Beschreibung:

Sol LeWitt Modular Cube/Base circa 1971 Baked enamel on steel in two parts. Cube: 34 x 34 x 34 cm. (13 3/8 x 13 3/8 x 13 3/8 in); base: 101.9 x 101.9 x 1 cm. (40 1/8 x 40 1/8 x 3/8 in); 34.9 x 101.9 x 101.9 cm. (13 3/4 x 40 1/8 x 40 1/8 in) overall.
Provenance John Weber Gallery, New York Exhibited San Fransisco, Museum of Modern Art, 19 February-21 May, 2000; Chicago, Museum of Contemporary Art, 22 July-22 October 2000; New York, Whitney Museum of American Art, November 2000-February 2001; Sol Lewitt a retrospective; New York, L&M Arts. Elemental Form. 19 October- 16 December 2006, p.17 Literature G. Garrels, ed., Sol Lewitt a retrospective, London/New Haven, 2000, n.p; Exhibition Catalogue, L&M Arts, Elemental Form, New York, 2006, p.17 (illustated) Catalogue Essay Mr. LeWitt helped establish Conceptualism and Minimalism as dominant movements of the postwar era. A patron and friend of colleagues young and old, he was the opposite of the artist as celebrity…He reduced art to a few of the most basic shapes (quadrilaterals, spheres, triangles), colors (red, yellow, blue, black) and types of lines, and organized them by guidelines he felt in the end free to bend. 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. 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… M. Kimmelman, ‘Sol LeWitt, Master of Conceptualism’ in Art & Design – the New York Times, 9 April, 2007 Read More Artist Bio Sol LeWitt American • 1928 - 2007 Connected to the Conceptual and Minimalist art movements of the 1960s and '70s, the artist and theorist Sol LeWitt was a pivotal figure in driving 'idea' art into the mainstream art discourse. Redefining what constituted a work of art and its genesis, LeWitt explored these ideas through wall drawings, paintings, sculptures, works on paper and prints. Using a prescription to direct the creation of a work, the artist's hand subordinated to the artist's thoughts, in direct contrast to the Abstract Expressionist movement earlier in the century. Actions, forms and adjectives were broken down into terms, serially repeated and reconfigured: grids, lines, shapes, color, directions and starting points are several examples. These directives and constructs fueled an influential career of vast variety, subtlety and progression. View More Works