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Sol Lewitt- Wall drawing #1136, Tate Gallery, St Ives
Sol LeWitt was one of the main figures of his time; he transformed the process of art-making by questioning the fundamental relationship between an idea, the subjectivity of the artist, and the artwork a given idea might produce. While many artists were challenging modern conceptions of originality, authorship, and artistic genius in the 1960s, LeWitt denied that approaches such as Minimalism, Conceptualism, and Process Art were merely technical or illustrative of philosophy.
In his Paragraphs on Conceptual Art, LeWitt asserted that Conceptual art was neither mathematical nor intellectual but intuitive, given that the complexity inherent to transforming an idea into a work of art was fraught with contingencies.
LeWitt's art is not about the singular hand of the artist; it is the idea behind each work that surpasses the work itself. In the early 21st century, LeWitt's work, especially the wall drawings, has been critically acclaimed for its economic perspicacity.
Though modest—most exist as simple instructions on a sheet of paper—the drawings can be made again and again and again, anywhere in the world, without the artist needing to be involved in their production.
en.wikipedia.org/wiki/Sol_LeWitt
Sol LeWitt was seminal in establishing the notion of ‘conceptual art’ during the 1960s. Wall Drawing #1136 Curved and straight color bands 2004 is one of a number of highly coloured wall pieces he made. It includes seven vibrant colours to create an overwhelming chromatic environment that envelopes the viewer. The curve, snakes along the wall. Every band in the wall drawing is of the same width and there is no area left empty of colour.
It has been produced for Tate St Ives by a team of draftspersons, guided by an assistant from the artist’s estate.
Sol Lewitt- Wall drawing #1136, Tate Gallery, St Ives
Sol LeWitt was one of the main figures of his time; he transformed the process of art-making by questioning the fundamental relationship between an idea, the subjectivity of the artist, and the artwork a given idea might produce. While many artists were challenging modern conceptions of originality, authorship, and artistic genius in the 1960s, LeWitt denied that approaches such as Minimalism, Conceptualism, and Process Art were merely technical or illustrative of philosophy.
In his Paragraphs on Conceptual Art, LeWitt asserted that Conceptual art was neither mathematical nor intellectual but intuitive, given that the complexity inherent to transforming an idea into a work of art was fraught with contingencies.
LeWitt's art is not about the singular hand of the artist; it is the idea behind each work that surpasses the work itself. In the early 21st century, LeWitt's work, especially the wall drawings, has been critically acclaimed for its economic perspicacity.
Though modest—most exist as simple instructions on a sheet of paper—the drawings can be made again and again and again, anywhere in the world, without the artist needing to be involved in their production.
en.wikipedia.org/wiki/Sol_LeWitt
Sol LeWitt was seminal in establishing the notion of ‘conceptual art’ during the 1960s. Wall Drawing #1136 Curved and straight color bands 2004 is one of a number of highly coloured wall pieces he made. It includes seven vibrant colours to create an overwhelming chromatic environment that envelopes the viewer. The curve, snakes along the wall. Every band in the wall drawing is of the same width and there is no area left empty of colour.
It has been produced for Tate St Ives by a team of draftspersons, guided by an assistant from the artist’s estate.