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X-WR-CALNAME:MASS MoCA
X-ORIGINAL-URL:https://massmoca.org
X-WR-CALDESC:Events for MASS MoCA
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081106
DTEND;VALUE=DATE:20431108
DTSTAMP:20200102T060308
CREATED:20150601T224345Z
LAST-MODIFIED:20191220T193531Z
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\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. \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,Homepage,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:20200102T060308
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T160037Z
UID:12288-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 419
DESCRIPTION: \nThe wall is bordered and divided horizontally and vertically into four equal parts with a 6-inch (15 cm) black ink band. Each quarter has alternating parallel 6-inch (15 cm) bands of white and color ink bands. Upper left: gray; upper right: yellow; lower left: red; lower right: blue. \nSeptember 1984 \nColor ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nYvon Lambert Gallery\, Paris \nFirst Drawn By\nTakeshi Arita\, David Higginbotham \nMASS MoCA Building 7\nGround Floor \nWhen Sol LeWitt began using ink wash for his wall drawings in the early ‘1980s\, he frequently reiterated the systems that he had originated in pencil. For example\, Wall Drawing 419 represents an adaptation of the artist’’s most basic presentation of colored pencil lines (an area divided into four equal parts\, each part containing one of the four basic types of line which are executed in a specific color.) The grid structure eliminates compositional hierarchy: each type of line is given the same priority. Unlike the earlier pencil iterations\, the lines in Wall Drawing 419 have been turned into wider bands\, and the colors are much brighter in ink than in colored pencil. The four parts of the drawing are bordered with black bands\, which further increase the boldness of the drawing. \n
URL:https://massmoca.org/event/walldrawing419/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/419-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20200102T060308
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T162001Z
UID:12289-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 915
DESCRIPTION: \nArcs\, circle\, and irregular bands. \nSeptember 1999 \nAcrylic paint \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nPaula Cooper Gallery\, New York \nFirst Drawn By\nDana Carlson\, Christina Hejtmanek\, James Sheehen\, Emily Ripley \nMASS MoCA Building 7\nThird Floor \nWall Drawing 915 can be read as an amalgamation of many of Sol LeWitt’’s formal themes from the 1960s through the 1990s. These include his rectangles within rectangles\, a motif he first explored in the sculptural pieces from the 1960s\, and the circles and arcs he began to work with in the 1970s. The drawing also features framing devices\, first employed in the 1980s\, and presents the undulating wave forms from the late 1990s. The work’s palette consists of intense\, brilliant hues. The two areas that have been left white refer back to the wall itself\, reinforcing the flat surface plane and emphasizing the acrylic medium and saturated colors. Wall Drawing 915 is indicative of the increasingly expansive and playful compositions that the artist began to create in the 1990s. \n\nhttp://massmocawp.wpengine.com/wp-content/uploads/2016/02/11.mp4\n
URL:https://massmoca.org/event/walldrawing915/
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_915.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20200102T060308
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T162023Z
UID:12290-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 792
DESCRIPTION: \nBlack rectangles and squares. \nJune 1995 \nDispersion paint \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nLudwigsburger Schlossfestpiele\, Ludwigsburg\, Germany \nFirst Drawn By\nAlge Algermissen\, Sabine Griesingen\, Paul James Haworth\, Hartmt Hengerer\, Anthony Sansotta\, Jogi Wegrzyn\, Jeroen van der Velden\, Miriam Wawrzihek \nMASS MoCA Building 7\nSecond Floor \nApplying horizontal and vertical white bands to a field of deep black\, Sol LeWitt creates a composition of rectangles and squares in Wall Drawing 792. Throughout his career\, LeWitt explored geometric forms\, especially the square and the cube. LeWitt’’s interest in these simple forms is often linked to the artist’’s study of Russian Constructivism\, De Stijl\, and the German Bauhaus. Wall Drawing 792 is reminiscent of the stripped-down geometric abstractions of Kazimir Malevich’s Suprematist paintings of black squares and Piet Mondrian’s grid compositions of vertical and horizontal lines. \nThe subtitle for Wall Drawing 792 is simply “Black rectangles and squares\,” allowing the work to be translated and interpreted to fit within different structural parameters. First installed at the Schlossfestpiele in Ludwigsburger\, Germany\, in 1995\, large black rectangles\, primarily vertical in orientation\, were painted directly onto the white gallery walls. The black rectangles filled the large domed bays in the space\, emphasizing its unique architecture. A slightly different version of the piece\, Wall Drawing 792B\, was installed at the University of Michigan Art Museum the following year. There\, open white squares appeared on a field of black\, creating smaller and more numerous black rectangles. MASS MoCA presents yet another iteration of Wall Drawing 792\, exhibited on two rectangular walls\, the shapes are smaller\, creating a more complex grid. \n
