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S O L
L E W I T T
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S O L
L E W I T T
EXHIBITION: 19 FEBRUARY - 18 MARCH 2014
Sims Reed Gallery The Economist Building 30 Bury Street London SW1Y 6AU T +44 (0)20 7930 5111 F +44 (0)20 7930 1555 E gallery@simsreed.com www.gallery.simsreed.com
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FOREWORD
“The idea becomes the machine that makes the art.” - Sol LeWitt ‘Paragraphs on Conceptual Art’ (1967). Sol LeWitt’s work is about ideas. These ideas are often presented to us in images and structures that are stunningly visual, colourful, graphic, even playful, but these qualities are by-products of rigorous systems and specific investigations. For LeWitt, the idea was always his pre-eminent concern. Solomon LeWitt was born in Hartford, Connecticut in 1928. As a young boy he took art classes at Wadsworth Athenaeum and later studied art at Syracuse University. In 1953 he moved to New York and during his early years there he studied at the School of Visual Arts and worked briefly as a graphic designer for the then fledgling architect I.M. Pei. In 1960 LeWitt took a job as a night clerk at the Museum of Modern Art, which had a major influence on his career. It was here that he met and worked with Dan Flavin, Robert Ryman, Robert Mangold, and Lucy Lippard. They worked at MOMA at the same time as the ‘16 American’ Exhibition. This show had a profound effect on LeWitt and introduced him to the groundbreaking work of Frank Stella, Ellsworth Kelly, Jasper Johns, and Robert Rauschenberg. Another major early influence on LeWitt was the work of 19th century photographer Eadweard Muybridge. The serial nature of Muybridge’s investigations into movement and his detached, almost clinical approach, would both become defining aspects of LeWitt’s own work. It was during the 1960’s that LeWitt began to define his specific style of Conceptual art - first in 1967, with the publication of his seminal text ‘Paragraphs on Conceptual Art’ and in 1969 with ‘Sentences on Conceptual Art’. In 1968, LeWitt executed his fist wall drawing at the Paula Cooper Gallery. The basis for LeWitt’s work was formed by ideas rather than expression. Abstract Expressionists like Pollock and De Kooning had dominated the New York art scene for some time, but by the 1960’s artists were actively looking for a visual language that set itself apart from this very personal, subjective style. LeWitt’s work was concerned with objective concepts rather then the vagueness of emotion. He also completely avoided the cult of personality, which surrounded the Abstract Expressionists. Instead, he famously shied away from being photographed, explaining that he wanted people to focus only on the art itself and not on the artist. LeWitt’s earliest works were typically sets of instructions, which when drawn created rigorous, geometric series. These works were careful and specific, purposefully avoiding any arbitrary or subjective mark making. The two earliest sets included here – ‘Straight Lines in Four Directions & All Their Possible Combinations’ (1973) and ‘Locations of Lines’ (1976) both typify this methodical approach. Like so often in LeWitt’s prints, the titles declare the rules by which the images are made. LeWitt also restricted his use of colour to combinations of yellow, blue, red, and grey – a technique he shared with commercial printing. Series such as ‘Four-Part Combination of Six Geometric Figures in Four Colors’ (1980) clearly illustrated this restrained pallete.
