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Sol LeWitt

Sol LeWitt (1928-2007) was pivotal in the creation of the new radical aesthetic of the 1960's that was a revolutionary contradiction to the 'Abstract Expressionism' current in the 1950's and 60's New York school. He had no interest in inherent narrative or descriptive imagery. LeWitt, like no other artist of his generation, had always maintained the importance of the concept or idea and, apart from his original works on paper, the work is executed by others to clear and strict instructions. As one of the first coherent proponents of conceptual art with his writings, Sentences on Conceptual Art (1969), LeWitt's work continues to be regarded and referred to by a younger generation of artists as one of the seminal investigations into 'idea' and 'concept' art. He continued to challenge new thinking about what art can be. "If the artist carried through his idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual, is as much a work of art as any finished product." Stated LeWitt in 1971. "All int

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Sol LeWitt: A Wall Drawing Retrospective

Sol LeWitt: A Wall Drawing Retrospective comprises 105 of LeWitt’s large-scale wall drawings, spanning the artist’s career from 1969 to 2007. These occupy nearly an acre of specially built interior walls that have been installed—per LeWitt’s own specifications—over three stories of a historic mill building situated at the heart of MASS MoCA’s campus. The 27,000-square-foot structure, known as Building #7, has been fully restored for the exhibition by Bruner/Cott & Associates architects, which has closely integrated the building into the museum’s main circulation plan through a series of elevated walkways, a dramatic new vertical lightwell, and new stairways.

A new immersive app, developed by The Sol LeWitt Estate and Microsoft, transports users into LeWitt’s creative world with the ability to scan select wall drawings, take a virtual tour of his studio, and uncover never before seen archival video and audio. Learn more and download the app here.

Sol LeWitt: A Wall Drawing Retrospective is a collaboration of MASS MoCA, Yale Univer

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Sol LeWitt by Saul Ostrow

fall 2003 issue

Interview

Sol LeWitt bridges the gap between Minimalism and Conceptualism, foregrounding the disparity between the world of language and that of objects and actions.

October 1, 2003

Installation view of Sol LeWitt, Wall Drawing #1081: Planes of Color, Kunstsammlungen, Chemnitz, Germany, March 2003. Photos courtsey of the artist, unless otherwise noted. © Sol LeWitt, unless otherwise noted.

Interviewing Sol LeWitt required a ride into the Connecticut countryside, where he lives with his wife and daughters. Many of the artists associated with Minimalism fled contemporary art’s urban setting as soon as they could. This set me to thinking about the nature of Minimalism and the complex and often paradoxical role that LeWitt’s work plays in its development.

One of the interesting things about living through a period is that you know where the neat and tidy hindsight of recorded history and the happenstance of the moment diverge. I have known LeWitt since my days as an art student in New York in the ‘60s. At that time he