URL:https://massmoca.org/event/walldrawing792/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/792-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20200102T060308
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T162034Z
UID:12291-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 19
DESCRIPTION: \nA wall divided vertically into six equal parts\, with two of the four kinds of line directions superimposed in each part. \nSeptember 1969 \nBlack pencil \nPanza Collection \nFirst Installation\nDwan Gallery\, New York \nFirst Drawn By\nSteven Gwon\, Chris Hansen\, T. Julia\, Al Williams\, Sol LeWitt \nMASS MoCA Building 7\nGround Floor \nWall Drawing 19 is one of four drawings that were first shown as a four-part series drawn on the four walls of the Dwan Gallery in 1969. For Wall Drawing 19 Sol LeWitt divided the east wall of the Dwan gallery into six vertical panels\, each containing two of the four kinds of line directions (vertical\, horizontal\, diagonal left\, diagonal right) superimposed on top of one another. \n
URL:https://massmoca.org/event/walldrawing19/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/19-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20200102T060308
CREATED:20151211T010846Z
LAST-MODIFIED:20181128T162044Z
UID:12292-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 386
DESCRIPTION: \nStars with three\, four\, five\, six\, seven\, eight\, and nine points\, drawn with a light tone India ink wash inside\, an India ink wash outside\, separated by a 6-inch (15 cm) white band. \nJanuary 1983 \nIndia ink wash \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nCarol Taylor Art\, Dallas \nFirst Drawn By\nJulie Jarvis\, Renee Miliken\, Anthony Sansotta \nMASS MoCA Building 7\nSecond Floor \nLike nearby Wall Drawing 396\, Wall Drawing 386 consists of a progression of stars\, with an increased number of points in each subsequent figure. While the star shape may seem to be a departure from Sol LeWitt’’s vocabulary of simple shapes and construction methods\, the wall drawing actually represents a continuation of his interest in shapes\, sequences\, pattern and geometric problem-solving. \nIn order to determine the shape of the star\, a regular polygon is inscribed in a circle. The number of sides the polygon has determines the number of points the star will have. The regularity of the original polygon ensures that the star’s points will be evenly spaced. In short\, these apparently complex forms are iterations of the basic visual and geometric vocabulary to which LeWitt has committed. \nThe presence of the India ink wash borders around each of the stars is seen again in later works such as Wall Drawing 391\, in which the black boundaries and the whiteness of the wall provide a distinct component of the drawing. \nBackstory\nThe seven-pointed star proved difficult to construct due to the inaccuracies inevitable when estimating using ruler and compass\, the preferred tools of the LeWitt crew. In order to approximate the shape of this star as closely as possible\, an intern who studies math was brought in to formulate a new construction method. The same draftsman talks about his interest in LeWitt’’s work as being related to his interest in pure math: “”the same sort of abstract beauty that inspires mathematicians… also inspires Sol’’s work. For instance\, the idea of laying out your parameters and exhausting… all the possible combinations\, and then making so explicit your process\, is something that I just find so inspiring and beautiful in the same way that I find pure math.”” \n
URL:https://massmoca.org/event/walldrawing386/
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:20200102T060308
CREATED:20151211T010847Z
LAST-MODIFIED:20181128T162055Z
UID:12293-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1186
DESCRIPTION: \nScribbles: Inverted curve (vertical). \nOctober 2005 \nGraphite \nCollection of Alessandro Maccaferri \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 1186 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 first installation of Wall Drawing 1186 was completed by a team of Italian art students under the direction of Anthony Sansotta\, one of LeWitt’’s longtime draftsmen. The drawing challenged the drafters to work carefully and cooperatively in order to create a uniform field without leaving a distinct personal trace. In order to ensure the maintenance of a uniform field\, one draftsman will occasionally stand on a ladder and use a laser pointer to ‘conduct’ the other draftsmen. The ‘conductor’ indicates areas of the drawing that are not dense enough. The draftsmen also must be careful not to create clusters\, or areas where scribbles build up to a darker gradation than indicated. \n
