| |
 |
|
 |
Dia’s presentation of wall drawings by Sol LeWitt from the late 1960s through the mid-1970s was selected by the artist himself. It highlights his monumental Drawing Series—Composite, Part I-IV, #1–24, A + B (1968), a four-color rendering of which is executed here for the first time. The version in graphite, part of Dia’s collection, has been on view in an adjacent gallery since 2003.
|
|
| Checklist of Works |
|
1. Wall Drawing #46: Vertical lines, not straight, not touching, covering the wall evenly.
1970
Graphite on wall
The LeWitt Collection, Chester, Conn.
2. Wall Drawing #97: Ten thousand straight and ten thousand not straight lines. 1971
Graphite on wall
The Museum of Contemporary Art, Los Angeles; Gift of Kourosh Larizadeh
3. Wall Drawing #123: Copied lines. The first drafter draws a not straight vertical line as
long as possible. The second drafter draws a line next to the first one, trying to copy
it. The third drafter does the same, as do as many drafters as possible. Then the first
drafter, followed by the others, copies the last line drawn until both ends of the wall
are reached. 1972
Graphite on wall
Addison Gallery of American Art, Andover, Mass. 1991.20 gift of the artist, Addison
Art Drive
4. Wall Drawing #69: Lines not long, not straight, not touching, drawn at random using
four colors, uniformly dispersed with maximum density, covering the entire surface
of the wall. 1971
Colored pencil on wall
Private Collection
5. Wall Drawing #118: Fifty randomly placed points connected by straight lines. 1971
Graphite on wall
Private Collection
6. Wall Drawing #141: A ten-inch grid covering the wall. An increasing number of vertical
straight lines from left to right, and horizontal not straight lines from bottom to top.
1972
Graphite on wall
Private Collection
7. Wall Drawing #273: Lines to points on a grid. A six-inch (15 cm) grid covering the wall.
Lines from the corners, sides, and center of the walls to random points on the grid.
Composite (seventh wall): red lines from the midpoints of four sides, blue lines from
four corners, yellow lines from the center. 1975
Water-soluble crayon and graphite on wall
Private Collection
8. Wall Drawing #171: A line through the center of the wall toward the upper left corner
and a line from the center of the wall to the upper right corner. 1973
Graphite and water-soluble crayon on wall
Courtesy of the artist
9. Wall Drawing #235: The location of three points, 1974
Graphite and water-soluble crayon on wall
Courtesy of the artist
10. Wall Drawing #248: The location of a straight, not straight and a broken line, a square,
a triangle and a circle. (The specific locations are determined by the draftsman.) 1975
Graphite and water-soluble crayon on wall
Courtesy of the artist
11. Wall Drawing #271: Black circles, red grid, yellow arcs from four corners, blue arcs
from the midpoints of four sides. (ACG 195) 1975
Colored pencil on wall
Solomon R. Guggenheim Museum, New York
12. Wall Drawing #136: Arcs and lines / two lines crossing. A 36-inch (90 cm) grid covering
the wall. All possibilities of two lines crossing using arcs from corners and sides,
straight lines, not straight lines, and broken lines. Two lines in each 36-inch (90 cm)
square. 1972
Graphite and water-soluble crayon on wall
Courtesy of the artist
13. Wall Drawing #1211: Drawing Series–Composite, Part I–IV, #1–24, A+B, 1968/2006
Colored pencil on wall
192 drawings, 40 1/4 x 40 1/4 inches (103 x 103 cm) each
Courtesy of the artist
14. Wall Drawing #1085: Drawing Series—Composite, Part I–IV, #1–24, A+B, 1968/2003
Graphite on wall
192 drawings, 40 1/4 x 40 1/4 inches (103 x 103 cm) each
Dia Art Foundation; Gift of Melva Bucksbaum and Raymond Learsy and the Martin
Bucksbaum Family Foundation
|
|
| Selected Bibliography |
|
Krauss, Rosalind E. “LeWitt in Progress.” October, no. 6 (Fall 1978), pp. 46–60.
Sol LeWitt. Ed. Alicia Legg. New York: The Museum of Modern Art, New York, 1978.
Essays by Lucy R. Lippard, Bernice Rose, and Robert Rosenblum.
Sol LeWitt: Wall Drawings 1984–1992. Bern: Kunsthalle Bern, 1992. Text by Ulrich Loock.
Sol LeWitt. Structures 1962–93. Oxford: The Museum of Modern Art, 1993. Texts by David Batchelor,
David Elliott, Chrissie Iles, and Rosalind E. Krauss.
Sol LeWitt: Critical Texts. Ed. Adachiara Zevi. Rome: Libri de AEIOU, 1995. Texts by Mel Bochner, Eva
Hesse, Dan Flavin, Lucy R. Lippard, and Sol LeWitt, among others.
Sol LeWitt: A Retrospective. Ed. Gary Garrels. San Francisco: San Francisco Museum of Modern Art,
in association with Yale University Press, New Haven, 2000. Texts by Martin Friedman, Andrea Miller-
Keller, Brenda Richardson, Anne Rorimer, John S. Weber, and Adam D. Weinberg.
|
|
| Biography |
|
Sol LeWitt was born in Hartford, Connecticut, in 1928, and attended Syracuse University.
After serving in the Korean War as a graphic artist, he moved, in 1953, to New York,
where he worked as a draftsman for the architect I. M. Pei. LeWitt had his first solo
exhibition at the Daniels Gallery, New York, in 1965, and the following year Dwan Gallery,
New York, mounted the first in a series of solo exhibitions. He participated, during the
late 1960s and early 1970s, in several significant group exhibitions of Minimalist and
Conceptual art, including “Primary Structures,” at the Jewish Museum, New York, in 1966,
and “When Attitude Becomes Form,” at the Kunsthalle Bern, Switzerland, in 1969. His
renowned text “Paragraphs on Conceptual Art” was published in 1967. LeWitt’s work was
included in Documentas 6 (1977) and 7 (1982) in Kassel, as well as the 1987 Skulptur
Projekte in Münster. Major retrospectives of his works were organized by the Museum of
Modern Art, New York, in 1978, and the San Francisco Museum of Modern Art, in 2000.
A retrospective of LeWitt’s wall drawings was held in 1984 at the Stedelijk Museum
in Amsterdam.
|
|
| Funding |
|
This exhibition is made possible through the generosity of the New York State Council on the Arts.
|
|