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The end of the 1970’s and the beginning of the following decade marked a period of intense change for LeWitt. In 1978, MOMA held a major retrospective of his work. The museum’s press release for this exhibition, describes LeWitt as ‘An artist who was a pioneer figure of the Minimalist movement of the 1960’s and whose work has had a profound influence on Conceptual and post-Conceptual artists.’ It is interesting to note that he was given a MOMA retrospective relatively early in is his career and that it is clear from this press release that the profound influence he would have on later generations was already recognised. In 1980, shortly after the MOMA show, he moved to Spoleto, Italy (where he lived for six years) and was married, in 1982, to Carol Androccio. During this time, and perhaps as a consequence of these major events, LeWitt’s art begins to open up. He moves beyond lines and squares, and other geometric forms start to appear. Most notably perhaps in his graphic work is the appearance of pyramidal forms. Examples of the large-scale ‘Two Asymmetrical Pyramids’ series (1986) and the smaller, but equally beautiful aquatint ‘Pyramids’ series (1987) are both included in this exhibition. In 1988 LeWitt installed a monumental wall drawing in the Italian Pavilion at the Venice Biennale – ‘Wall drawing #564: Complex Forms With Color Ink Washes Superimposed’. By this point, the individual triangles and pyramids that appear earlier became large complex amalgamations. In typical LeWitt fashion, these shapes were plainly called Complex Forms. These investigations were played out in his graphic work as well, most impressively in the series of five large etchings, ‘Complex Forms’ (1990). Through the next decade, his work continues to concern itself with form and colour - the colours becoming increasingly vibrant and the forms looser. In prints such as ‘Irregular Zigzag Bands’ (1996), ‘Concentric Irregular Bands’ (1997) and ‘Curved Bands’ (1997) LeWitt moves even farther from the rigorous order and restrained colours that typified his earlier work. The word ‘Irregular’ begins to appear more often in the titles and the work seems to be on the brink of some impending change. This change comes in 1998, in a print project LeWitt agreed to do for Lincoln Center. This print, almost by chance, became the springboard for enormous changes in his work. In an interview a few years after the commission, LeWitt explained- ‘I was asked to do a poster for Lincoln Center. I decided to do something that was completely different, a one-time thing…I started using curved lines and bright colours, everything that was completely different from what I was doing then…I liked the way the poster came out so I kept after it. That turned into what I’m doing now and a new way of thinking.’ This new way of thinking was executed in several of his prints from 1998 until he passed away in 2007. The bold saturated colours and solid, irregular forms first used in the Lincoln Center print, appear again soon after in works including ‘Irregular Arcs Bands and Loops’ (1999), ‘Colors Divided by Wavy Lines’ (1999), ‘Arcs and Bands in Color’ (2000). The rich colour and clean lines of linocut and screenprinting become LeWitt’s preferred mediums for executing these glossy, impenetrable surfaces. Through the course of his career, LeWitt used every medium available to him to explore and execute his vision, and prints were essential to this. By its very nature, printmaking offered a more efficient way of making several permutations of an idea and also allowed for more precision than drawing could. Indeed a survey of LeWitt’s prints shows the progression of his art and ideas perhaps more fully then any other single medium. - Lyndsey Ingram, Sims Reed Gallery
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‘Bands of Lines in Four Directions (Vertical)’ Woodcut printed in colours, 1994. Signed in pencil, inscribed and numbered AP 6/6. An Artist Proof aside from the edition of 45. Printed by Watanabe Studio Ltd., Brooklyn, New York. Published by the artist. (Krakow 1994.04) 83 x 33 cm
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‘Untitled (from the Kinderstern Portfolio)’ Screenprint in colours, 1989. Signed in pencil and numbered AP 12/20. One of twenty Artist Proofs aside from the edition of 100. Printed on 300 gsm Fabriano Butten paper by Domberger Siebruck printstudio, Germany. Published by Michael Domberger, Domberger KG, Filderstadt (Plattenhardt), Germany. (Krakow 1989.08) 57.2 x 76.2 cm
