportions of the original diagram are retained.[29]

Permanent murals by LeWitt can be found at, amidst others, the AXA Center, New York (1984–85);[30] The Swiss Re headquarters Americas in Armonk, New York, the Atlanta Metropolis Hall, Atlanta (Wall Drawing #581, 1989/90); the Walter Due east. Washington Convention Center, Washington, DC (Wall Drawing #1103, 2003); the Conrad Hotel, New York (Loopy Doopy (Blue and Imperial), 1999);[30] the Albright-Knox Art Gallery, Buffalo (Wall Drawing #1268: Scribbles: Staircase (AKAG), 2006/2010);[31] Akron Art Museum, Akron (2007); the Columbus Circle Subway Station, New York; The Jewish Museum (New York), New York; the Green Centre for Physics at MIT, Cambridge (Bars of Colors Within Squares (MIT), 2007); the Embassy of the United States in Berlin; the Wadsworth Atheneum; and John Pearson's Business firm, Oberlin, Ohio. The artist'southward last public wall drawing, Wall Drawing #1259: Loopy Doopy (Springfield) (2008), is at the Us Courthouse in Springfield, Massachusetts (designed by architect Moshe Safdie). Wall Cartoon #599: Circles 18 (1989) — a bull's eye of concentric circles in alternating bands of xanthous, blue, red and white — was installed at the lobby of the Jewish Customs Centre, New York, in 2013.[xxx]

Gouaches [edit]

In the 1980s, in item 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 pregnant departure from the balance of his practise, as he created these works with his own easily.[7] LeWitt's gouaches are often created in series based on a specific motif. Past series have included Irregular Forms, Parallel Curves, Squiggly Brushstrokes and Spider web-like Grids.[32]

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

Artist's books [edit]

From 1966, LeWitt's interest in seriality led to his production of more than 50 artist's books throughout his career; he subsequently donated many examples to the Wadsworth Athenaeum's library. In 1976 LeWitt helped found Printed Matter, Inc, a for-profit art space in the Tribeca neighborhood of New York City with fellow artists and critics Lucy Lippard, Carol Androcchio, Amy Baker (Sandback), Edit DeAk, Mike Glier, Nancy Linn, Walter Robinson, Ingrid Sischy, Pat Steir, Mimi Wheeler, Robin White and Irena von Zahn. LeWitt was a indicate 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 Higher of Art and Design, Philadelphia.[33]

Printed Matter was one of the first organizations defended to creating and distributing artists' books, incorporating self-publishing, pocket-size-press publishing, and creative person networks and collectives.[34] For LeWitt and others, Printed Matter as well served as a support system for avant-garde artists, balancing its role as publisher, exhibition space, retail space, and customs center for the downtown arts scene,[35] in that sense emulating the network of aspiring artists LeWitt knew and enjoyed equally a staff member at the Museum of Modern Fine art.

Architecture and landscaping [edit]

LeWitt collaborated with architect Stephen Lloyd to design a synagogue for his congregation Beth Shalom Rodfe Zedek; he conceptualized the "airy" synagogue building, with its shallow dome supported by "exuberant wooden roof beams", an homage to the wooden synagogues of eastern Europe.[36] [37]

In 1981, LeWitt was invited by the Fairmount Park Art Clan (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 cartoon with instructions. Installed in 2011, Lines in Four Directions in Flowers is fabricated up of more than than 7,000 plantings bundled in strategically configured rows. In his original proposal, the artist planned an installation of flower plantings of iv dissimilar colors (white, yellow, blood-red & blue) in four equal rectangular areas, in rows of four directions (vertical, horizontal, diagonal correct & left) framed by evergreen hedges of well-nigh two' height, with each colour cake comprising four to five species that bloom sequentially.[38] [39]

In 2004, Half-dozen Curved Walls sculpture was installed on the hillside slope of Crouse College on Syracuse University campus. The physical block sculpture consists of six undulating walls, each 12 feet loftier, and spans 140 feet. The sculpture was designed and synthetic to mark the inauguration of Nancy Cantor as the 11th Chancellor of Syracuse University.[forty] [41] [42]