URL:https://massmoca.org/event/walldrawing1186/
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_1186.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20200102T060308
CREATED:20151211T010847Z
LAST-MODIFIED:20181128T163759Z
UID:12294-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 17
DESCRIPTION: \nFour-part drawing with a different line direction in each part. \nSeptember 1969 \nBlack pencil \nAlbright Knox Art Gallery\, Buffalo\, New York. The Panza Collection and Geroge B. and Jenny R. Mathews Fund\, by exchange\, George B. and Jenny R. Mathews fund and Charles Clifton Fund\, by exchange\, 2008 \nFirst Installation\nDwan Gallery\, New York \nFirst Drawn By\nSteven Gwon\, Chris Hansen\, T. Julia\, Al Williams\, Sol LeWitt \nMASS MoCA Building 7\nGround Floor \nSol LeWitt’’s early wall drawings were often treated as discrete areas drawn on a planar ground; the wall acted like a sheet of paper or any drawing surface. The artist slowly began to address the wall as an architectural element\, however\, and began to incorporate his drawings more fully into their surroundings. \nFor an exhibition at the Dwan Gallery in 1969\, LeWitt treated the four walls of the gallery as a unified installation. Each of the walls contained part of a series incorporating the four absolute lines (horizontal\, vertical\, diagonal right\, diagonal left) drawn in different combinations. \nWall Drawing 17 contains the first part of the series: four vertical panels each contain one of the four absolute line directions. \nBackstory\nTo create Wall Drawing 17 three draftsmen worked together\, taking turns making bundles of three sticks of graphite\, holding the straight edge\, and drawing the lines. The diagonal lines are much more complicated to draw than the vertical and horizontal lines; thus they are left up to the head draftsman. Before they are ready to draw on the wall\, the less experienced draftsmen practice drawing lines on drywall board. \n
URL:https://massmoca.org/event/walldrawing17/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/17-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20200102T060308
CREATED:20151211T010847Z
LAST-MODIFIED:20181128T163232Z
UID:12295-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 365
DESCRIPTION: \nA square divided horizontally and vertically into four equal parts\, each with a progressively darker gradation of gray. \nFebruary 1984 \nIndia ink wash and color ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nStedelijk Museum\, Amsterdam \nFirst Drawn By\nDavid Higginbotham\, Anthony Sansotta\, and others \nMASS MoCA Building 7\nGround Floor \nWall Drawing 365 was first installed in 1984 at the Stedelijk Museum\, Amsterdam\, as part of the “Sol LeWitt Wall Drawings 1968-1984” retrospective. In the exhibition this ink wash drawing would have stood out as a new direction for the artist; by the early 1980s\, however\, LeWitt was working primarily with ink\, rather than pencil or crayon. The artist often used this medium to reiterate systems that had governed his early work made in pencil. Wall Drawing 365\, for instance\, is an ink version of Wall Drawing 56\, whose instructions read: “A square is divided horizontally and vertically into four equal parts\, each with lines in four directions superimposed progressively.” Instead of superimposing lines to create varying shades of gray\, the draftsmen produce gradations in gray tone by layering India ink wash. \nBackstory\nThe version of Wall Drawing 365 on display at MASS MoCA differs from its original installation at the Stedelijk Museum in its material. Originally all ink wall drawings were done in Pelican ink. However\, Pelican eventually altered its original formula\, changing the colors. The LeWitt Studio then switched to an acrylic paint made by Lascaux. The draftsmen dilute the acrylic paint with water and add gloss medium to it in order to maintain the integrity of the ink wash medium. \n
URL:https://massmoca.org/event/walldrawing365/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/365-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20200102T060308
CREATED:20151211T010847Z
LAST-MODIFIED:20181128T162133Z
UID:12296-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1211
