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X-WR-CALDESC:Events for MASS MoCA
BEGIN:VEVENT
DTSTART;VALUE=DATE:20050508
DTEND;VALUE=DATE:20290502
DTSTAMP:20260409T010004
CREATED:20150601T233755Z
LAST-MODIFIED:20201215T135321Z
UID:125-1115510400-1872374399@massmoca.org
SUMMARY:Christina Kubisch: Clocktower Project
DESCRIPTION:The comparison of a city’s clock to a person’s heart\, though it has been made countless times\, remains evocative. When Christina Kubisch first visited MASS MoCA in 1996\, she was moved by the fact that the century-old factory clock had not kept time\, nor had its bells rung\, since 1986\, when the Sprague Electric Company vacated the 13-acre site. This 19th-century clock\, inside an eighty-foot tower with a 750-pound and a 1\,000-pound bell\, had set the rhythm of the workday in North Adams since 1895\, ringing every quarter hour. Now those bells and beautiful brass clockworks share the tower with components of The Clocktower Project: solar panels\, electronic sound system\, and a computer with Kubisch’s unique program on its flash disc.\nKubisch felt that the loss of these bell sounds could be as keenly felt as the loss of an important local building. With this in mind\, she undertook to restore the clock in a way that would also mark the arrival of contemporary art in the city. A classically trained musician and professor of experimental art\, Kubisch began playing the bells like musical instruments\, ringing them with their clappers as well as hammering\, brushing\, and striking them with her hands and various tools. She recorded the bell tone database with a digital audio recorder. \nKubisch then placed small solar sensors in a band encircling the tower just under the bell window. The sensors relay information about the intensity and location of the sun to a computer inside the tower. A unique software program\, designed for this project by Berlin engineer Manfred Fox\, interprets the solar information and combines Kubisch’s pre-recorded bell sounds in response to light conditions. Thus\, a sunny summer morning generates loud\, distinct\, metallic tones\, while a gray afternoon in winter brings about softer\, somewhat melancholy sounds. At noon and 5pm\, the computer plays a short pre-set concert\, but at other times the brief compositions change with the quality of light and time of day. This use of unpredictable changes in the weather\, coupled with an algorithmic function in the program that prevents the mini-compositions from repeating\, marks the influence of the American composer and artist John Cage on Kubisch’s work. \nThe fading daylight\, registered by the solar panels\, causes The Clocktower Project to fall silent in the evenings. At the same time\, the four faces of the clock begin to glow faintly and remain illuminated through the night. Kubisch coated the 4′-diameter clock faces with a phosphorescent paint and placed black lights behind the faces. The cool blue-white light quietly marks the transformation of the tower when the bell sounds have ceased. \nKubisch has made a number of hauntingly beautiful synaesthetic works\, including The Clocktower Project\, that allow her audience to “hear the light\,” as she puts it. Many of her recent installations have focused on the transformation of light into sound using solar panels and ultrasonic devices. Kubisch’s thoughtful investigation of the historical sound character of the MASS MoCA site\, and creation of a complex\, technology-rich work\, typifies MASS MoCA’s approach to long-term\, site-specific art\, all of which are somehow integrated into place and history. \n\n \nSupported by the Sterling & Francine Clark Art Institute\, the Goethe-Institut Boston\, the Massachusetts Cultural Council\, Mary & Henry Flynt\, and Solarex. \n\n \n
URL:https://massmoca.org/event/christina-kubisch-clocktower-project/
LOCATION:MASS MoCA\, 1040 MASS MoCA Way\, North Adams\, MA\, 01247\, United States
GEO:42.7022586;-73.1162555
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=MASS MoCA 1040 MASS MoCA Way North Adams MA 01247 United States;X-APPLE-RADIUS=500;X-TITLE=1040 MASS MoCA Way:geo:-73.1162555,42.7022586
CATEGORIES:Art,Exhibition,Ongoing Exhibitions,Sound Art
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/06/Clocktower_Full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081106
DTEND;VALUE=DATE:20431108
DTSTAMP:20260409T010004
CREATED:20150601T224345Z
LAST-MODIFIED:20260405T020052Z
UID:107-1225929600-2330553599@massmoca.org
SUMMARY:Sol LeWittA Wall Drawing Retrospective
DESCRIPTION:Sol LeWitt: A Wall Drawing Retrospective occupies nearly an acre of specially built interior walls that are installed—per LeWitt’s own specifications—over three stories of a historic mill building situated at the heart of MASS MoCA’s 19th-century\, former factory campus. A landmark collaboration of MASS MoCA\, Yale University Art Gallery\, the Williams College Museum of Art\, and the Sol Lewitt estate\, over 60 artists and art students spent six months rendering 105 large-scale wall drawings spanning the artist’s storied career.\nVisit the Sol LeWitt: A Wall Drawing Retrospective site. \nMASS MoCA Director Joseph C. Thompson comments\, “With this exhibition\, Sol LeWitt has left an amazing gift for us all. Great art draws upon previous artists\, but also contradicts and contravenes. And the most essential art argues for new ways of seeing\, even as it is almost immediately absorbed into the work that surrounds and supersedes it. As I believe is evident in this landmark exhibition\, LeWitt’s wall drawings rise to those highest of standards. This amazing collection of works is on long-term view as a sort of proton at the center of our museum around which our program of changing exhibitions and performances will orbit with even more energy.” \nThe works in the exhibition are on loan from numerous private and public collections worldwide\, including the Yale University Art Gallery\, to which LeWitt designated the gift of a major representation of his wall drawings\, as well as his wall-drawing archive. \nLeWitt—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 works. \nEach wall drawing begins as a set of instructions or a 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\, like gauze. \nDownload a podcast audio tour of the Lewitt installation from iTunes. \nOf the installation process\, Jock Reynolds\, the Henry J. Heinz II Director of the Yale University Art Gallery\, noted\, “Watching this grand installation of Sol LeWitt’s wall drawings progress over six months has been nothing short of thrilling. In addition to providing an enduring exhibition of great beauty\, this retrospective will enable visitors to behold for the first time the full trajectory of a major aspect of Sol’s artistic career. Until today\, the only way to view multiple LeWitt wall drawings has been to travel far and wide\, pursuing them individually in situ or in temporary museum exhibitions. Now\, visitors will be able to return to MASS MoCA again and again to experience this visual feast of Sol’s wall drawings in a single location\, doing so at their leisure over twenty-five years.” \nProject History\nThe impetus for Sol LeWitt: A Wall Drawing Retrospective was a 2004 conversation between Reynolds and LeWitt. As the conversation evolved\, the artist committed to giving a substantial number of his wall drawings and his entire wall-drawing archive to the Yale University Art Gallery\, which already owned an extensive array of LeWitt’s art in multiple mediums. Realizing that the Gallery did not have enough space to install and maintain a large number of the artist’s wall drawings at any one time\, Reynolds suggested to LeWitt that MASS MoCA—with its expansive historic mill complex\, growing audience\, and history of realizing ambitious new works—might be interested in accommodating an extended retrospective. \nSituated at the center of MASS MoCA’s multi-building complex and featuring large banks of windows that open onto two flanking courtyards\, the structure appealed to LeWitt as an ideal site for a multi-floor installation of his work. In addition to the new interior walls\, which he designed in consultation with Bruner/Cott & Associates—MASS MoCA’s lead architectural firm—his specifications for the space included a plan that would leave nearly all of the existing exterior masonry walls and large windows intact\, providing direct side lighting and offering beautiful views to surrounding courtyards and the Berkshire mountains beyond. Bruner/Cott