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‘Two Asymmetrical Pyramids: Plate 1, 3 & 4’ (See pages 11 - 13) Three screenprints in colours, 1986. Each signed in pencil and numbered from the edition of 20. Printed on Arches Cover White paper by Jo Watanabe and Kei Tsujimura, New York. Published by Multiples Inc., New York. (Krakow 1986.04) Each sheet: 96.5 x 157.5 cm
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‘Cube with Colors Superimposed’ Screenprint in colours, 1989. Signed in pencil and numbered AP 2/8. One of eight Artist Proofs aside from the edition of 100. Printed on Arches Cover White paper by Kei Tsujimura, Watanabe Studio Ltd., New York. Published by Central Connecticut State University. (Krakow 1989.11) 81.3 x 61 cm
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‘Nine Linocuts’ The set of nine linocuts printed in colours, 2006. Each signed in pencil and numbered 26 from the edition of 26. Printed on 350 gsm Fabriano Classico paper by Watanabe Studio, Newburgh, New York. Published by John Kaldor, Sydney, Australia and Sol LeWitt. (Krakow 2006.02) Each sheet: 45.7 x 45.7 cm
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‘Curved Bands’ Etching and aquatint printed in colours on two sheets, 1997. Signed in pencil and numbered AP 2/8. One of eight Artist Proofs aside from the edition of 36. Printed on Somerset Textured paper by Watanabe Studio Ltd., New York. Published by Galerie Lelong, New York. (Krakow 1997.06) 50.8 x 210.8 cm
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‘Equivalent’ The set of twelve linocuts and photogravures, 2000. Each signed in pencil by Sol LeWitt and Sachiko Cho and numbered AP 10/10. One of ten Artist Proof sets aside from the edition of 30. Printed on 300 gsm Somerset Satin White paper by Tsutomu Kajimoto and Takeshi Artita, block carving by Hidemi Nomura, Watanabe Studio, Ltd., New York. Published by Ink Tree Editions, Küsnacht, Switzerland. (Krakow 2000.08) Each sheet: 30.5 x 45.7 cm
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‘Circle with Broken Bands Within a Square’ Linocut printed in colours, 2003. Signed in pencil and numbered AP 8/8. One of eight Artist Proofs aside from the edition of 25. Printed on 300 gsm Somerset Satin White paper by Eisaku Sakane and Keigo Takahashi, Watanabe Studio, Ltd., New York. Published by WNYC, New York. (Krakow 2003.07) 61 x 61 cm
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‘Piramidi (Pyramids)’ The set of ten lithographs printed in colours, 1997. Signed in pencil on the colophon and numbered 39 from the edition of 400. Printed on handmade paper by Alberto Villa and Maurizio Modena at Fratelli Cironi, Italy. Published by Marco Noire Editore, Turin, Italy. (Krakow 1986.02) Each sheet: 22.2 x 68 cm
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‘Lines in Two Directions & In Five Colors on Five Colors with All Their Combinations’ Screenprint in colours, 1981. From the set of seventy-five screenprints. Signed in pencil, inscribed and annotated TP in pencil. A trial proof aside from the edition of 10. Printed on Arches 88 paper by Jo Watanabe, New York. Published by Multiples, Inc. New York. (Krakow 1981.02) 55.9 x 55.9 cm
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‘Notes on a Room’ Illustrated book with two woodcuts printed in colours by Sol LeWitt, 1998. With additional works by Louise Lawler and Richard Artschwager. Signed in pencil and numbered 17 from the edition of 130. Published by Library Fellows of the Whitney Museum of American Art, New York. (Krakow 1998.01) Each sheet: 40.6 x 50.8 cm
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‘Bands (not straight) in Four Directions’ The set of four woodcuts printed in colours, 1999. Each signed in pencil and numbered AP 10/10. An Artist Proof set aside from the edition of 75. Printed on Zangetsu paper by Katsumi Suzuki and Choichi Nishikawa, Watanabe Studio Ltd., New York. Published by Parasol Press Ltd., New York. (Krakow 1999.01) Each sheet: 37.5 x 88.9 cm
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‘Color Rectangles’ Screenprint in colours, 1995. Signed in pencil and numbered TP 1/2. One of two trial proofs aside from the edition of 80. Printed on Somerset Textured paper by Watanabe Studio, New York. Published by Artforce, Switzerland. (Krakow 1995.05) 85.1 x 65.1 cm
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‘Complex Forms’ The set of five etchings with aquatint, 1990. Each signed in pencil and numbered AP 2/5. One of five Artist Proof sets aside from the edition of 27. Printed on Somerset Textured White paper by Peter Pettengill, Wingate Studios, New Hampshire. Published by Osiris Editions, New York. (Krakow 1990.11) Each sheet: 89.5 x 89.5 cm
