April 16, 2009

Friday Inspiration: Sol Lewitt

I had the opportunity to see the Sol Lewitt: A Wall Drawing Retrospective at MassMoCA a few weeks ago, and it was fantastic! shapes! color! line! precision! woo!

I could have lingered in the space the entire day, so much to of my favorites was Wall Drawing 46. Vertical lines, not straight, not touching, covering the wall evenly, which came to life as you got closer and closer - many people walked right by it! (image 3)

I was also blown away by Wall Drawing 51. All architectural points connected by straight lines, which is different each time it is drawn, depending on the space it's installed in. This would be a fantastic idea to replicate at home with a snap chalk line! (image 5)

So many of his ideas can be interpreted on a smaller scale in a home, using paint, pens, markers, etc.

From MassMoCA's website: "LeWitt—who stressed the idea behind his work over its execution—is widely regarded as one of the leading exponents of Minimalism and Conceptual art, and is known primarily for his deceptively simple geometric structures and architecturally scaled wall drawings. His experiments with the latter commenced in 1968 and were considered radical, in part because this new form of drawing was purposely temporal and often executed not just by LeWitt but also by other artists and students whom he invited to assist him in the installation of his artworks.

Each wall drawing begins as a set of instructions or simple diagram to be followed in executing the work. As the exhibition makes clear, these straightforward instructions yield an astonishing—and stunningly beautiful—variety of work that is at once simple and highly complex, rigorous and sensual. The drawings in the exhibition range from layers of straight lines meticulously drawn in black graphite pencil lead, to rows of delicately rendered wavy lines in colored pencil; from bold black-and-white geometric forms, to bright planes in acrylic paint arranged like the panels of a folding screen; from sensuous drawings created by dozens of layers of transparent washes, to a tangle of vibratory orange lines on a green wall, and much more. Forms may appear to be flat, to recede in space, or to project into the viewer’s space, while others meld to the structure of the wall itself."

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