#sollewitt

[bruvu]

Loopy Doopy Sol LeWitt, 1998

The orange and green version of Loopy Doopy was first displayed alongside the black and white Loopy Doopy in an exhibit of new wall drawings at PaceWildenstein in 1998. For this exhibit it was executed on a 70-foot wall. MASS MoCA

[moma-prints]

Concentric Irregular Black and White Bands, Sol LeWitt, 1994, MoMA: Drawings and Prints

Gift of the artist Size: composition (irreg.): 11 5/8 x 17 3/16" (29.6 x 43.6 cm); sheet (irreg.): 12 3/4 x 18 13/16" (32.4 x 47.8 cm) Medium: Woodcut

http://www.moma.org/collection/works/60674

[bm-contemporary-art]

Torn Paper Piece R. 519, Sol LeWitt, ca. 1975, Brooklyn Museum: Contemporary Art

Size: diameter: 12 1/2 in. Medium: White textured paper

https://www.brooklynmuseum.org/opencollection/objects/116114

[suzylwade]

A Cheerful Person The rural ‘Church of San Rocco’ stands in the midst of the vineyards of Brachetto d’Acqui. It was built in the 18th century in rustic Baroque style. Today it is a delicate presence in the landscape with its small polylobate rose window at the centre of the façade. The great charm of this location and the vantage point of those arriving from a distance prompted Chinese artist Zhang Enli (Jilin, 1965) to revitalise the chapel with one of his works of abstract gestural painting. Borrowing colours from the surrounding natural setting Enli created a sort of “pareidolia” (human ability to see shapes or make pictures out of randomness) transforming the veneer of the church into a smiling face, delicately blurring the architectural features of with quick brushstrokes to form a unified whole. The project began during the pandemic in a period of lockdown. Enli envisaged a work of religious architecture set free amidst the vineyards as a happy presence capable of bringing a smile to those who encounter it. ‘A Cheerful Person’ is a tribute and response to Sol Lewitt and David Tremlett’s project in the 'Barolo Chapel’ (1999) one that transformed geometric colour fields into an explosion of marks - paying homage to the utterly Italian tradition of “gribouillage” (scribbling) - to Cy Twombly and to the creativity of childhood. #neonurchin #neonurchinblog #dedicatedtothethingswelove #suzyurchin #ollyurchin #art #music #photography #fashion #film #design #words #pictures #love #artmappingpiemonte #fondazionecompagniadesanpaolo #fondazionetorinomusei #artissima #sollewitt #davidtremlett #gribouillage #abstractgesturalpainting #pareidolia #churchofsanrocco #italy #acheerfulperson #zhangenli (at Piemonte, Italy) https://www.instagram.com/p/CjAPjgvMJIg/?igshid=NGJjMDIxMWI=

[harvard-art-museums-drawings]

Untitled, Sol LeWitt, 1998, Harvard Art Museums: Drawings

Harvard Art Museums/Fogg Museum, Gift of Arne and Milly Glimcher in memory of John D. Solomon, class of 1985 © Sol LeWitt/Artists Rights Society (ARS), New York Size: 41.3 x 149.2 cm (16 1/4 x 58 3/4 in.) Medium: Ink, graphite and tempera paint on two joined sheets of thin white wove paper

https://www.harvardartmuseums.org/collections/object/339395

[300artistascontemporaneos]

LeWITT, SOL (Estados Unidos, 1928) 

Uno de los grandes pioneros recientes del postconceptualismo y el minimalismo. Se dedicaba a varias ramas; la pintura, el dibujo, la fotografía y la escultura, o estructura como él prefería llamarle. 

Participó en la guerra de Corea y viajo a los diferentes centros bélicos de esta. Se interesó mucho por el diseño gráfico, cuyos principios y ramas influyen mucho en su obra, así como la época que se dedicó a trabajar en el MoMA.

Este artista juega con las perspectivas y los juegos geométricos. Creando obra en dos y tres dimensiones de gran formato, trabajando también la pintura mural. Su obra está compuesta por centenares de pinturas y murales. Es una obra sin límites, que trabaja desde maquetas hasta esculturas enormes de gran formato. Explora las figuras geométricas y todas sus posibilidades, especialmente trabajando con el cubo. Era una obra que contaba con la recepción del espectador como parte de la misma, como performance que da cierre a la obra, ya que transforma el espacio en el que los diferentes espectadores se desenvuelven. Este artista ha expuesto en miles de exposiciones alrededor del mundo. Falleció en 2007.

[artsyloch]

Sol LeWitt | Not-Straight Brushstrokes

gouache on paper 64 5/8 x 64 ¾in. (164 x 164.5cm.) executed in 1996

[societybydesign]

Coping with life through art: Minimalism

The past eight and a half months have been tumultuous to say the least — dare I say, unprecedented. I have certainly had a lot to grapple with this year, trying to navigate the pandemic, reckonings with race in America, the political landscape approaching the elections, natural disasters, and personal (so far, often failed) attempts to keep my mental health in check and sustain healthy relationships with others. That being just the tip of the iceberg, I know for a fact I am not alone in feeling weighted down by 2020.

The chaos of this year has shed a new light on one of my lesser favorite art movements/styles. As someone who loves art history, deciphering the metaphors, symbolism, and meaning behind all kinds of art, Minimalism always frustrated, and to be honest, bored me. That’s not to say I didn’t respect it as art, I just didn’t get the point of making something void of meaning. It was outwardly unrelatable. 

‘Untitled’, Donald Judd, 1980, concrete

‘Lament for the Children’, Carl Andre, 1976-1996, concrete blocks

Minimalism developed in the early 1960s as a counter-movement to Abstract Expressionism. It was a deliberate renunciation of the hyper-emotive artwork in favor of anonymity, lack of expression, and a reduction of art into its most basic shape, form, and material. Minimalist art does not try to represent anything other than itself, and when everything around you is chaotic and difficult to process, this offers more solace than I had previously appreciated.

‘The Diagonal of May 25, 1963 (to Constantin Brancusi)’, Dan Flavin, 1963, fluorescent light and metal fixtures

‘Cube Structure Based on Five Modules’, Sol LeWitt, 1975, acrylic on wood

The simple geometric shapes and perfect linework conjures feelings of control, balance, and harmony — all things that feel especially out of reach in the current moment. Minimalist art uses color and material with no underlying meaning. Often Minimalist art is sculptural, built from factory manufactured shop materials — raw and straightforward. When these works are placed in galleries, they are frequently displayed in ways that forces viewers to become more aware of the space surrounding them. To look at something made with intentional lack of emotion and narrative other than a heightened sense of awareness feels like a breath of fresh air.

‘Circles’, Sol LeWitt, 1973, lithograph

‘The Marriage of Reason and Squalor, II’, Frank Stella, 1959, enamel on canvas

It’s no new phenomenon that we experience art in relation to our own experiences and feelings, but at this point in our collective lives I feel as though Minimalism offers a refreshing escape. Whether it be visiting your local gallery (adorned with masks and strapped with sanitizer), finding archives or posts online, or creating yourself, Minimalism can provide some of the simplicity and structure that is lacking. Minimalist art does not project a feeling onto the viewer, the only thing it asks is that you are aware of the space around you, of shape and form and structure. Looking at Minimalist art is like a meditation for me, and I hope that upon reading this you can view it in a more cognizant way as well.

‘Happy Holiday’, Agnes Martin, 1999, acrylic paint and graphite on canvas

‘Untitled’, Robert Morris, 1965, reconstructed 1971, mirror glass and wood