integrated the galleries into MASS MoCA’s existing plan by re-activating existing elevated connector-bridges and adding new ones\, and by creating a new three-story lightwell for vertical circulation and the admission of more light. \nSol LeWitt: A Wall Drawing Retrospective opened to the public on November 16\, 2008\, after nearly six months of intensive drafting and painting by a team comprising twenty-two senior and experienced assistants who worked with the artist over many years; thirty-three student interns from Yale University\, Williams College\, the Massachusetts College of Liberal Arts\, and fourteen other colleges and universities; and thirteen local artists and recent graduates and postgraduates from many of the nation’s leading studio-art programs. \n\nYou can download a PDF of the exhibition guide here. \nVisit our flickr page for shots of the installation in progress. \n  \nExhibition Catalog\nAs a complement to Sol LeWitt: A Wall Drawing Retrospective\, MASS MoCA and Yale University Press co-published Sol LeWitt: 100 Views\, a collection of 100 essays on the artist and his work. Contributors are drawn from a wide array of expertise and fields of specialization\, and include critics and scholars Lynne Cooke\, Chrissie Iles\, Lucy Lippard\, Saul Ostrow\, Ingrid Sischy\, and Robert Storr; and visual and performing artists John Baldessari\, Mel Bochner\, Lucinda Childs\, Chuck Close\, Steve Reich\, Matthew Ritchie\, and Dorothea Rockburne\, among many others. To order Sol LeWitt: 100 Views\, which includes 150 color plates\, visit Hardware: The MASS MoCA Store. A catalogue raisonné is in development with the Sol Lewitt estate and publishing partners. \nProject Funding\nTo date\, the Yale University Art Gallery and MASS MoCA have raised more than $10 million in funding for the project from an array of devoted board members and other notable arts patrons who are supportive of Sol LeWitt’s work. In December 2007\, Williams College announced a $1.5 million contribution to the project that will fund teaching exhibitions and public programs during the twenty-five years that the LeWitt wall-drawing retrospective is on view. \nSol LeWitt: A Wall Drawing Retrospective is a collaboration of MASS MoCA\, Yale University Art Gallery\, and the Williams College Museum of Art. \nThe 2021-2022 restoration of Sol LeWitt: A Wall Drawing Retrospective is made possible by the generous support of an anonymous donor. The exhibition’s ongoing care and conservation is made possible by Agnes Gund. \n
URL:https://massmoca.org/event/sol-lewitt-a-wall-drawing-retrospective/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Art,Current Exhibitions,Exhibition,Featured Exhibition,Ongoing Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/11/Sol-LeWitt-Partnership.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010839Z
LAST-MODIFIED:20181128T145009Z
UID:12210-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 289
DESCRIPTION: \nA 6-inch (15 cm) grid covering each of the four black walls. White lines to points on the grids. Fourth wall: twenty-four lines from the center\, twelve lines from the midpoint of each of the sides\, twelve lines from each corner. (The length of the lines and their placement are determined by the drafter.) (Detail: 4th wall only) \nJuly 1976 \nWhite crayon lines and black pencil grid on black wall \nWhitney Museum of American Art\, New York\, Purchase with funds from the Gilman Foundation\, Inc. 78.1.1-4 \nFirst Installation\nDetroit Institute of Arts\, Detroit; First installation (4th wall only): The Museum of Modern Art\, New York\, January 1978 \nFirst Drawn By\nJo Watanabe \nMASS MoCA Building 7\nGround Floor \nWall Drawing 289 was initially conceived as a four-wall drawing. The drawing consists entirely of white crayon lines drawn to points drawn on the wall in a six-inch pencil grid. Sol LeWitt chose to present only the fourth wall at MASS MoCA. This wall displays the composite of the instructions for each of the first three walls: 24 lines from the center\, 12 lines from the midpoint of each side\, and 12 lines from each corner. \nThis work belongs to a series of drawings\, first installed between 1973 and 1976\, which are often referred to as “location” drawings because the artist’s instructions guide the draftsmen to execute the drawing based on points\, or locations\, on the wall. In other words\, the instructions present a sort of drawing problem that the draftsmen must solve. Wall Drawing 289\, one of the last works in the “location” series\, differs from its predecessors in that LeWitt’’s instructions define the starting locations of the lines\, but not where they end (other than the stipulation that they end at a point on the grid.) \nBackstory\nEach of the lines in Wall Drawing 289 must end at a point created by the six-inch graphite grid that the draftsmen first draw on the wall\, but it is up to the draftsmen to determine at which point each line should end. To do this\, they use red string to stand in for the white lines. This allows them to step back and examine and alter the placement of a line before they draw it in crayon. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/8.mp4\n
URL:https://massmoca.org/event/walldrawing289/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/289-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010839Z
LAST-MODIFIED:20181128T145233Z
UID:12211-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1005
DESCRIPTION:Isometric form. \nDecember 2001 \nAcrylic paint \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nFundación PROA\, Buenos Aires \nFirst Drawn By\nIgnacio Amespil\, Cecilia de Arriba\, Veronica del Toro\, Tomas Fraccia\, Francisco Gomez\, Bruno Grisanti\, Favio Guadagna\, Walter Mantegazza\, Erik Martinut\, Barbara Mendez de Leo\, Lola Quiroz\, Anthony Sansotta\, Santiago Solda \nMASS MoCA Building 7\nThird Floor \nIn the first few years of the twenty-first century Sol LeWitt created many acrylic wall drawings which feature geometric configurations composed of brilliantly colored bars. Several of these works were first displayed in a 2001 exhibit at Fundación PROA in Buenos Aires. Shown together\, the primary and secondary colored bars seem to jut out from the contrasting backgrounds\, creating a sense of space and atmosphere. \nThe three-dimensionality of the bars in Wall Drawing 1005 and its contemporaries represents a continuation of the ideas that the artist explored in his ink isometric form wall drawings created between the 1980s and the early 1990s. Shapes drawn using isometric projection possess volume\, but exist in space that does not recede. Unlike the muted jewel-toned ink wash palette\, the bright acrylic hues of the later works make the forms appear to pop out from their backgrounds\, creating a visual tension between the flatness of the wall and the three-dimensionality of the form. \nBackstory\nBefore the draftsmen execute a wall drawing\, they must prepare the surface of the wall. Different types of drawings require different wall textures. For example\, it is preferable for crayon drawing walls to have an orange peel-like surface so that the crayon sticks to the wall in a specific way. Painted wall drawings\, such as Wall Drawing 1005\, on the other hand\, must be executed on a perfectly smooth wall. To create this\, the draftsmen paint several coats of primer and then a white top coat\, all of which they sand down until there are no remaining brushstrokes or irregularities. \n
URL:https://massmoca.org/event/walldrawing1005/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_1005.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010839Z
LAST-MODIFIED:20181128T145357Z
UID:12212-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 305
