Sol LeWitt

from Wikipedia

LeWitt was born in Hartford, Connecticut to a family 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 University in 1949, LeWitt traveled to Europe where he was exposed to Old Master paintings. Shortly 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 up a studio on the Lower East Side, in the old Ashkenazi Jewish settlement on Hester Street. During this time he studied at the School of Visual Arts while also pursuing his interest in design 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 also discovered the work of the late 19th-century photographer Eadweard Muybridge, whose studies in sequence and locomotion were an early influence. 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 Robert Ryman, Dan Flavin, Gene Beery, and Robert Mangold, and the future art critic and writer, 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 New York University and the School of Visual Arts, during the late 1960s. In 1980, LeWitt left New York for Spoleto, Italy. After returning to the United States in the late 1980s, LeWitt made Chester, Connecticut, his primary residence.^[4] He died at age 78 in New York from cancer complications.^[5]

Work[edit]

LeWitt is regarded as a founder of both Minimal and Conceptual art.^[4] 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 1979, LeWitt participated in the design for the Lucinda Childs Dance Company's piece Dance.^[6]

Sculpture[edit]

A representative example of LeWitt's "Modular Cube" structures. The large voids between the beams are in an 8.5:1 ratio with the width of the material.

In the early 1960s, LeWitt first began to create his "structures," a term he used to describe his three-dimensional work.^[7] 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 equal 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 LeWit's cube structures stood at approximate eye level. At this scale, the artist introduced bodily proportion to his fundamental sculptural unit.^[8]

Following early 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 8.5:1, or

{\displaystyle {\frac {17}{2}}}

.^[9][10] 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.^[11] 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.^[12][13]

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.^[14] From 1990 onwards, LeWitt conceived multiple variations on a tower to be constructed using concrete blocks.^[8] 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.^[15]

In 2007, LeWitt conceived 9 Towers, a cube made from more than 1,000 light-coloured bricks that measures five-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 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.^[17] Since he created a work of art for Paula Cooper Gallery's inaugural show in 1968,^[18] 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.^[19] 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'.^[20]

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.^[21] 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.^[22]

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.^[18] 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.^[23]

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.^[24] The largest scribble wall drawing, Wall Drawing #1268, is on view at the 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.^[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 1,270 wall drawings.^[27] 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.^[28] 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.^[29]

Permanent murals by LeWitt can be found at, among others, the AXA Center, New York (1984–85);^[30] The Swiss Re headquarters Americas in Armonk, New York, the Atlanta City Hall, Atlanta (Wall Drawing #581, 1989/90); the Walter E. Washington Convention Center, Washington, DC (Wall Drawing #1103, 2003); the Conrad Hotel, New York (Loopy Doopy (Blue and Purple), 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 Center 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 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.^[30]

Gouaches[edit]

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.^[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 Web-like Grids.^[32]

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.