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‘Geometric Form Derived from a Cube’ Screenprint, 1982. Signed in pencil, inscribed, and annotated TP. One of four trial proofs aside from the edition of 50. Printed on Arches 88 paper by Jo Watanabe, New York. Published by Weatherspoon Art Gallery, Greensboro, North Carolina. (Krakow 1982.05) 76.2 x 76.2 cm
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‘Bands of Color in Different Directions’ Etching and aquatint printed in colours on two sheets, 1996. Signed in pencil and numbered AP 2/8. One of eight Artist Proofs aside from the edition of 36. Printed on wove paper by Watanabe Studio Ltd., New York. Published by John Campione, New York and Annemarie Verna, Zurich. (Krakow 1996.08) 50.8 x 210.8 cm
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‘All Combinations of Red, Yellow and Blue with Scribbles’ The set of seven etchings with aquatint printed in colours, 1990. Each signed in pencil and numbered AP 6/12. One of twelve Artist Proof sets aside from the edition of 30. Printed on 300 gsm Somerset Satin White paper by Joseph Montague, Deborah Tint, Naomi Strauss, Watanabe Studio, New York. Published by Creative Works Editions, Osaka Japan. (Krakow 1990.02) Each sheet: 73.6 x 73.6 cm
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‘Cube’ Etching printed in colours, 1996. Signed in pencil and numbered AP 8/8. One of eight Artist Proofs aside from the edition of 50. Printed on 250 gsm Magnani Pescia paper by Kevin Oster at Watanabe Studio Ltd., New York. Published by Markus Hartmann, Cantz, Ostfildern, Germany. (Krakow 1996.07) 66 x 48.3 cm
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‘Loops Blue/Red’ Linocut printed in colours, 1999. Signed in pencil and numbered AP 15/15. One of fifteen Artist Proofs aside from the edition of 60. Printed on 300 gsm Somerset Satin White paper by Tsutomu Kaji, Watanabe Studio Ltd., New York. Published by The New School, Deborah McTigue, New York. (Krakow 1999.13) 38.1 x 30.5 cm
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‘Loops Red/Blue’ Linocut printed in colours, 1999. Signed in pencil and numbered AP 15/15. One of fifteen Artist Proofs aside from the edition of 60. Printed on 300 gsm Somerset Satin White paper by Tsutomu Kaji, Watanabe Studio Ltd., New York. Published by The New School, Deborah McTigue, New York. (Krakow 1999.12) 38.1 x 30.5 cm
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‘Irregular Forms’ The set of two woodcuts printed in colours, 1998. Both signed in pencil and numbered AP 10/10. One of ten Artist Proof sets aside from the edition of 130. Printed on Kozo-Misumu paper by Hidemi Nomura, Watanabe Studio Ltd., New York. Published by Library Fellows of the Whitney Museum of American Art, New York. (Krakow 1998.07) Each sheet: 40.6 x 50.8 cm
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‘Irregular Arcs Bands and Loops’ Screenprint in colours, 1999. Signed in pencil and numbered 10/10. One of ten Artist Proofs aside from the edition of 45. Printed on Somerset Satin White paper by Hidemi Nomura and Tsutomu Kajimoto, Watanabe Studio Ltd., New York. (Krakow 1999. 05) 43.1 x 97.4 cm
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‘Concentric Irregular Bands’ The set of four woodcuts printed in colours, 1997. Each signed in pencil and numbered AP 7/8. One of eight Artist Proof sets aside from the edition of 30. Printed on Tobashi paper by Hidemi Nomura, Watanabe Studio Ltd., New York. Published by Quartet Editions, New York. (Krakow 1997.03) Each sheet: 38.7 x 38.7 cm
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‘Complex Form with Black and Gray Bands’ Screenprint in colours, 1998. Signed in pencil, inscribed and numbered 11 from the edition of 28. Printed on Arches Cover White paper by Takeshi Arita, Watanabe Studio Ltd., New York. Published by the artist. (Krakow 1988.08) 106.7 x 144.8 cm
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‘Isometric Formes’ The set of five linocuts printed in colours, 2002. Each signed in pencil and numbered 10/10. One of ten Artist Proof sets aside from the edition of 55. Printed on Somerset Satin White paper by Eisaku Sakne at Wantanbe Studio, New York. Published by Gabrius S.p.a., Milan. (Krakow 2002.01) Each sheet: 50 x 75 cm