DESCRIPTION: \nThe location of one hundred random specific points. (The locations are determined by the drafters.) \nAugust 1977 \nBlack pencil and black crayon \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nArt & Architecture building\, Yale University\, New Haven \nFirst Drawn By\nJo Watanabe\, Sol LeWitt \nWall Drawing 305 is composed of one hundred random specific points that are determined by the draftsman. The points are random in that they may be placed anywhere on the wall. The draftsman uses Sol LeWitt’’s vocabulary and geometric lexicon to guide the mapping of the points. This lexicon includes the corners\, midpoints and center of each wall\, which serve as reference points that are connected and traversed by lines and arcs. The one hundred points are specific in that they are created at the meeting of the junctures of these formal elements. As the draftsman maps out each generated point\, he or she writes a description of how he or she arrived at that point next to it. This allows the viewers to trace the process of the placement of the points. \nWall Drawing 305 is one of a series of drawings in which LeWitt experimented with textual instructions that direct the draftsman to construct shapes on the wall. Called ‘location’ drawings\, these works are done in black pencil with geometric figures emphasized in crayon\, foregrounding the process of drawing as a problem-solving mechanism. \nBackstory\nWall Drawing 305\, like many of LeWitt’’s wall drawings\, calls for the random application of forms\, bringing up questions about how much the draftsmen should work to contrive that randomness. LeWitt’’s response to the conundrum is to encourage draftsmen “…not [to] think too much in some situations. The use of the idea of the random is meant to preclude the conscious placement of elements to form a pattern.”1 \n1 Andrea Miller Keller\, “Excerts from a Correspondence\, 1981-1983\,” Sol LeWitt Critical Texts\, AEIUO\, Incontri Internazionali D’Arte\, Rome\, Italy\, editing by Adachiara Zevi\, 1995. \n
URL:https://massmoca.org/event/walldrawing305/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/305-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145423Z
UID:12213-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 381
DESCRIPTION: \nA square divided horizontally and vertically into four equal parts\, one gray\, one yellow\, one red and one blue\, drawn with color and India ink washes. \nDecember 1982 \nIndia ink wash and color ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation \nJohn Weber Gallery\, New York \nFirst Drawn By \nAnthony Sansotta \nMASS MoCA Building 7\nGround Floor \nThe four colors in Wall Drawing 381 are arranged based on the system that Sol LeWitt would eventually codify for the organization of the four basic types of lines. The lines are organized in a square divided into four equal parts with vertical in the top left\, horizontal in the top right\, diagonal left in the bottom left\, and diagonal right in the bottom right. When LeWitt began using color pencil\, he did not assign specific colors to specific line directions\, but eventually this too was codified: vertical lines are drawn in gray pencil\, horizontal in yellow\, diagonal left in red\, and diagonal right in blue. The translation of this system to ink wash is typical of LeWitt’’s evolution. Throughout the 1980s the artist primarily explored the possibilities of India ink and color ink washes\, often using ink to reiterate the systems that he had used when working with pencil. \nBackstory \nAs in all of LeWitt’’s colored ink wash wall drawings at MASS MoCA\, each of the colors in Wall Drawing 381 is composed of six layers of ink\, which are applied with ink-soaked rags via two different methods. The draftsmen apply two of the ink layers by moving the rags in a wiping motion across the wall. The other four layers are applied using a technique that the draftsmen refer to as ‘booming’ or ‘boom booming.’ This technique involves crumpling up an ink-soaked rag and pounding the wall with the crumpled part. The booming process creates a slightly modulated\, textured surface. All six layers of ink must be applied at specific intervals which occur when the previous layers are still wet\, but not so wet that the application of the new layer will remove the previous layers. The draftsmen keep track of these intervals using charts where they record the application times of each layer. \n
URL:https://massmoca.org/event/walldrawing381/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_381.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145456Z
UID:12214-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 86
DESCRIPTION: \nTen thousand lines about 10 inches (25 cm) long\, covering the wall evenly. \nJune 1971 \nBlack pencil \nCollection of Henry S. McNeil     \nFirst Installation\nThe Bykert Gallery\, New York \nFirst Drawn By\nR. Holcomb\, Kazuko Miyamoto \nMASS MoCA Building 7\nGround Floor \nIn 1970\, Sol LeWitt further distilled the formal vocabulary he used in his wall drawings. Whereas bands of parallel lines characterized his earlier graphite wall drawings\, he later began to isolate the single line as a basic conveyance for his ideas. Additionally\, LeWitt relaxed the requirement of applying lines in only the four absolute directions\, fostering new relationships between his verbal instructions\, the performance of those instructions\, and the surface on which those instructions are performed. \nNoteworthy in Wall Drawing 86 is the disparity between the simplicity of the instructions and the seeming chaos they produce on the wall. The number of lines drawn here is derived from a traditional Eastern concept that ten thousand is a unit emblematic of all inconceivably large numbers. Lines are applied at the singular discretion of the draftsman\, who is instructed only to maintain the length of the lines and appearance of evenness across the surface of the wall. The even distribution is conditioned by the dimensions of the wall\, giving each iteration of the drawing a different level of density. Other aspects of the lines (their orientation\, how often they intersect each other\, etc.) are decided by the draftsman as the drawing progresses. The operation of restriction and flexibility results in a visual marriage between pattern and intuition. \n
URL:https://massmoca.org/event/walldrawing86/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_86.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145532Z
UID:12215-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 610
DESCRIPTION: \nIsometric figure with color ink washes superimposed. \nJune 1989 \nColor ink wash \nYale University Art Gallery\nGift of the LeWitt Collection\, Chester\, Connecticut\, in honor of Suzanne Hellmuth and Jock Reynolds \nFirst Installation \nFundacio Joan Miró\, Barcelona \nFirst Drawn By \nDavid Higginbotham\, Elizabeth Sacre \nMASS MoCA Building 7\nSecond Floor \nWall Drawing 610 was first drafted in the late 1980’s\, during the period of Sol LeWitt’’s career in which he was creating ink wash wall drawings featuring isometric forms. This staircase-like isometric figure implies volume\, canted as it is towards the viewer\, yet does not imply linear recession. The base and left-hand edge of the figure are parallel with the edges of the wall\, acknowledging flatness\, and the steps are angled\, revealing additional faces to the prism without implying depth. This uneven and non-illusionistic method of implying three-dimensionality has several precedents in art history\, such as the intuitive perspective used by Egyptian relief sculptors\, and the tilted perspective that appears in early Renaissance panel painting and frescoes. \nThis wall drawing is also an interesting example of LeWitt’’s technique of superimposing ink washes in order to create colors and tones. The background is in his primary red\, and the foremost panel on the figure is orange: equal parts red and yellow ink. The steps are composed of a series of parallelograms\, colored using different layers of ink washes. The specific color of each shape within the figure is indicated in the title for this wall drawing. In order to describe each tone\, LeWitt uses a system of letters to indicate the color of each layer and the order in which they are to be applied. For instance\, the orange panel is described as “R\, Y\, Y\, R.” Literally: ‘a layer of red ink\, two layers of yellow\, followed by a final layer of red.’ The ‘B’ in his instructions indicates blue ink\, and the ‘G’ indicates grey. \nBackstory \nThe formula for the ink washes has been changed recently to a mixture of acrylic paint and water\, resulting in a more vibrant set of primary colors than is in evidence in earlier installations of these ink drawings. The red background for Wall Drawing 610 calls for three layers of red\, one of the most saturated incidents of this hue. The result is reminiscent of a fresco after cleaning; for years the Brancacci Chapel in Florence had been described as an example of master fresco painter Masaccio’’s use of dense shadow and muted colors. A recent cleaning of the chapel\, however\, has revealed that the frescoes were actually executed in bright and luminous pastels. In this wall drawing\, the brightness of the coloration differs slightly from previous installations\, producing a fresh and exuberant comment on LeWitt’’s interest in tonality and hue. \n