Collection [edit]

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 every bit gifts.[43] In this mode he acquired works by approximately 750 artists, including Flavin, Ryman, Hanne Darboven, Eva Hesse, Donald Judd, On Kawara, Carl Andre, Dan Graham, Hans Haacke, Gerhard Richter, and others. In 2007, the exhibition "Selections from The LeWitt Collection" at the Weatherspoon Fine art Museum assembled approximately 100 paintings, sculptures, drawings, prints, and photographs, among them works by Andre, Alice Aycock, Bernd and Hilla Becher, Jan Dibbets, Jackie Ferrara, Gilbert and George, Alex Katz, Robert Mangold, Brice Marden, Mario Merz, Shirin Neshat, Pat Steir, and many other artists.[44]

Exhibitions [edit]

LeWitt'south piece of work was first publicly exhibited in 1964 in a grouping show curated by Dan Flavin at the Kaymar Gallery, New York.[45]Dan Graham's John Daniels Gallery later gave him his start solo prove in 1965.[46] In 1966, he participated in the "Primary Structures" showroom at the Jewish Museum in New York (a seminal evidence which helped define the minimalist movement), submitting an untitled, open up modular cube of ix units. The aforementioned yr he was included in the "x" exhibit at Dwan Gallery, New York. He was later invited by Harald Szeemann to participate in "When Mental attitude Becomes Form," at the Kunsthalle Bern, Switzerland, in 1969. Interviewed in 1993 about those years LeWitt remarked, "I decided I would brand color or form recede and proceed in a three-dimensional mode."

The Gemeentemuseum in The Hague presented his first retrospective exhibition in 1970, and his work was subsequently shown in a major mid-career retrospective at the Museum of Modernistic Fine art, New York in 1978.[47] In 1972/1973, LeWitt'due south first museum shows in Europe were mounted at the Kunsthalle Bern and the Museum of Modern Fine art, Oxford.[48] In 1975, Lewitt created "The Location of a Rectangle for the Hartford Atheneum" for the tertiary MATRIX exhibition at the Wadsworth Atheneum Museum of Art. Later on that year, he participated in the Wadsworth Atheneum's sixth MATRIX exhibition, providing instructions for a second wall drawing. MoMA gave LeWitt his first retrospective in 1978-79. The exhibition traveled to various American venues. For the 1987 Skulptur Projekte Münster, Germany, he realized Black Grade: Memorial to the Missing Jews, a rectangular wall of black concrete blocks for the middle of a plaza in front end of an elegant, white Neoclassical regime building; it is now installed at Altona Town Hall, Hamburg. Other major exhibitions since include Sol LeWitt Drawings 1958-1992, which was organized by the Gemeentemuseum in The Hague, the netherlands in 1992 which traveled over the side by side three years to museums in the U.k., Germany, Switzerland, France, Spain, and the Us; and in 1996, the Museum of Modern Art, New York mounted a traveling survey exhibition: "Sol LeWitt Prints: 1970-1995". A major LeWitt retrospective was organized by the San Francisco Museum of Mod Art in 2000. The exhibition traveled to the Museum of Contemporary Art, Chicago, and 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 past the conceptual artist. Drafters and administration[49] drew straight 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.

"Sol LeWitt: A Wall Cartoon Retrospective", a collaboration between the Yale University Art Gallery (YUAG), MASS MoCA (Massachusetts Museum of Contemporary Fine art), and the Williams College Museum of Fine art (WCMA) opened to the public in 2008 at MASS MoCA in Northward Adams, Massachusetts.[50] The exhibition will be on view for 25 years and is housed in a three-story 27,000-foursquare-foot (2,500 mtwo) celebrated manufactory 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 xl 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 Isle Metropolis (Physical Blocks);[51] 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 merely 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 [edit]

LeWitt's works are found in the virtually of import museum collections including: Tate Modern, London, the Van Abbemuseum, Eindhoven, National Museum of Serbia in Belgrade, Eye Georges Pompidou, Paris, Hallen für Neue Kunst Schaffhausen, Switzerland, Australian National Gallery, Canberra, Australia, Guggenheim Museum, the Museum of Modern Art, New York, Dia:Beacon, The Jewish Museum in Manhattan, MASS MoCA, Due north Adams, National Gallery of Art, Washington D.C., and the Hirshhorn Museum and Sculpture Garden.[52] The erection of Double Negative Pyramid by Sol LeWitt at Europos Parkas in Vilnius, Lithuania was a significant consequence in the history of art in post Berlin Wall era.

