“The art of Sol LeWitt is about ideas, not form. The concepts that inform a system become the content of his work, an oeuvre which has always been characterised by a tension between the perceptual beauty of his works and the rigour of the concepts behind them.”
—Jörg Schellman
Provenance
Personal copy of the publisher and part of the Archive of Edition Schellmann since time of publication
Literature
Barbara Krakow Gallery 1999.10 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 219
Connected to the Conceptual and Minimalist art movements of the 1960s and '70s, the artist and theorist Sol LeWitt was a pivotal figure in driving 'idea' art into the mainstream art discourse. Redefining what constituted a work of art and its genesis, LeWitt explored these ideas through wall drawings, paintings, sculptures, works on paper and prints.
Using a prescription to direct the creation of a work, the artist's hand subordinated to the artist's thoughts, in direct contrast to the Abstract Expressionist movement earlier in the century. Actions, forms and adjectives were broken down into terms, serially repeated and reconfigured: grids, lines, shapes, color, directions and starting points are several examples. These directives and constructs fueled an influential career of vast variety, subtlety and progression.
1999 Screenprint in colours, on Arches paper, with full margins. S. 80 x 100 cm (31 1/2 x 39 3/8 in.) Signed and numbered 'AP 8/10' in pencil (an artist's proof, the edition was 50), published by Edition Schellmann, Munich and New York, unframed.