URL:https://massmoca.org/event/walldrawing610/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_610.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145638Z
UID:12216-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 579
DESCRIPTION: \nThree concentric arches. The outside one is blue; the middle red; and the inside one is yellow. \nNovember 1988 \nColor ink wash \nPrivate collection\, New York \nFirst Installation\nSala 1\, Rome \nFirst Drawn By\nAndrea Marescalchi \nMASS MoCA Building 7\nSecond Floor \nThe original installation of Wall Drawing 579\, at Sala 1 in Rome\, Italy\, featured curved bands of color filling the space beneath an arch. In the installation at MASS MoCA\, the arch shape is drawn on a rectangular wall. While the drawing is positioned with respect to the wall’s particular shape and dimensions\, it is not as reliant or respondent to its architectural support as in the original installation. \nBackstory\nSol LeWitt was deeply involved with determining the layout of Building #7\, the site of this retrospective. The effect of his overseeing the selection and placement of works in the exhibit is to provide insight into the way he\, the artist\, thought of his own body of work. The placement of Wall Drawing 579 on a square wall\, for example\, can be further discussed in terms of the drawings nearby. Most interesting\, perhaps\, is its proximity to several wall drawings that deal with irregular grids (Wall Drawing 614\, Wall Drawing 766)\, revealing a tendency in LeWitt’’s practice to experiment with the non-logical side of the fundamental drafting techniques he emphasizes. \n
URL:https://massmoca.org/event/walldrawing579/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/579-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145710Z
UID:12217-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1261
DESCRIPTION: \nScribbles. (Yale) \nJuly 2008 \nGraphite \nCourtesy of the Estate of Sol LeWitt (Designated for Yale University Art Gallery) \nFirst Installation \nMASS MoCA \, North Adams\, MA \nFirst Drawn By \nTakeshi Arita\, Jennifer Chian\, Aran Jones\, Michael Benjamin Vedder \nMass MoCA Building 7\nThird Floor \nThroughout his career LeWitt generated complex structures using the simplest of artistic elements and gestures. In his final wall drawings\, the scribble served as the basic unit of his work. Wall Drawing 1261\, one of two scribble drawings making their debut at MASS MoCA\, consists of concentric rings drawn from dense layers of scribbles\, which radiate out from the center of the wall. Within each ring\, there are several gradations of tone\, made with progressively denser areas of markings. While other scribble drawings are realized using a more gradual change of tone over a larger expanse of wall\, here the different increments of scribbles are much closer together. Light and dark regions transition in a cadence that echoes the frenetic character of the graphite marks themselves. The drawing seems to reverberate and the expanding circles appear as if they might continue indefinitely\, breaking though the nine-foot square which contains them. \n
URL:https://massmoca.org/event/walldrawing1261/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_1261.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145729Z
UID:12218-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 16
DESCRIPTION: \nBands of lines 12 inches (30 cm) wide\, in three directions (vertical\, horizontal\, diagonal right) intersecting. \nSeptember 1969 \nBlack pencil \nCollection Michalke \nFirst Installation\nInstitute of Contemporary Art\, London \nFirst Drawn By\nJames Walker \nMASS MoCA Building 7\nGround Floor \nEarly in his career\, Sol LeWitt began to have others help execute his wall drawings. Wall Drawing 16\, for example\, was first drawn by James Walker. By allowing other draftsmen to realize his work according to his instructions and diagrams\, LeWitt addressed practical concerns such as the time-consuming nature of the drawings. More significantly\, however\, this choice articulated LeWitt’’s belief that the conception of the idea\, rather than its execution\, constitutes the art work. He was also rejecting the traditional importance assigned to the artist’s own hand. \nLeWitt executed the earliest wall drawings within a square\, usually four by four feet wide\, but by 1969 he was using the entire wall\, as evident in Wall Drawing 16. \n
URL:https://massmoca.org/event/walldrawing16/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/16-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145827Z
UID:12219-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 295
DESCRIPTION: \nSix white geometric figures (outlines) superimposed on a black wall. \nOctober 1976 \nWhite crayon on black wall \nLos Angeles County Museum of Art\, Purchased with matching funds from the National Endowment for the Arts and the Modern and Contemporary Art Council (M.76.103) \nFirst Installation\nClaire Copley Gallery\, Los Angeles \nFirst Drawn By\nChris D’Arcangelo\, Sol LeWitt \nMASS MoCA Building 7\nGround Floor \nBy the 1970s\, Sol LeWitt had expanded his formal vocabulary (originally just a series of parallel\, straight lines) to include geometric shapes. These were first limited to ‘primary shapes\,’ which he defined as circle\, square and triangle\, but he soon added ‘secondary shapes\,’ or rectangles\, trapezoids\, and parallelograms. Wall Drawing 295 depicts these six primary and secondary shapes. In the drawing the shapes are superimposed\, or layered\, within the square. This superimposition technique entered LeWitt’’s practice in his early line wall drawings; his wall drawings of the late 1960s and early 1970s consisted mostly of lines going in four basic directions (vertical\, horizontal\, diagonal left\, and diagonal right.) These four types of lines were often layered on top of each other\, allowing for more possibilities of line combinations and the creation of gradations in tone. In Wall Drawing 295\, the draftsmen layer the shapes within the square\, revealing structural commonalities. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/8.mp4\n
URL:https://massmoca.org/event/walldrawing295/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/289-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T150302Z
UID:12220-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1260
DESCRIPTION: \nScribble: Square without a square. \nJuly 2008 \nGraphite \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nMASS MoCA \, North Adams\, MA \nFirst Drawn By\nTakeshi Arita\, Jennifer Chian\, Aran Jones\, Michael Benjamin Vedder \nMASS MoCA Building 7\nThird Floor \nWall Drawing 1260 is one of two drawings in the retrospective that have been installed for the first time at MASS MoCA. The drawing is part of a series\, begun by Sol LeWitt in 2005\, in which the draftsmen apply graphite to the walls using a scribbling technique. The scribbling occurs at six different densities\, which are indicated on the artist’’s diagrams and then mapped out in string on the surface of the wall. The gradations of scribble density produce a continuum of tone that implies three dimensions. The square without a square form\, in its shape and sheen\, resembles a metallic pipe. This hint at illusionism\, however\, is contradicted at the edges of the square: the densest and darkest scribble zone borders the absolute white of the wall\, exposing the flatness of the drawing in relation to its support. \nBackstory\nMany critics see the scribble drawings\, the last wall drawings of LeWitt’’s career\, as possessing significance beyond LeWitt’’s stated interests. The gradations seem to toy with ideas of recession and infinite space\, while the extremes between bright white and the dark pencil lines can be read as meditations on absolutes. In the end\, however\, these readings are resisted by others. For example\, Robert Storr places these late wall drawings in relation to their predecessors: “…these last drawings… issue from the same source as all that came before\, anticipating nothing\, but instead embodying a state of simultaneous presence and absence\, immediacy and immanence\, physicality and indeterminacy.”1 \n1‘Darkness Tangible.’ Robert Storr. Sol LeWitt: Scribble Wall Drawings. Pace Wildenstein. New York; 2007. \n