Influence [edit]

Black Form Dedicated to the Missing Jews, Altona Urban center Hall, Altona, Hamburg, Frg, 1987.

Sol LeWitt was i of the master figures of his time; he transformed the process of art-making by questioning the fundamental relationship betwixt an thought, the subjectivity of the artist, and the artwork a given thought might produce. While many artists were challenging modernistic 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 fine art was fraught with contingencies.[53] LeWitt'due south art is not about the singular hand of the artist; information technology is the thought behind each work that surpasses the work itself.[54] In the early on 21st century, LeWitt'due south piece of work, especially the wall drawings, has been critically acclaimed for its economic perspicacity. Though modest—nearly exist as uncomplicated instructions on a canvass of paper—the drawings can be made once again and again and again, anywhere in the world, without the artist needing to be involved in their production.[55]

Art globe [edit]

His auction tape of $749,000 was set in 2014 for his gouache on paperboard slice Wavy Brushstroke (1995) at Sotheby's, New York.[56]

Selected books [edit]

  • Bloom, Lary. Sol LeWitt: A Life of Ideas, Wesleyan University Press, 2019. (ISBN 978-0-8195-7868-half-dozen)
  • LeWitt, Sol. Arcs, from Corners & Sides, Circles, & Grids and All Their Combinations. Bern, Switzerland: Kunsthalle Bern & Paul Biancini, 1972.
  • LeWitt, Sol. The Location of Eight Points. Washington, DC: Max Protetch Gallery, 1974.
  • LeWitt, Sol. Photogrids. New York: P. David Press, 1977/1978. ISBN 0-8478-0166-vii
  • Legg, Alicia (ed.). Sol LeWitt: the Museum of Modern Art, New York. New York: The Museum, 1978. ISBN 0-87070-427-3
  • LeWitt, Sol. Geometric Figures & Color. New York: H.N. Abrams, 1979. ISBN 0-8109-0953-vii
  • LeWitt, Sol. Autobiography. New York and Boston: Multiple and Lois and Michael K. Torf, 1980. ISBN 0-9605580-0-four
  • LeWitt, Sol. Sol LeWitt Wall Drawings, 1968-1984. [Amsterdam, Endhoven, and Hartford, CT: Stedelijk Museum, Van Abbemuseum, and Wadsworth Atheneum, 1984.] ISBN 90-70149-09-5
  • LeWitt, Sol. Sol LeWitt Prints, 1970-86. London: Tate Gallery, 1986. ISBN 0-946590-51-6
  • LeWitt, Sol. Sol LeWitt Drawings, 1958-1992. The Hague: Haags Gemeentemuseum, 1992. ISBN 90-6730-092-half-dozen
  • LeWitt, Sol. Sol LeWitt, Twenty-Five Years of Wall Drawings, 1968-1993. Andover, MA, and Seattle: Addison Gallery of American Art and University of Washington Press, 1993. ISBN 1-879886-34-0
  • LeWitt, Sol. Sol LeWitt - Structures, 1962-1993. Oxford: Museum of Modern Art, 1993. ISBN 0-905836-78-2
  • LeWitt, Sol, Cristina Bechtler, and Charlotte von Koerber. 100 Cubes. Ostfildern: Cantz, 1996. ISBN 3-89322-753-9
  • LeWitt, Sol. Sol LeWitt, Bands of Color. Chicago: Museum of Contemporary Art, 1999. ISBN 0-933856-58-X
  • Garrels, Gary, and Sol LeWitt. Sol LeWitt: a Retrospective. San Francisco and New Haven: San Francisco Museum of Modernistic Art and Yale Academy Press, 2000. ISBN 0-300-08358-0
  • Gale, Peggy (ed.). Artists Talk: 1969–1977. Halifax, NS: Nova Scotia College of Art and Design, 2001. ISBN 0-919616-40-2
  • LeWitt, Sol, Nicholas Baume, Jonathan Flatley, and Pamela G. Lee. Sol LeWitt: Incomplete Open Cubes. Hartford, CT, and Cambridge, MA: Wadsworth Atheneum Museum of Art and MIT Press, 2001. ISBN 0-262-52311-6
  • LeWitt, Sol, Dean Swanson, and Martin L. Friedman. LeWitt x 2: Sol LeWitt: Structure and Line: Selections from the LeWitt Collection. Madison, WI: Madison Museum of Contemporary Art, 2006. ISBN 0-913883-33-half-dozen
  • LeWitt, Sol. Sol LeWitt: Wall Drawings. Bologna, Italian republic: Damiani, 2006. ISBN 88-89431-59-8
  • Cross, Susan, and Denise Markonish (eds.). Sol LeWitt: 100 Views. North Adams, MA, and New Oasis, CT: Massachusetts Museum of Contemporary Art and Yale University Press, 2009. ISBN 978-0-300-15282-1
  • Maffei, Giorgio, and Emanuele De Donno. Sol LeWitt: Artist's Books. Sant'Eraclio di Foligno, Italian republic: Viaindustriae, 2009. ISBN 978-88-903459-2-0
  • LINES & FORMES (sic), Livre d'artiste (album de douze planches en noir et blanc), édité par YVON LAMBERT, Paris 1989, ISBN 978-two-900982-06-8.
  • Roberts, Veronica (ed.), Lucy R. Lippard, and Kirsten Swenson. "Converging Lines: Eva Hesse and Sol LeWitt." Austin: Blanton Museum of Art. Distributed by Yale University Press, 2014. ISBN 0-300-20482-5
  • An Exchange with Sol LeWitt, introduction by Regine Basha (New York: Cabinet Books, 2011). ISBN 9781932698527, 1932698523

