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Catalogue Sol LeWitt. 17 Wall Drawings. 1970-2015

The selection of texts, chosen by the co-curator of the show, Benjamin Weil, offers the Spanish-language reader an in-depth conceptual foundation which will help them to understand the extraordinary richness of Sol LeWitt’s work through essential writings by the artist himself along with texts by art historians, critics and artists.

The essential texts comprising the catalogue include Paragraphs on Conceptual Art, which LeWitt wrote for the magazine Artforum in 1967, an article regarded as an authentic manifesto of Conceptual Art. The ideas and reflections contained in this text were complemented in 1969 with the article Sentences on Conceptual Art, which the artist published in the magazine Art Language, and which is also included in this catalogue.

The publication also includes Wall Drawings and Doing Wall Drawings, published by LeWitt in April 1970 in Arts Magazine.

The 280-page catalogue costs 40 euros and can be purchased via email at: fmabotin@fundacionbotin.org.

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Likewise, the catalogue Sol LeWitt. 17 Wall Drawings. 1970-2015 analyzes the oeuvre and figure of Sol LeWitt through the contributions of three artists: the snapshot Sun by the photographer Louise Lawler, who has been documenting works of art in the context in which they are exhibited since the 1970s; a text by composer Steve Reich, in which this explorer of new forms of musical expression analyses the legacy of his colleague and friend; and a text by the artist Lawrence Weiner, regarded along with Sol LeWitt as one of the founders of Conceptual Art.

The publication includes an exchange of correspondence between Andrea Miller-Keller, the curator of the Wadsworth Atheneum in Hartford, Connecticut, and LeWitt between the spring of 1981 and the autumn of 1983, which was published for the first time in the catalogue for the exhibit of wall drawings held in the Stedelijk Museum in Amsterdam in 1984.

Finally, the publication is rounded out with an essay by art historian and curator Lynne Cooke – currently the senior curator at the National Gallery of Art and between 1991 and 2008 the curator of the DIA Art Foundation – in which the expert discusses the interpretation of Sol LeWitt’s instructions, along with a text by the critic and independent curator Beatrice Gross, who curated the retrospective Sol LeWitt. Wall Drawings from 1968 to 2007 hosted by The Centre Pompidou-Metz in 2013.

Sol LeWitt is considered a key protagonist in the establishment of Conceptual Art, a movement that left a profound mark on contemporary artistic practice. In the early 1960s, the artist distanced himself from the hegemonic Abstract Expressionism and conferred on the creative process that endowed the work of art a similar – if not superior – importance to that of the ultimate expression of this work, separating the concept or idea of its execution. His thinking and oeuvre have exerted an enormous influence on this field and continue to inspire many young artists and thinkers. LeWitt’s writings on conceptual art made him one of the most prominent proponents of that new approach to artistic creation.

His wall drawings always meant to be temporary in the exhibition space and were fated to be eliminated after the closure of the exhibition, or to be redrawn again over time.

 

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