URL:https://massmoca.org/event/walldrawing1260/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/1260-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145942Z
UID:12221-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 880
DESCRIPTION: \nLoopy Doopy (orange and green). \nSeptember 1998 \nAcrylic paint \nAddison Gallery of American Art\, Andover\, Massachusetts; partial gift of the artist and partial museum purchase with funds from Mimi Won and anonymous donor. \nFirst Installation\nPaceWildenstein\, New York \nFirst Drawn By\nElizabeth Alderman\, Sachiko Cho\, Edy Ferguson\, Anders Felix Paux Hedberg\, Choichi Nishikawa\, Jim Prez\, Emily Ripley\, Mio Takashima \nMASS MoCA Building 7\nThird Floor \nWall Drawing 880 is one of several wall drawings subtitled Loopy Doopy\, which are based on drawings that Sol LeWitt made from taping two pencils together and twisting them across the paper to form an undulating pattern. The orange and green version of Loopy Doopy was first displayed alongside the black and white Loopy Doopy in an exhibit of new wall drawings at PaceWildenstein in 1998. For this exhibit it was executed on a 70-foot wall. \nThe Loopy Doopy series followed LeWitt’’s first painted wall drawings\, which mostly featured monochrome or two-toned areas of color divided by curvy lines. In comparison to these earlier painted wall drawings\, such as Wall Drawing 822 (also on display at MASS MoCA)\, the Loopy Doopy works appear much freer and more fluid in form. As in many of LeWitt’’s acrylic wall drawings\, the vibrant colors of Wall Drawing 880 bounce off of each other\, creating a vibrating optical effect. \nBackstory\nThe combination of orange and green in Wall Drawing 880 creates such an intense contrast that the effect is dizzying\, making it difficult for the draftsmen to execute the final touch-ups. For the bulk of the process only one color is visible at a time — the draftsmen apply the orange paint\, and then mask it off with paper and tape before applying the green paint. However\, for the touch-ups to the wall\, both colors are uncovered so that the draftsmen can work on the barriers between the colors. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/9.mp4\n
URL:https://massmoca.org/event/walldrawing880/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_880.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010840Z
LAST-MODIFIED:20201202T204111Z
UID:12222-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1185
DESCRIPTION: \nScribbles: Inverted curve (horizontal). \nOctober 2005 \nGraphite \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nGalleria Studio G7\, Bologna\, Italy \nFirst Drawn By\nAsmir Ademagic\, Rachela Abbate\, Marco Bertozzi\, Elisa Cancucci\, Alessandra Frisan\, Elena Latini\, Luca Lolli\,Viviana Longo\, Benny Mangone\, Juri Marsigli\, Maria Lucrezia Schiavarelli\, Anthony Sansotta\, Francesca Simeone\, Alessio Tugnoli\, Simone Vagnetti \nMASS MoCA Building 7\nThird Floor \nWall Drawing 1185 is one of three scribble drawings that were first designed for Galleria Studio G7 in Bologna. These three drawings — Scribbles: Curve; Scribbles: Inverted curve (vertical); and Scribbles: Inverted curve (horizontal) — were done in the scribble technique that LeWitt explored from 2005 to 2007. Although previous wall drawings called for a scribble-like application of pencil or crayon\, these recent scribble drawings differ in that they have gradations of tone created by varying densities of graphite. Following the artist’s diagram\, the draftsmen use string to plot out the tonal gradations\, from level one (the lightest tone) to level six (the darkest). \nThese recent drawings\, the artist’s culminating works\, may seem a departure from his rigorously ordered earlier work\, which emphasized the flat plane of the wall. The depth created by the tonalities in the scribble drawings has inspired comparisons to infinite space\, and invites reconsideration of LeWitt’’s earlier focus on the flatness of the image plane. In addition\, the graphite’s reflective sheen is suggestive of metal. However\, the repetitive nature of the scribble relates to LeWitt’’s lifelong interest in repetitive mark-making\, and the organic nature of the scribbles correlates with his later works that explored more free-form shapes. \nBackstory\nThe scribbling process produces graphite dust that easily adheres to painted walls. At MASS MoCA\, to prevent the dust from sticking to the nearby painted wall drawings\, draftsmen enclosed the walls designated for the scribble drawings using plastic sheets\, creating a sealed-in area in which they could work. \nCourtesy of Leo Koenig Inc. and Hall Collection Inc. \n\n
URL:https://massmoca.org/event/walldrawing1185/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_1185.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T150025Z
UID:12223-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 46
DESCRIPTION: \nVertical lines\, not straight\, not touching\, covering the wall evenly. \nMay 1970 \nBlack pencil \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation \nYvon Lambert Gallery\, Paris \nFirst Drawn By \nSol LeWitt \nMASS MoCA Building 7\nGround Floor \nThis wall drawing is dedicated to sculptor Eva Hesse. Sol LeWitt and Hesse were close friends\, and LeWitt credits Hesse’’s aesthetic sensibilities with motivating his use of the ‘not straight’ line. This type of mark appears here for the first time\, in the drawing originally executed two days after Hesse’’s death. Subsequent drawings saw the use of not straight lines in four colors and in various combinations with straight lines\, broken lines and arcs. \nThe drawing is often done by a single draftsman in order to achieve a consistency in line density and thickness. The process of drafting Wall Drawing 46 begins with stretching vertical plumb lines in string over the wall to help the draftsman maintain the essential verticality of the lines. Then\, the draftsman begins by making longer marks all over the wall\, filling in the available spaces with shorter lines until the wall is evenly covered. \nBackstory \nNot explicitly involved with the retrospective\, Jo Watanabe\, Sol LeWitt’’s long-time associate and the current director of the print shop for PaceWildenstein in New York\, agreed to execute Wall Drawing 46 at MASS MoCA as a tribute to LeWitt. This wall drawing is often referred to as LeWitt’’s favorite\, and certainly connotes a personal significance to the artist in its dedication. \n
URL:https://massmoca.org/event/walldrawing46/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_46.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150312Z
UID:12224-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 138
DESCRIPTION: \nCircles and arcs from the midpoints of four sides. (ACG 59) \nJuly 1972 \nBlack pencil \nCourtesy of the Estate of Sol LeWitt \nFirst Installation \nMTL Gallery\, Brussels \nFirst Drawn By \nP. de Jong\, Sol LeWitt\, F. Spillemackers\, L. Verdeeck \nMASS MoCA Building 7\nGround Floor \nIn the early 1970s Sol LeWitt expanded his vocabulary of straight\, parallel pencil to include arcs and circles. In 1972\, he created a book\, Arcs\, Circles\, and Grids\, for the Kunsthalle Bern in Switzerland\, which contained pen and ink drawings depicting all possible combinations of the three elements in the title. These combinations take into account both the type of line (arc\, circle\, grid) and all the possible points on the page from which an arc can emanate (the four corners\, and the four midpoints of the sides.) Many of the combinations in the book were also turned into wall drawings both before and after the book’’s publication. Wall Drawing 138\, for instance\, was created from Arcs\, Circles\, and Grids combination 59. This is indicated in the subtitle of the wall drawing. While drawing arcs and circles on paper was not a particularly challenging task\, drawing them on large walls necessitated the creation of a giant compass with holes drilled into it at intervals\, indicating the placement of the arcs and circles. On both paper and the wall\, the overlapping of arcs and circles produces a myriad of optical patterns. \n
URL:https://massmoca.org/event/walldrawing138/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_138.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150323Z
UID:12225-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 901