References [edit]

  1. ^ McNay, Michael. "Obituary: Sol LeWitt: American artist whose treatment of forms and colours defied critical assay". The Guardian, April 11, 2007. Accessed April 17, 2011.
  2. ^ Bloom, Lary (April 16, 2019). Sol LeWitt: A Life of Ideas. Wesleyan University Press. ISBN9780819578709.
  3. ^ Michael Kimmelman (April 9, 2007), Sol LeWitt, Chief of Conceptualism, Dies at 78 New York Times.
  4. ^ a b c Solomon R. Guggenheim Museum. Drove online: Sol LeWitt. Accessed April 17, 2011.
  5. ^ Ulaby, Neda. "Sol LeWitt: conceptual fine art pioneer dies at 78." All Things Considered, NPR, April 9, 2007. Accessed April 17, 2011.
  6. ^ "Lucinda Childs Trip the light fantastic - History".
  7. ^ a b Sol LeWitt: Structures and Drawings, Apr 28 - June 30, 2011 Archived May 19, 2011, at the Wayback Automobile Barbara Mathes Gallery, New York.
  8. ^ a b Sol LeWitt: Structures 1965-2006, May 24 – December 2, 2011 Public Art Fund, New York.
  9. ^ "SFMoMA Acquires Important Early Structure Piece of work by Sol LeWitt". San Francisco Museum of Mod Art. July 18, 2011.
  10. ^ "Sol LeWitt: 5 Towers (1986)". Whitney Museum of American Art.
  11. ^ Legg, Alicia, ed. (1978). "Sol LeWitt" (PDF). The Museum of Mod Art. pp. 59, 71, 27.
  12. ^ "Sol LeWitt's Concepts and Structures". National Gallery of Art.
  13. ^ "Lesson Concept: Sol LeWitt ane ii 3 4 5 6". Virginia Museum of Fine Arts.
  14. ^ Sol LeWitt: Concrete Cake, December 17, 1999 - February 27, 2000. MoMA P.S.one Contemporary Art Middle, New York. Accessed April 17, 2011.
  15. ^ Sol LeWitt on the Roof: Splotches, Whirls and Twirls, April 26, 2005 – October 30, 2005 Metropolitan Museum of Art, New York.
  16. ^ Gareth Harris and Hanne Cecilie Gulstad (January one, 2014), Europe is set for a summertime of big sculpture Archived Jan 6, 2014, at the Wayback Machine The Art Paper.
  17. ^ Christopher Knight (April ten, 2007), Sol LeWitt, 78; sculptor and muralist changed art Los Angeles Times.
  18. ^ a b Sol LeWitt, September iii - October 10, 2013 Paula Cooper Gallery, New York.
  19. ^ Sol LeWitt, Wall Drawing #1268: Scribbles: Staircase (AKAG) (2006) Albright-Knox Fine art Gallery, Buffalo.
  20. ^ Sol LeWitt, Wall Drawing 1211, 2006 MASS MoCA, N Adams, MA.
  21. ^ Sol LeWitt: Arcs and Lines, May 7 - Baronial 26, 2011 Paula Cooper Gallery, New York.
  22. ^ Sol LeWitt, September 11 - October 30, 2010 [ permanent dead link ] Barbara Gladstone Gallery, Brussels.
  23. ^ Sol LeWitt, Wall Drawing 1152: Whirls and twirls (Met), 2005 MASS MoCA, Northward Adams, MA.
  24. ^ Sol LeWitt, Wall Drawing 1247: Scribbles 7. (Prisoner of war), 2007 MASS MoCA, North Adams, MA.
  25. ^ Sol LeWitt Archived October eight, 2011, at the Wayback Auto National Gallery, Washington, D.C.
  26. ^ Adrian Searle (December 7, 2006), 2nd thoughts The Guardian.
  27. ^ Jock Reynolds (June xiii, 2009), The Logical and the Lyrical: The stunning beauty of Sol Lewitt'due south 'Wall Drawing #146A' Wall Street Journal.
  28. ^ Sol LeWitt. Wall Drawings from 1968 to 2007 Eye Pompidou-Metz.
