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Circles, Grids, Arcs from Four Corners and Sides, detail.
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Circles, Grids, Arcs from Four Corners and Sides, detail.
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Title
Circles
,
Grids
,
Arcs
from
Four
Corners
and
Sides
,
detail
.
Creator
LeWitt, Sol (American painter and sculptor, 1928-2007)
Date
1973
Cultural Context
American
North American
Style/Period
Minimal
Conceptual
Abstract (fine arts style)
Contemporary
Theme
Drawings (visual works)
Installations (visual works)
Walls
Conceptual art
Abstraction
Geometric abstraction
Geometry
Grids (layout features)
Circles (plane figures)
Detail views
Subject
Drawings
Walls
Pencil works
Abstract drawings
Abstract works
Geometry
Details
Description
Installation
,
L'Attico
Gallery
,
Rome
.
Detail
of
wall
drawing
in
pencil
.
Draughtsmen
:
Climbo
,
Piccari
,
Battista
,
Pranovi
. "In the
early
1960s
LeWitt
had
largely
devoted
himself
to
producing
modular
open
cube
structures
made
from
wood
. His
'wall
drawings'
represented
a
continuation
of his
interest
in
pushing
systems
to their
limits
, but also
made
a
radical
contribution
to the
history
of
drawing
.
Drawing
has
traditionally
been
thought
a
peculiarly
private
activity
for
artists
, a
way
of
trying
out
ideas
,
preparing
for
more
'finished'
works
in
other
media
.
LeWitt
both
removes
himself
from its
production
,
providing
it
with a
conceptual
basis
, and
turns
it
into a
public
art
. In a
sense
these
works
are
variants
on
fresco
paintings.
"
(Caption
,
p.143)
; "The
issue
of
loss
of
[authorial]
agency
can
be
differently
exemplified
in the
art
historian
Rosalind
Krauss's
reading
of the
anti-rationalism
of
another
artist
associated
with
Minimalism
,
Sol
LeWitt
.
Discussing
his
Variations
of
Incomplete
Open
Cubes
(1974)
, a
modular
structure
composed
of
122
wooden
units
demonstrating
all
the
permutations
produced
by
systematically
removing
the
various
sides
of a
cube
, she
shows
how an
apparent
logicality
flips
into
obsessive
compulsion
.
Although
LeWitt's
productions
clearly
responded
to
Minimalist
preoccupations
,
such
that this
project
echoes
[Robert]
Morris's
play
on the
'known
constant'
[…]
, he was to
present
himself
as
one
of the
first
practitioners
of
Conceptual
Art
in
articles
of
1967
and
1969
with
statements
such
as
'The
idea
becomes
a
machine
that
makes
the
art'
. This
principle
informs
the
'wall
drawings'
that
LeWitt
embarked
on from
1968
onwards
.
Revealing
a
Minimalist
predilection
for
impersonality
, they were
designed
for
specific
locations
but were
frequently
carried
out
by
draughtsmen
on the
basis
of
succinct
instructions
from
LeWitt
-
for
instance
'circles
,
grids
,
arcs
from
four
corners
and
sides'
.
Strict
adhesion
to
such
prescriptions
, with
no
clear
sense
of how they would
unravel
in
situ
,
led
the
interpreters
to
produce
unexpectedly
labyrinthine
or
eccentric
visual
structures
.
Again
, the
strange
co-existence
within
Minimalism
of
authorial
removal
and
aesthetic
autonomy
is
touched
upon.
"
(Excerpt
,
p.141)
Material
Pencils (drawing and writing equipment)
Work Type
Drawings
Abstract works
Pencil works
Installations (visual works)
Conceptual art
Source
Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.[142], fig.70Circ)
Rights
© ARS, NY, and DACS, London, 2000.
Digital Publisher
University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format
image/jpeg
Digital File Name
VRC
827-32.jpg
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