3 piece(s) in the gallery
Sol LeWitt (1928-2007)
Sol LeWitt is considered one of the most important artists to have emerged from the Minimal and Conceptual art movements. He has worked in a variety of media including sculpture, drawing (both on paper and walls), prints, and photography.
Born in Hartford, Connecticut in 1928, as a child LeWitt enjoyed making art and took classes at the Wadsworth Atheneum to develop this interest. He studied art more formally at Syracuse University, from where he would graduate in 1949. In the summer of 1950, LeWitt traveled throughout Europe to study firsthand the art of the old masters. Afterwards, he was drafted for the Korean War, where one of his duties included producing posters. Following his service, LeWitt moved to New York City to study at the Cartoonists and Illustrators School (now the School of Visual Arts). After working in the design department at Seventeen magazine, LeWitt worked for the architect I. M. Pei as an architectural draftsman, a job that would profoundly influence his ideas about art. Working with architects not only affected LeWitt's ideas concerning geometric precision and the viewer's relationship to the work, it also taught him that as an artist he could work with others, as architects do, to realize his vision.
LeWitt was originally associated with the Minimalist art movement due to his extensive use of reductive, geometric forms, namely the identical cubes, employed since 1965 in serial configurations, that would become a signature form. LeWitt later became so closely associated with the Conceptual art movement that he is often called "the father of Conceptual art." In 1967, He wrote "Paragraphs on Conceptual Art" in which he argued that the idea, or concept, that informs the work is more important than the final physical form that the artist employs to transmit his ideas.
In 1978, The Museum of Modern Art in New York held an important retrospective of fifteen years of LeWitt's work. While the square was central to his early work, beginning in 1980 LeWitt expanded his geometric vocabulary to include the circle and the triangle. Using isometric projection, the forms took on the illusion of three-dimensionality, a reference perhaps to LeWitt's celebrated open cubic form sculptures.
LeWitt bio: courtesy of Hollis Taggart Galleries, www.hollistaggart.com
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