Three-part drawing: A six-inch 15 cm grid covering the walls. The number of lines and their length are determined by the draftsmen, but each wall has an equal number of lines. This title describes the work well enough that the draftsman who installs it will know what to do. As in many other conceptual pieces, the artist's interest was in the concept and idea, not the execution of the work. This work also shows LeWitt's interest in simplicity—using primary colors, grids, and lines.
In keeping with his simple conceptual style, he provided squares on the walls for the Holocaust Memorial Museum in Washington. Wrenching simple is what some called Lewitt's Black Form, a cube of black stones, which was erected in the middle of a plaza in Munster, Germany. Later, after officials had removed it, he built another, which was put up in front of the Town Hall in Hamburg-Altona as a monument to Jews who suffered and died in the Holocaust.
In Lewitt created a sixty-two-foot-high, site-specific drawing expressly for the atrium of the High Museum of Art in Atlanta. On certain days, when the sun comes through the skylight, shadows are cast across Irregular Bands of Color, animating the work, changing it and making it enormously complex. The drawing—which was done in ink washes directly on the wall, like a kind of fresco—has the configuration, basically, of stars within stars. But the star at the center is not visible because an architectural element conceals it.
Bands is thus also about our will to make order out of chaos until ultimately we realize that chaos is ready the natural order. LeWitt received a commission in to add to the new National Airport terminal in Washington. His charge was to design an foot medallion to be set in the floor of the main concourse.
The first viewing of his new wall paintings was shown for the first time in the U. The work comprises simple and common seven foot squares of oil, painted directly onto the wall, one each in red, yellow and blue; one in dark gray, one in light gray; and two in black.
The work reflects the essence of the Modernist art movement: monochrome painting, geometric form, heroic scale and modulated repetition. However, this installation is in principle conceptual. LeWitt created a set of written instructions that, when carried out by artisans, realizes the work of art.
For LeWitt the idea was always the primary key. In his published statements it is clear that he believed his work and similar conceptual work need not be boring, as is sometimes perceived, but should be cool and unemotional, allowing the viewer to re-think and enjoy the thoughts and mental considerations behind the work.
With many works of art it is easy for the viewer to respond primarily emotionally; with LeWitt's work, there must be a thinking response.
An excellent monograph is A. Legg, editor, Sol LeWitt , which includes writings by the artist. More limited selections by LeWitt are found in D. Useful studies are G. Battcock, Minimal Art , and R. Pincus-Witten, Postminimalism Black and white photographs mounted on paper - LeWitt Collection. Similar to LeWitt's first wall drawings shown at Paula Cooper Gallery in , Wall Drawing 16 consists of a network of penciled lines, regulated by an internal logic imposed by the artist. In this instance, the specifications LeWitt conceived of before making the drawing determined that the bands of gray lines are 12 inches wide and should be drawn horizontally, vertically and diagonally to the right, and also should intersect.
Generally arbitrary rules such as these are typical of the detailed instructions that the artist produced for each work. Subsequently, one or more assistants would carry out the plans, producing the drawings based on their individual interpretations of the instructions.
These loosely predetermined schemes functioned as a means of emphasizing the concept over the execution, decentralizing the artist from the material realization of the finished work.
Wall Drawing , like many of LeWitt's later works, makes use of a wider variety of forms and colors. Perhaps influenced by his move to Italy, the colored washes lend a frescoed effect. LeWitt's skillful use of the rich, variegated colors arranged in a fan-like cluster of cascading triangles provides the illusion of three-dimensionality.
In a sense, LeWitt returned to the point in the development of artistic production when the artist's and viewer's eye was the only tool required to promote the illusion of depth and wholeness on a flat plane. Content compiled and written by The Art Story Contributors.
Edited and published by The Art Story Contributors. The Art Story. Ways to support us. Movements and Styles: Conceptual Art. It is the process of conception and realization with which the artist is concerned.
They leap to conclusions that logic cannot reach. I was interested in ideas. Read full biography. Read artistic legacy. Artwork Images. Influences on Artist. Josef Albers. Jasper Johns. Eadweard Muybridge. These ideas distinguished LeWitt from the romantic and emotional work of the abstract expressionists. LeWitt's essay "Paragraphs on Conceptual Art," published in ArtForum , is a defining statement for the movement; in it, he wrote, "The idea becomes the machine that makes the art.
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