  29. ^ Sol LeWitt, Wall Drawing #1136 (2004) Tate, London.
  30. ^ a b c Ballad Vogel (July 4, 2013), LeWitt'southward Reach Extends To Another Lobby New York Times.
  31. ^ Sol LeWitt, Wall Drawing #1268: Scribbles: Staircase (AKAG) (2006/2010) Albright-Knox Fine art Gallery, Buffalo.
  32. ^ Sol LeWitt: Gouaches, September half-dozen - October fifteen, 2005. Paula Cooper Gallery, New York. Accessed April 17, 2011.
  33. ^ Ault, Julie (December 2006). "Interview with Lucy R. Lippard on Printed Thing". Printed Matter, Inc . Retrieved July 28, 2015.
  34. ^ Gessert, George (January 1, 1988). "An Introduction to Artist'southward Books". Northwest Review. Eugene, Oregon: Academy of Oregon. 26 (i): 53–69. ISSN 0029-3423. ProQuest 1299906511.
  35. ^ Smith, Dinitia (January 29, 1990). "Later on Andy: Ingrid Sischy, Queen of the Downtown Art Scene, Takes over at Interview". New York. p. 48. Retrieved July 25, 2015.
  36. ^ Ivry, Benjamin (May eight, 2009). "Sol LeWitt: A Jewish Artist's Spring Into the Unknown". Forrad.
  37. ^ Zimmer, William (December 9, 2001). "Fine art Takes a Prominent Spot In Chester'southward New Synagogue". New York Times.
  38. ^ Sol LeWitt: Lines in 4 Directions in Flowers Philadelphia Museum of Art.
  39. ^ 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.
  40. ^ Gruber, Samuel D. (Dec 10, 2011). "At Syracuse University, Undulating Walls Commemorate Vanishing Barriers". The Forward . Retrieved March 22, 2021.
  41. ^ "Low-cal Piece of work Collection / Artwork / Half-dozen Curved Walls, Syracuse [2487]". Light Work . Retrieved March 22, 2021.
  42. ^ Buckley, Madeleine (April 24, 2016). "Explore the SU campus through these 6 celebrated statues". The Daily Orange . Retrieved March 22, 2021.
  43. ^ Genocchio, Benjamin. "LeWitt the collector, filling up a warehouse." New York Times, January 1, 2004. Accessed April 17, 2011.
  44. ^ LeWitt 10 ii, September 9 – Dec ix, 2007 Weatherspoon Art Museum, Greensboro, NC.
  45. ^ Roberts, Veronica, ed. "Converging Lines: Eva Hesse and Sol LeWitt." Austin: Blanton Museum of Fine art. Distributed past Yale Academy Printing, 2014.
  46. ^ Kennedy, Randy (June 26, 2009). "A Round Peg". The New York Times . Retrieved June seven, 2009.
  47. ^ Sol LeWitt: Works on Paper, May viii - June xix, 2009. Paula Cooper Gallery, New York. Accessed April 17, 2011.
  48. ^ Sol LeWitt, September xv - October 23, 2004. Lisson Gallery, London.
  49. ^ "Sol LeWittDrawing Serial . . " (PDF). Dia Art Foundation. 2006.
  50. ^ The netherlands Cotter, "Now in Residence: Walls of Luscious Austerity" New York Times, December four, 2008.
  51. ^ MoMA PS1 Exhibition Folio
  52. ^ Sol LeWitt Lisson Gallery, London.
  53. ^ "Paragraphs".
  54. ^ Adam D. Weinberg (August 21, 2007). "Backstage Stars". Civilization+TRAVEL. Retrieved April 29, 2008.
  55. ^ "Modest Proposals: Joe Scanlan on Artistic Production".
  56. ^ Sol LeWitt, Wvy Brushstroke, Sale 226 Sotheby'south, CONTEMPORARY Art DAY AUCTION, November 12, 2014, New York.