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‘Irregular Zigzag Bands’ Etching with aquatint printed in colours, 1996. Signed in pencil and numbered AP 15/15. One of fifteen Artist Proofs aside from the edition of 50. Printed on 350 gsm Arches 88 paper by Watanabe Studio Ltd., New York. Published by Leucadia National Corporation - Professional Data Management. (Krakow 1996.06) 33 x 78.7 cm
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‘Wavy Lines (Gray)’ Woodcut printed in colours, 1995. Signed in pencil and numbered AP 8/8. One of eight Artist Proofs aside from the edition of 40. Printed on Awa Kozo paper by Kevin Oster, Watanabe Studio Ltd., New York. Published by John Campione, New York. (Krakow 1995.03) 90.2 x 53.3 cm
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‘Wavy Lines (Color)’ Woodcut printed in colours, 1995. Signed in pencil and numbered AP 8/8. One of eight Artist Proofs aside from the edition of 40. Printed on Awa Kozo paper by Kevin Oster, Watanabe Studio Ltd., New York. Published by John Campione, New York. (Krakow 1995.04) 90.2 x 53.3 cm
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‘Irregular Forms (Flat and Glossy Colors) with Black Border’ The set of four etchings with aquatint and screenprint in colours, 1998. Each signed in pencil and numbered AP 4/6. One of six Artist Proof sets aside from the edition of 20. Printed on 300 gsm Somerset Satin White paper by Katsumi Suzuki, Hidemi Nomura & Takeshi Arita, Watanabe Studio Ltd., New York. Published by EDICIONS T, Barcelona, Spain. (Krakow 1998.02) Each sheet: 70 x 89 cm
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‘Bands of Lines in Four Directions’ The set of two woodcuts printed in colours, 1993. Each signed in pencil and numbered 14/15. One of 15 Artist Proof sets aside from the edition of 125. Printed on Tosa-Kozo paper by Takuji Hamanaka, Watanabe Studio, New York. Published by Watanabe Studio, New York. (Krakow 1993.02) Each sheet: 41.8 x 41.8 cm and 27 x 72.5 cm
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‘Stars’ The set of six linocuts printed in colours, 2002. Each signed in pencil and numbered AP 10/10. One of ten Artist Proof sets aside from the edition of 100. Printed on 300 gsm Somerset Satin White paper by Eisaku Sakane, assisted by Keigo Takahashi and Chie Shimizu, Watanabe Studios Ltd., New York. Published by Parasol Press Ltd., New York. (Krakow 2002.02) Each sheet: 69.2 x 69.2 cm
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‘Open Cube in Black on White’ Linocut, 2004. Signed in pencil and numbered AP 10/10. One of ten Artist Proofs aside from the edition of 50. Printed on 300 gsm Somerset Satin White paper by Keigo Takahashi, Watanabe Studio, Ltd., New York. Published by GLI ORISFL, Paolo Gori, Pistoia, Italy. (Krakow 2004.02) 43.2 x 43.2 cm
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‘Irregular Wavy Bands’ Screenprint in colours, 1996. Signed in pencil and numbered AP 8/8. One of eight Artist Proofs aside from the edition of 50. Printed on Awa Kozo paper by Watanabe Studio Ltd., New York. Published by The Lighthouse. (Krakow 1996.10) 61 x 73.7 cm
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‘Straight Lines in Four Directions & All Their Possible Combinations’ The set of fifteen etchings, 1973. Each signed in pencil verso and numbered from the edition of 25. Printed on Arches Satine paper by Kathan Brown at Crown Point Press, California. Published by Parasol Press Ltd., New York. (Krakow 1973.05) Each Sheet 26.7 x 26.7 cm
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‘Form Derived from a Cube’ Lithograph with screenprint in colours, 1990. Signed in pencil and numbered XIV/XX. One of twenty Artist Proofs aside from the edition of 75. Printed by Zoran Bozovic at Watanabe Studio, New York. Published by Zoran Bozovic. (Krakow 1990.04) 32.4 x 24.1 cm
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‘Arcs and Bands in Color’ The set of six linocuts printed in colours, 2000. Each signed in pencil and numbered 10/10. One of ten Artist Proof sets aside from the edition of 50. Printed on Somerset Velvet Radiant White paper by Hidemi Nomura and Tsutomu Kjimoto at Watanabe Studio, New York. Published by Editions Schellmann, Barcelona. (Krakow 1999.11) Each sheet: 50.8 x 50.8 cm
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‘Isometric Figure with Bars of Color’ Linocut printed in colours, 2003. Signed in pencil and numbered 15/30. One of thirty Artist Proofs aside from the edition of 150. Printed on Somerset Satin White paper by Eisaku Sakane and Keigo Takahashi at Watanabe Studio, New York. Published by Smithsonian Associates, Washington DC. (Krakow 2003.06) 40.6 x 40.6 cm