DESCRIPTION: \nColor bands and black blob. The wall is divided vertically into six equal bands; red; yellow; blue; orange; purple; green. In the center is a black glossy blob. \nMay 1999 \nAcrylic paint \nCourtesy of the Estate of Sol LeWitt (Designated for Yale University Art Gallery) \nFirst Installation\nInstitute of Contemporary Art\, Philadelphia \nFirst Drawn By\nElyce Abrams\, David Dempewolf\, Joy Feasley\, Meghan Ganser\, Michael Gibbons\, John Gibbons\, Chris Hensel\, John Hogan\, Beth Leatherman\, Tristin Lowe\, Stephen Malmed\, Sarah McEneaney\, Matthew Pruden\, Scott Rigby\, Paul Swenbeck\, Clint Takeda \nMASS MoCA Building 7\nThird Floor \nFor an exhibit at the ICA Philadelphia entitled “Sol LeWitt: New Work (Black and Colors)\, LeWitt designed four new wall drawings\, each featuring stripes of all the primary and secondary colors and irregular black forms. LeWitt referred to these forms as “blobs\,” a term that recalls science fiction or comic books. Many art historians and critics also link the blob form to Henri Matisse’’s cut-outs. Although these organically shaped forms appear to be uncharacteristic for LeWitt\, they epitomize his belief that “to be truly objective one cannot rule anything out. All possibilities include all possibilities without pre-judgement or post-judgement.”[1]\nThe blob wall drawings also exemplify another change in LeWitt’’s wall drawings: the introduction of secondary colors (orange\, violet\, and green) into LeWitt’’s color palette\, which had been previously limited to gray\, yellow\, red\, and blue. The artist’s expansion of his color palette occurred when he began to use paint rather than ink washes. In the latter medium he had worked only in the four basic colors used for printing\, layering them to create a variety of hues. His adoption of the three secondary colors was based on the hues created by the secondary colors that the ink layering produced. \nThe contrast between the vertical colored stripes and the amorphous blob in each of the wall drawings is intensified by LeWitt’’s use of matte and glossy varnishes. In Wall Drawing 901\, for instance\, the colors are flat while the blob is glossy. \n[1] Quoted from Andrea Miller-Keller\, “Excerpts from a Correspondence\, 1981-1983\,” in Susanna Singer\, et al.\, Sol LeWitt Wall Drawings 1968-1984 (Amsterdam: Stedelijk Museum\, 1984)\, p.19. \nBackstory\nThe ideas explored by LeWitt in his wall drawings\, works on paper\, and three-dimensional structures often cross over and overlap. For example\, the fiberglass Splotch structures that LeWitt created in the early 2000s grew out of the blob wall drawings. To create the structures\, LeWitt drew a two-dimensional topography on top of a blob form\, and then had a fabricator translate this design into a three-dimensional sculpture. The resulting sculptures appear as if the blob has been laid on the ground and is growing up from the earth in peaks. \n
URL:https://massmoca.org/event/walldrawing901/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_901-1081.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150334Z
UID:12226-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 47
DESCRIPTION: \nA wall divided into fifteen equal parts\, each with a different line direction\, and all combinations. \nJune 1970 \nBlack pencil \nPrivate collection \nFirst Installation\nPrivate residence \nFirst Drawn By\nKazuko Miyamoto \nMASS MoCA Building 7\nGround Floor \nWall Drawing 47 is emblematic of Sol LeWitt’’s systematic exploration of lines going in four basic directions: vertical\, horizontal\, diagonal left\, and diagonal right. The drawing presents the four absolute lines layered sequentially\, thus presenting their single\, double\, triple\, and quadruple combinations. As in Wall Drawing 56\, also on display at MASS MoCA\, this pencil drawing shows increasingly darker gradations of tone as the piece is read from left to right. \n
URL:https://massmoca.org/event/walldrawing47/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_47.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150345Z
UID:12227-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 340
DESCRIPTION: \nSix-part drawing. The wall is divided horizontally and vertically into six equal parts. 1st part: On red\, blue horizontal parallel lines\, and in the center\, a circle within which are yellow vertical parallel lines; 2nd part: On yellow\, red horizontal parallel lines\, and in the center\, a square within which are blue vertical parallel lines; 3rd part: On blue\, yellow horizontal parallel lines\, and in the center\, a triangle within which are red vertical parallel lines; 4th part: On red\, yellow horizontal parallel lines\, and in the center\, a rectangle within which are blue vertical parallel lines; 5th part: On yellow\, blue horizontal parallel lines\, and in the center\, a trapezoid within which are red vertical parallel lines; 6th part: On blue\, red horizontal parallel lines\, and in the center\, a parallelogram within which are yellow vertical parallel lines. The horizontal lines do not enter the figures. \nJuly 1980 \nRed\, yellow\, blue crayon on red\, yellow and blue wall \nCarnegie Museum of Art\, Pittsburgh; Purchase: gift of Carol R. Brown and Family and A.W. Mellon Acquisition Endowment Fund\, 84.79.1 \nFirst Installation \nROSC\, Dublin \nFirst Drawn By \nJo Watanabe \nMASS MoCA Building 7\nSecond Floor \nSol LeWitt created Wall Drawing 340 during a period of experimentation with basic geometric shapes. His formal vocabulary included what the artist referred to as ‘primary’ shapes: circle\, square\, triangle\, and ‘secondary’ shapes: parallelogram\, trapezoid\, and rectangle. While earlier drawings\, such as Wall Drawing 295 (also on display at MASS MoCA) depict these shapes in outline only\, in Wall Drawing 340 the shapes are delineated by straight\, parallel\, horizontal\, and vertical lines (the most basic elements of LeWitt’’s vocabulary). Later\, the geometric forms became even bolder as LeWitt began entirely filling them in with solid colors. \nAs LeWitt’’s formal and material vocabularies grew and changed\, his use of color became bolder. His earliest wall drawings\, which were drawn in graphite and colored pencil on white wall\, appear faint and ethereal. In the mid-1970s\, he started to create drawings with primary color and black backgrounds. The draftsmen drew on the colored walls using white crayon or chalk. By 1980\, when LeWitt created Wall Drawing 340\, he had begun using primary colored crayons. The drawing’s instructions call for the draftsmen to draw in crayon on top of red\, yellow\, and blue backgrounds. This process of layering one primary color over another creates secondary hues. In the drawing LeWitt depicts all possible combinations of primary color crayon over different primary color backgrounds. \nBackstory \nThe crayon wall drawings are executed on walls with an orange peel-like texture\, which allows the crayon to stick to the wall. It only adheres to the raised parts of the surface; thus the light shines through the crayon\, hitting the surface of the wall and revealing its texture. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/4.mp4\n
URL:https://massmoca.org/event/walldrawing340/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_340.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150358Z
UID:12228-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 413
DESCRIPTION: \nDrawing Series IV (A) with color ink washes. (24 drawings.) \nMarch 1984 \nColor ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nModerna Museet\, Stockholm \nFirst Drawn By\nDavid Higginbotham\, Jo Watanabe \nMASS MoCA Building 7\nSecond Floor \nIn the early 1980s\, Sol LeWitt began to use India ink and colored ink washes\, which are applied to walls with soft rags\, a technique that creates jewel-tone colors and gives the works a fresco-like quality. LeWitt frequently applied the same systems to this new medium that he had used when working with pencil. He assigned gray\, yellow\, red\, and blue ink washes to stand in for the four basic types of line; gray ink wash took the place of vertical lines\, yellow replaced horizontal\, red replaced diagonal left to right lines\, and blue was used for diagonal right to left. \nIn Wall Drawing 413\, LeWitt executed his Drawing Series IV using ink. Between 1969 and 1970\, he created four drawing series on paper. In each series he applied a different system of change to each of twenty-four possible combinations of a square divided into four equal parts\, each containing one of the four basic types of lines LeWitt used. The result is four possible permutations for each of the twenty-four original units\, which are presented in a grid of twenty-four sets of four squares\, each divided into four equal parts. In Drawing Series IV\, LeWitt used the ‘Cross Reverse’ method of change\, in which the parts of each of the original units are crossed and reversed. When drawn on the wall in ink\, the irregular\, colorful patterns made by these permutations become boldly evident. At MASS MoCA\, Wall Drawing 413 is displayed across from Wall Drawing 414\, a gray iteration of the same drawing series. \n