External links [edit]

  • Sol LeWitt exhibition at Paula Cooper Gallery, NYC 2013
  • Sol LeWitt artwork at Brooke Alexander Gallery
  • Sol LeWitt at the Museum of Modern Art
  • Oral history interview with Sol LeWitt, 1974 July 15, Archives of American Art, Smithsonian Establishment
  • In vast LeWitt show, absurdity and beauty Boston World, Boston, MA
  • Cotter, Holland. Now in Residence: Walls of Luscious Austerity. New York Times, December 4, 2008.
  • Lacayo, Richard. Sol LeWitt's Dazzling Line Drawings. Time mag, November 17, 2008.
  • Exhibition at the Cincinnati Art Museum in 2008
  • Thomas Dreher: Sol LeWitt: The two Series "Forms derived from a Cube" and "Pyramids" (PDF file, 8 p., ca. 10 MB)
  • Dreher, Thomas. Sol LeWitt: Structures 1962-1993. (German, illustrated review of an exhibition in 1993 at the Villa Stuck in Munich)
  • Dreher, Thomas. Sol LeWitt: "Pyramids" for Joseph Beuys, Munich 1986 (High german, illustrations of a room in the Lenbachhaus in Munich with four wall drawings realized by LeWitt'south crew in 1986)
  • Crown Point Press LeWitt's prints
  • Sol LeWitt at NMAC Foundation
  • Vogel, Carol. Subway Riders Are Greeted by a Blast of Sol LeWitt Colour New York Times, September xiii, 2009.
  • Kimmelman, Michael. Sol LeWitt, Principal of Conceptualism, Dies at 78. New York Times, April nine, 2007.
  • Obituary in the Connecticut Post
  • Associated Press. "Sol LeWitt, influential American artist, at 78." April nine, 2007.
  • Gray, Sadie. Conceptualist pioneer Sol LeWitt dies aged 78. Independent, UK, April 10, 2007.
  • Sol LeWitt on ArtNet.
  • Sol LeWitt Interviews, Conceptual Paradise, Leuphana University Lueneburg
  • Sol LeWitt's exhibition at Fundació Antoni Tàpies
  • Sol LeWitt at The Jewish Museum

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Source: https://en.wikipedia.org/wiki/Sol_LeWitt

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