DESCRIPTION: \nDrawing Series— Part I-–IV\, #1-–24\, A B. (192 drawings). \nAugust 2006 \nColored pencil \nCourtesy of the Estate of Sol LeWitt \nFirst Installation\nDia:Beacon\, Beacon\, New York \nFirst Drawn By\nLacey Fekishazy\, Mary Gagne\, Nick Kozak\, Roland Lusk\, Tanya Merrill\, Darin Roberts\, Anthony Sansotta \nMASS MoCA Building 7\nGround Floor \nBetween 1969 and 1970 Sol LeWitt created four Drawings Series\, which presented different combinations of the basic elements that governed many of his early wall drawings. 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 (vertical\, horizontal\, diagonal left\, and diagonal right). The result is four possible permutations for each of the twenty-four original units. The system used in Drawings Series I is what LeWitt termed ‘Rotation;’ Drawings Series II uses a system termed ‘Mirror;’ Drawings Series III uses ‘Cross & Reverse Mirror;’ and Drawings Series IV uses ‘Cross Reverse’. \nWall Drawing 1211 features all four of the drawing series in two iterations – one of which is simple and one of which directs the draftsmen to superimpose\, or layer\, the lines. Each iteration presents a grid of twenty-four sets of four squares\, each divided into four equal parts. The resulting effect is that of four different patterns of colored squares on each wall. Also shown is a diagram that illustrates the entire wall drawing using the numbers 1-4 to signify the four different line directions. The diagram serves as an aid to help visitors decipher the drawing’s structure. \nWall Drawing 1211 highlights LeWitt’’s interest in seriality. The artist attributes this interest largely to the photographer Edward Muybridge\, whose serial views of subjects in motion represent an objective approach to composition and narrative\, which greatly inspired LeWitt. \nBackstory\nIn Wall Drawing 1211 all the vertical lines are drawn in graphite\, all the horizontal lines are drawn in yellow colored pencil\, all the diagonal lower left to upper right lines are drawn in red colored pencil\, and all the diagonal lower right to upper left lines are drawn in blue colored pencil. Today these designations are set. However\, in many of LeWitt’’s earliest wall drawings\, the designation between colors and lines was much more arbitrary. For example\, in Wall Drawing 85\, the vertical lines are drawn in yellow and the horizontal lines are drawn in graphite. \n
URL:https://massmoca.org/event/walldrawing1211/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/1211-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20200102T060308
CREATED:20151211T010847Z
LAST-MODIFIED:20181128T162204Z
UID:12297-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 415D
DESCRIPTION: \nDouble Drawing. Right: Isometric Figure (Cube) with progressively darker graduations of gray on each of three planes; Left: Isometric figure with red\, yellow\, and blue superimposed progressively on each of the three planes. The background is gray. \nMarch 1993 \nColor ink wash \nLeWitt Collection\, Chester\, Connecticut \nFirst Installation\nAddison Gallery of American Art\, Phillips Academy\, Andover \nFirst Drawn By\nJohn Crowley\, Christina Hejtmanek\, Addison Parks\, Anthony Sansotta\, Mark Snow\, Eric Ziemann \nMASS MoCA Building 7\nSecond Floor \nSol LeWitt’’s use of the cube was fundamental to his early conceptual thesis. The artist\, who sought to reduce art to the most basic forms\, saw the cube as the least emotive of all shapes. In 1973\, he began the project Variations of Incomplete Open Cubes in which he systematically subtracted parts from an open cube\, representing each possible variation. His interest in the cube extended beyond three-dimensional works: he created two-dimensional drawings of each of the incomplete open-cube variations. Similar two-dimensional representations of three-dimensional objects later resurfaced in LeWitt’’s wall drawings. \nIn the early 1990s\, LeWitt began exploring floating isometric shapes in many of his ink wash wall drawings. Wall Drawing 415\, one of the earliest examples of these drawings\, depicts two floating cubes. The rendering of these cubes\, while employing a method of perspective\, does not suggest spatial recession. Instead of drafting his forms using linear perspective\, LeWitt drafts them isometrically\, a technique in which all angles of the form appear equal\, suggesting volume but not the illusion of depth. \n
URL:https://massmoca.org/event/walldrawing415d/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2015/12/414D.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20200102T060308
CREATED:20160113T021051Z
LAST-MODIFIED:20181128T162924Z
UID:12721-1226793600-2331331199@massmoca.org
SUMMARY:Wall Drawing 1180
