Sol LeWitt, who once worked as a draftsman for I. M. Pei, has said of his own directions for drawings executed by collaborators that, "The contribution brought by the draftsman may not be predicted by the artist, even when the artist is also the draftsman." This separation of the plan, the written score for a work, from its execution and the ...Read MoreSol LeWitt, who once worked as a draftsman for I. M. Pei, has said of his own directions for drawings executed by collaborators that, "The contribution brought by the draftsman may not be predicted by the artist, even when the artist is also the draftsman." This separation of the plan, the written score for a work, from its execution and the finished piece lies at the center of the work for which LeWitt is best known, whose execution he entrusts to strangers. "Wall Drawings" tracks the creation of one recent work, beginning with the plan, so spare that it looks as though it might have arrived at the gallery by fax, and continuing through to a schematic drawing on the wall, then figures on stepladders drawing intently, their faces clear but their pencils blurred. Close-ups of their scribbles and images of the completed work are followed by a picture of the triumphant cast, a curtain call.Read Less
As New. This is an exhibition announcement for Sol LeWitt's show at Pace Prints; title of front image "Horizontal Color Bands and Vertical Color Bands, 1991"; paper size: 10 x 5-1/2in; edition size is unknown, in EXCELLENT COND.
Very good. Text by Ester Coen and Giovanni Maria Accame. Bologna, 2006; br., pp. 102, ill. b/n e col., cm 22x22. "I wanted to render form but without space"-this comment by Sol Lewitt 10 years ago encapsulates the reasoning that led him to spell out his ideas on art on walls. His wall drawings were the result of a harmony between pure sentiment and the need to put down the notions, parameters and rules of painting itself within a simple and minimalist framework. Sol LeWitt (1928-2007) is regarded as a founder of both Minimal and Conceptual art. He also contributed to the definition of the movement with two important essays: Paragraphs on Conceptual Art (1967) and Sentences on Conceptual Art (1969). He began making wall drawings in 1968. In the course of time, the earliest examples, constituted by pencil lines in patterns of verticals, horizontals, and diagonals on a 45-degree angle, came to include circles and arcs and colored pencil.
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