URL:https://massmoca.org/event/walldrawing413/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/413-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150428Z
UID:12229-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 51
DESCRIPTION: \nAll architectural points connected by straight lines. \nJune 1970 \nBlue snap lines \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation \nSperone Gallery\, Turin\, Italy and Museo di Torino\, Turin\, Italy \nFirst Drawn By \nP. Giacchi\, A. Giamasco\, G. Mosca \nMASS MoCA Building 7\nGround Floor \nWall Drawing 51 was first installed in 1970 in Turin at both the Museo di Torino and the Sperone Gallery. Although on display simultaneously\, the site-specific nature of this drawing means that each installation is a unique version of the work. The content of the work rests entirely on the pre-existing space and was an indication of Sol LeWitt’’s interest in more directly engaging the architectural context of his work. \nLeWitt’’s instructions for Wall Drawing 51 dictate\, “”All architectural points connected by straight lines.”” Using the simplest and most technically precise means available\, Wall Drawing 51 comprises hundreds of blue lines of varying length stretching from one architectural detail to another\, including door frames\, columns\, fire alarms\, etc. Employing a chalk snap line\, a contractor’’s tool that is used to create straight lines on flat surfaces\, this drawing focuses the viewer’s attention on the architecture of the space. Each corner on the wall is connected to any and all surrounding points with a straight chalk line. These lines make a complex web of marks that move the eye back and forth across the wall\, highlighting\, for instance\, an electrical socket’’s relationship to a door frame\, an air duct’s relationship to an outlet. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/20.mp4\n
URL:https://massmoca.org/event/walldrawing51/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_51.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150437Z
UID:12230-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 396
DESCRIPTION: \nA black five-pointed star\, a yellow six-pointed star\, a red seven-pointed star\, and a blue eight-pointed star\, drawn in color and India ink washes. \nMay 1983 \nIndia ink wash and color ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nAccademia de Belle Arti\, Perugia \nFirst Drawn By\nOriano Baldelli\, Alain Bolzan\, Luca Constantini\, Eduard Winklhofer \nMASS MoCA Building 7\nSecond Floor \nGeometric shapes began to appear in outline in Sol LeWitt’’s wall drawings as early as 1975\, but it was not until the 1980s that the artist began to draw solid geometric shapes\, such as the stars in Wall Drawing 396. The stars are executed in ink\, a medium that LeWitt had recently adopted. Shapes executed in ink were much bolder and more saturated than those drawn in crayon\, the medium that LeWitt had previously used. \nThis drawing\, an example of LeWitt’’s early experimentation with the star shape\, consists of a series of stars\, each with one more point than the last. The artist defines stars by the geometry of the circle; each point of a star touches the circumference of a circle. Within the circle the draftsmen construct the star using geometric formulae. The heptagon\, or seven-sided\, shape in Wall Drawing 396 is problematic for the draftsmen in that it is composed of all irrational angles. These angles are difficult to construct with a ruler and compass — which LeWitt’’s draftsmen usually use — because of the approximation that they necessitate. \n
URL:https://massmoca.org/event/walldrawing396/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/396-386.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150448Z
UID:12231-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 821A
DESCRIPTION: \nA white square divided horizontally and vertically into four equal parts\, each with a different direction of alternating flat and glossy bands. \nMarch 2007 \nAcrylic paint \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nSean Kelly Gallery\, New York \nFirst Drawn By\nJohn Hogan \nMASS MoCA Building 7\nThird Floor \nWall Drawing 821A was created for “Pure”\, an exhibit of works that conceptually and formally investigate the color white. By alternating flat and glossy bands of white acrylic paint\, Sol LeWitt subtly explored different qualities of the color. \nThe wall drawing is a modification of Wall Drawing 821\, which depicts the same pattern\, but in black paint. Wall Drawing 821 was created for a 1997 exhibit at Ace Gallery in which LeWitt debuted wall drawings done in paint. All of the wall drawings in this exhibit were monochrome and in many LeWitt explored different textures of paint through the use of varnish. Wall Drawing 821 is also on view at MASS MoCA. \nBackstory\nLeWitt’’s wall drawings are impermanent by design—: they can be executed and then easily painted over and executed at another location. At MASS MoCA\, however\, the wall drawings will be on display for a twenty-five year period. Therefore the execution of some of the drawings\, including Wall Drawing 821A\, has to be slightly altered in order to ensure that the drawing will endure the long display period. In previous locations the draftsmen executing Wall Drawing 821A have painted the entire surface of the wall drawing with matte white paint and then applied glossy varnish to the designated bands. However\, at MASS MoCA\, both the matte and glossy bands must be varnished to prevent the fading of the white paint. Thus the draftsmen must first paint and varnish the matte bands\, and then tape over them and paint and varnish the glossy bands. \n
URL:https://massmoca.org/event/walldrawing821a/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-full-width-slw-white.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150501Z
UID:12232-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 238
DESCRIPTION: \nThe location of a parallelogram. \nJune 1974 \nBlack pencil and black crayon \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation \nGalleria Sperone\, Turin \nFirst Drawn By \nSol LeWitt \nMASS MoCA Building 7\nGround Floor \nThis wall drawing\, like The location of a trapezoid\, is an example of the location drawing series in which Sol LeWitt explores possible relationships between textual description and physical drafting. The text that directs the construction appears on the wall beside the figure\, displaying both the puzzle and the solution worked out by the draftsman. \nThe juxtaposition of text and image has garnered comparison between LeWitt’s location drawings and the concrete poetry that emerged in Europe and South America in the 1950’s. This poetic practice was involved with attempting to convey more immediate messages by transforming the written word into shapes that reflected meaning or structure\, thereby transposing the written artwork into a more visual artwork. Sol LeWitt’s interest in the relationship between text and image is\, conversely\, an expression of his valuation of the idea over the object. The presence of the text in these location drawings imbues the physical wall drawing with a verbal\, or less physical\, quality that moves it into the realm of the conceptual rather than into the realm of the actualized. \nBackstory \nThe solution\, the final wall drawing\, is a product of ‘figuring out’ both mentally and physically\, an exercise both in geometry and in artistry. The interaction between textual instruction and physical drawing is so like a puzzle that has to be worked out\, that draftsmen practice the constructions of the figures on paper\, scaled to the dimensions of the wall. \n
URL:https://massmoca.org/event/walldrawing238/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_237-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010841Z
LAST-MODIFIED:20181128T150526Z
UID:12233-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 822