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‘Irregular Horizontal Color Bands and Irregular Color Arcs from the Lower Left Corner’ The set of two woodcuts printed in colours, 1997. Both signed in pencil and numbered 8/8. One of eight Artist Proof sets aside from the edition of 25. Printed on Awa-Kozo paper by Katsumi Suzuki at Watanabe Studio, New York. Published by EDICIONS T, Barcelona. (Krakow 1997.02) Each sheet: 30.5 x 40.6 cm
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‘The Location of Lines’ The complete set of five etchings, 1975. Each sheet signed and numbered from the edition of 25. Printed on Rives BFK by John Slivon at Crown Point Press, California. Published by Parasol Press Lts., New York. (Krakow 1975.06) Each Sheet 45.7 x 45.7 cm
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‘From Pyramids: Plate 3’ Aquatint printed in colours, 1987. Signed in pencil and numbered 16 from the edition of 19. Printed on Somerset Satin White paper by Jeryl Parker Editions, New York. Published by Parasol Press, New York. (Krakow 1987.03) 59.4 x 90.2 cm
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‘Color Divided by Wavy Lines’ The set of three screenprints in colours, 1999. Each signed in pencil and numbered 8/8. One of eight Artist Proof sets aside from the edition of 35. Printed on Arches 88 paper by Hidemi Nomura at Watanabe Studio, New York. Published by EDICIONS T, Barcelona. (Krakow 1999.07) Each sheet: 43 x 59 cm
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‘Irregular Wavy Bands’ The set of four aquatints printed in colours, 1996. Each signed in pencil and numbered AP 5/8. One of eight Artist Proof sets aside from the edition of 35. Printed on 350 gsm Arches 88 paper by Watanabe Studio Ltd New York. Published by EDICIONS T, Barcelona. (Krakow 1996.05) Each sheet: 26 x 89.5 cm
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‘(Monotype # 25)’ Unique screenprint monoprint in colours, c. 1996. Signed in pencil. 140 x 140 cm
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‘Four-Part Combination of Six Geometric Figures in Four Colors’ The set of four woodcuts printed in colours, 1980. Each signed in pencil and numbered 23 from the edition of 40. Printed on handmade Japanese Echizen-Kizuki Hosho paper, by Adachi, Japan. Published by Galerie Watari, Tokyo. Each sheet: 21.9 x 47 cm (Krakow 1980.07)
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‘Irregular Red, Yellow and Blue Rectangles Superimposed’ Etching printed in colours, 1993. Signed in pencil and numbered 10 from the edition of 20. Printed on 350 gsm Arches 88 paper by Antony O'Hara, Watanabe Studio Ltd., New York. Published by Association of Artists Against Torture, St. Gallen, Switzerland. (Krakow 1993.07) 76.2 x 56 cm
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‘Wall Drawings in Australia’, 1977. ‘(Drawing Series I, II, III, IIII A & B)’, 1974. Arcs circles & grids, 1972. ‘Wall Drawings & Structures. The Location of Six Geometric Figures Variations of Incomplete Open Cubes’. 1974. ‘49 three-part variations using three different kinds of cubes / 1967-68’. 1969. Signed in pen. ‘Photo Grids’. 1978. Signed in pen. ‘Brick Wall’. 1977. ‘Cock Fight Dance’. 1980. ‘Variations On I Am Still Alive On Kawara’. 1988. ‘Incomplete Open Cubes’. 1974. ‘Four Basic Kinds of Straight Lines’. 1969. 94
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“...Learn to say “Fuck You” to the world once in a while. You have every right to. Just stop thinking, worrying, looking over your shoulder wondering, doubting, fearing, hurting, hoping for some easy way out, struggling, grasping, confusing, itchin, scratching, mumbling, bumbling, grumbling, humbling, stumbling, numbling, rumbling, gambling, tumbling, scumbling, scrambling, hitching, hatching, bitching, moaning, groaning, honing, boning, horse-shitting, hair-splitting, nit-picking, piss-trickling, nose sticking, ass-gouging, eyeballpoking, finger-pointing, alleyway-sneaking, long waiting, small stepping, evil-eyeing, back-scratching, searching, perching, besmirching, grinding, grinding, grinding away at yourself. Stop it and just DO!” - Sol LeWitt
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Designed by Lucy Harbut Printed by Dayfold 2014
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Sims Reed Gallery The Economist Building 30 Bury Street London SW1Y 6AU T +44 (0)20 7930 5111 F +44 (0)20 7930 1555 E gallery@simsreed.com www.gallery.simsreed.com