DESCRIPTION:Within a four-meter (160”) circle\, draw 10\,000 black straight lines and 10\,000 black not straight lines. All lines are randomly spaced and equally distributed. \nAugust 2005 \nMarker \nYale University Art Gallery\nGift of the LeWitt Collection\, Chester\, Connecticut\, in honor of Terry and Richard Albright\, B.A. 1961 \nFirst Installation\nGalerie Sfeir-Semler\, Beirut\, Lebanon \nFirst Drawn By\nAntoine Joseph Helou\, Christine Streuli\, Rayyan Tabet \nMASS MoCA Building 7\nThird Floor \nOn first glance\, Wall Drawing 1180 appears to be a consuming\, absorbing black mass. But looking closer\, one notices the little pockets and triangles of white where the marker didn’t quite fill everything in the circle\, even with 20\,000 total lines which make up the drawing. It’s more web than solid geometry; backing up and looking right into the center of the drawing\, one is lost in the medium\, both due to the compact character of the work and its execution near the windows on the third floor. \nWall Drawing 1180 is consistent with LeWitt’s long-held ideas wherein\, as Andrea Miller-Keller writes\, the “medium and support are almost merged.” That is\, the marker is drawn directly on the unprimed wall and the “orange-peel” texture of the wall shows through – as seen in LeWitt’s early graphite works (Ground Floor) and mid-career ink-wash drawings (Second Floor). \nAt the same time\, however\, Wall Drawing 1180 (first executed in 2005) no doubt looks toward the scribble drawings LeWitt begins in 2003\, with Wall Drawing 1094 (see Backstory). Combining both “black straight lines” (as seen in Wall Drawing 86) and “black not straight lines” (as seen in Wall Drawing 46) results in an all-over\, layered pattern seen in the scribble drawings around the corner to the right. John Hogan\, senior LeWitt drafter in the 1980s and current Mary Jo and Ted Shen Installation Director and Archivist of Sol LeWitt Wall Drawings at the Yale University Art Gallery\, speaks to the execution of Wall Drawing 1180: \n“It’s simply trusting your eye and hand. You go in and make your first pass at the wall\, and maybe you make the lines all a foot apart. You figure out what maybe 1000 lines look like on the wall\, and you get the spacing tighter and tighter until you’ve done them all.” \nWall Drawing 1180 is confined to a simple shape\, a circle\, yet still explores the “vagaries of the human hand” LeWitt was so interested in (Hogan 2016). “Sometimes people approach me and say LeWitt ‘lets you do whatever you want\,’” Hogan said. “Yeah\, he says you can use A and B and do whatever you want. He’s giving you the freedom of expression but within a frame of instructions.” \nBackstory\nWall Drawing 1180 was executed in 2010 after Wall Drawing 1094 had been damaged in the months after the opening of the retrospective. Wall Drawing 1180 was chosen for its considerable durability; however\, according to Hogan\, it was also chosen because it had been executed incorrectly in its first installation in Beirut. \n“It’s one of the situations where none of the [LeWitt] Studio draftspeople were able to go [execute the drawing]\, and the gallery did not follow the instructions exactly.” \nThe bottom and top of the circle in Wall Drawing 1180 as drawn in Lebanon were cut off (and the lines not equally distributed)\, and Hogan decided that executing 1180 at MASS MoCA would also allow the Estate to accurately update its records on Wall Drawing 1180. \nWall Drawing 1180 is executed using water-based pigmented markers; regular markers have too high an acidic content and would cause the wall to deteriorate over time. LeWitt did not specify the width of the marker tip\, but the drawing is executed with commonly manufactured chisel-tip markers — an everyday\, vernacular\, international medium. \n
URL:https://massmoca.org/event/wall-drawing-1180/
LOCATION:Sol LeWitt\, United States
GEO:37.09024;-95.712891
CATEGORIES:Sol LeWitt
ATTACH;FMTTYPE=image/jpeg:https://massmoca.org/wp-content/uploads/2016/01/sol_lewitt_1180-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081116
DTEND;VALUE=DATE:20431117
DTSTAMP:20200102T060308
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:20200102T060308
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:20200102T060308
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:20200102T060308
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:20200102T060308
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:20200102T060308
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:20200102T060308
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:20200102T060308
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:20200102T060308
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:20200102T060308
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:20200102T060308
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:20200102T060308
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:20200102T060308
CREATED:20151211T010840Z
LAST-MODIFIED:20181128T145955Z
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. \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:20200102T060308
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:20200102T060308
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:20200102T060308
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:20200102T060308
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:20200102T060308
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
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