DESCRIPTION: \nA wall divided horizontally by a curvy line. The top is flat black; the bottom is glossy black. \nApril 1997 \nAcrylic Paint \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nAce Gallery\, New York \nFirst Drawn By\nArtistides Dé Leon\, Sachiko Cho\, Derek Edwards\, Naomi Fox\, Henry Levine\, Sunhee Lim\, Jason Livingston\, Emil Memon\, Travis Molkenbur\, Caroline Rothwell \nMASS MoCA Building 7\nThird Floor \nWall Drawing 822 was first created for a 1997 exhibit at the Ace Gallery at which Sol LeWitt executed wall drawings in paint for the first time. The works shown were monochrome murals\, few of which contained the lines and geometric shapes that dominated LeWitt’’s earlier works. In Wall Drawing 822 the artist introduced a new form to his vocabulary – an undulating line that divides the wall in half horizontally. The two halves are distinguished by different finishes: one matte and the other glossy. The draftsmen achieved the glossy finish by applying a shiny varnish over the black paint. \nBackstory\nTo execute the curvy line\, the draftsmen first create a grid out of string. The grid\, which includes a horizontal line that runs through the center of the wall\, acts as a guide to show the draftsmen where to plot various points along the wave. Once plotted\, the draftsmen connect these points using a flexible foam stick as a guide. The stick bends to create an even curve\, which is traced. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/13.mp4\n
URL:https://massmoca.org/event/walldrawing822/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_822-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T150603Z
UID:12235-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 684A
DESCRIPTION: \nSquares bordered and divided horizontally and vertically into four equal squares\, each with bands in one of four directions. \nJune 1999 \nColor ink wash \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nGalerie Franck + Schulte\, Berlin \nFirst Drawn By\nFransje Killaars\, Roy Villevoye \nMASS MoCA Building 7\nSecond Floor \nSol LeWitt’’s earliest wall drawings utilize lines in four directions (vertical\, horizontal\, diagonal left\, and diagonal right) drawn in graphite sticks and sometimes yellow\, red\, and blue colored pencil. When LeWitt began using ink washes in 1983\, he frequently reiterated these patterns of parallel lines\, replacing the fine graphite marks with thicker\, bolder bands of ink alternating with bands of white wall. Later LeWitt often eliminated the white spaces all together\, filling all the bands with saturated color\, as seen in Wall Drawing 684A. \nAs LeWitt did with the pencil drawings\, he limited his ink palette to gray\, yellow\, red\, and blue and frequently layered or superimposed the four colors. While the superimposed pencil creates very faint variations in hue\, the ink layers produce a broad color palette of rich\, gem-like colors. The artist quickly expanded his palette even further by experimenting with multiple layers of the same color. This layering technique is often compared to composing – the four basic colors are like notes that can be combined in many ways\, resulting in a multitude of different melodies. Wall Drawing 684A demonstrates the range of hues that LeWitt’’s instructions can produce. \n
URL:https://massmoca.org/event/walldrawing684a/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/684A-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T150624Z
UID:12236-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1171
DESCRIPTION: \nFive degrees of scribbles: A cube without a cube; A cube without a corner. \nAugust 2005 \nBlack pencil \nCollection of Arne and Milly Glimcher \nFirst Installation\nGlimcher Residence\, East Hampton\, New York \nFirst Drawn By\nAnthony Sansotta\, Roland Lusk \nMASS MoCA Building 7\nThird Floor \nIn the early 1980s\, Sol LeWitt began to play with isometric drafting methods\, in which a three-dimensional object is represented perspectivally in a two-dimensional drawing. Wall Drawing 1171 depicts two variations of the cube: the “cube without a cube” and the “cube without a corner.” \nFirst executed in August 2005\, Wall Drawing 1171 is part of a series of “scribbled” wall drawings that LeWitt began that year. In this series\, LeWitt returns to graphite\, the medium of his early wall drawings\, and abandons color\, which had been a primary aspect of his work since the 1980s. The loose\, irregular scribbles in five degrees of density are encaged in the rigid\, geometric cubes\, striking a balance between chaos and control. The illusionism here is complicated — the isometric perspective does not use vanishing points\, so there is no recession of space. Thus\, LeWitt is able to show volume without contradicting the flatness of the wall. \nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/19.mp4\n
URL:https://massmoca.org/event/walldrawing1171/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/1171-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T150640Z
UID:12237-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 821
DESCRIPTION: \nA black square divided horizontally and vertically into four equal parts\, each with a different direction of alternating flat and glossy bands. \nApril 1997 \nAcrylic paint \nThe Art Institute of Chicago\, Through prior gifts of Judith Neisser and Mary and Leigh Block; Norman Waite Harris Purchase Fund\, 2006.168 \nFirst Installation\nAce Gallery\, New York \nFirst Drawn By\nArtistides Dé Leon\, Sachiko Cho\, Derek Edwards\, Naomi Fox\, Henry Levine\, Sunhee Lim\, Jason Livingston\, Emil Memon\, Travis Molkenbur\, Caroline Rothwell \nMASS MoCA Building 7\nThird Floor \nWall Drawing 821 was created for an exhibit of new work by Sol LeWitt at the Ace Gallery in 1997. This exhibit marked the first time that LeWitt executed wall drawings in paint. Like Wall Drawing 821\, all of the drawings in this exhibit were monochrome\, and in many LeWitt used varnish to create variations in the surface of the paint. \nWhile the medium used to create Wall Drawing 821 represents a major departure from past wall drawings\, the formal content of the work is a continuation of previous ideas. In the drawing LeWitt continued his exploration of lines going in the four basic directions — vertical\, horizontal\, diagonal left\, and diagonal right. This exploration began in the late 1960s in his early drawing series and first wall drawings (which featured different combinations of the four basic types of lines) and continued into LeWitt’’s ink wall drawings of the 1980s and early 1990s\, in which LeWitt began to use wider bands instead of lines. \nBackstory\nWall Drawing 821\, like many of LeWitt’’s earliest painted wall drawings\, was originally executed in latex paint. At MASS MoCA\, however\, the wall drawing is in acrylic\, which the LeWitt studio now uses for all painted wall drawings. \n
URL:https://massmoca.org/event/walldrawing821/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/detail-full-width-slw-black-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20260409T010004
CREATED:20151211T010842Z
LAST-MODIFIED:20181128T150654Z
UID:12238-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 87
DESCRIPTION: \nA square divided horizontally and vertically into four equal parts\, each with lines and colors in four directions superimposed progressively. \nJune 1971 \nColored pencil \nGlenstone\, Potomac\, MD \nFirst Installation \nLeWitt residence\, New York \nFirst Drawn By \nSol LeWitt \nMASS MoCA Building 7\nGround Floor \nWall Drawing 87 was first installed by Sol LeWitt in his own home in 1971. Like many of the wall drawings from this time\, the work consists of a system of parallel lines drawn on a white wall in four directions (vertical\, horizontal\, diagonal left\, and diagonal right.) In this case\, the draftsman uses colored pencil\, and superimposes the lines\, or layers them progressively\, producing variations in hue. LeWitt had created a black pencil iteration of this superimposed system\, Wall Drawing 56\, the previous year. \nBackstory \nOne of the challenges that the draftsmen working with colored pencil face is that the different color leads possess varying strengths. For example\, the yellow lead is very weak\, so it bends or snaps easily. Thus\, draftsmen working with yellow must be careful not to bear down too hard when drawing lines on the wall. \n
URL:https://massmoca.org/event/walldrawing87/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/sol_lewitt_87.jpg
END:VEVENT
END:VCALENDAR