Sol LeWitt: 12 works

'Wall drawing #337' and 'Wall drawing #338' exemplify this process: both works are drawn by professional draughtspeople following LeWitt's instructions.'

'These hand-drawn grids were created by following strict instructions set by Sol Lewitt.'

'Here he presents a binary between the rational and the irrational.'

'The 'Incomplete open cubes' exemplify LeWitt's conceptual practice and have been widely interpreted as embodying systematic rationality; they are based on an arithmetic concept which they then take to its logical extreme.'

'While they are internally consistent, they also manifest an irrational, obsessive quality reflected in LeWitt's own comment that 'irrational thoughts should be followed absolutely and logically'.'

'The 'Incomplete open cubes' exemplify LeWitt's conceptual practice and have been widely interpreted as embodying systematic rationality; they are based on an arithmetic concept which they then take to its logical extreme. While they are internally consistent, they also manifest an irrational, obsessive quality reflected in LeWitt's own comment that 'irrational thoughts should be followed absolutely and logically'.'

'With a focus on seriality in both form and process, his compositions were expressed through a variety of media, from drawing and painting to artists' books, multiples, furniture, ceramics, photographs, prints and structures.'

'Handing over the execution of the work to the technicians, for Lewitt the concept was the most important aspect of the work.'

'Sol LeWitt (1928-2007), renowned for his role in establishing Conceptualism and Minimalism as dominant art movements in the postwar era, is perhaps best known for his masterful and brilliantly coloured wall drawings. Throughout his career, however, LeWitt also created many remarkable three-dimensional works suitable for display in outdoor settings.'

'In October 1968, Sol LeWitt made his first drawing directly on the walls at the Paula Cooper Gallery.'

'Wall pieces' 30 July -- 29 November 1998 Museum of Contemporary Art, Sydney In 1998, twenty-one years after his first visit to Australia to create Project 6, Sol LeWitt undertook a second Kaldor project, this time involving a major exhibition of his work at Sydney's Museum of Contemporary Art. In stark contrast to the 1977 Wall drawings at the Art Gallery of New South Wales and National Gallery of Victoria, which had reflected his early interest in pared-back variations on form and colour, LeWitt's new Wall pieces for Project 11 incorporated vast bands of gloss and matt acrylic blacks and undulating wave-like forms painted in bright primary and secondary colours.'

'LeWitt spent his last years in Perugia and the artistic traditions of the region were undoubtedly an influence on his work which, previously muted, became richly coloured.'