After nearly six months of intensive drafting and painting by a team of some sixty-five artists and art students, Sol LeWitt: A Wall Drawing Retrospective is fully installed. The historic exhibition opens to the public at MASS MoCA (Massachusetts Museum of Contemporary Art), in North Adams, Massachusetts, on November 16, 2008, and will remain on view for twenty-five years. Conceived by the Yale University Art Gallery, New Haven, Connecticut, in collaboration with the artist before his death in April 2007, the project has been undertaken by the Gallery, MASS MoCA, and the Williams College Museum of Art, Williamstown, Massachusetts.
Sol LeWitt: A Wall Drawing Retrospective comprises 105 of LeWitt’s large-scale wall drawings, spanning the artist’s career from 1969 to 2007. These occupy nearly an acre of specially built interior walls that have been installed per LeWitt’s own specifications over three stories of a historic mill building situated at the heart of MASS MoCA’s campus. The 27,000-square-foot structure, known as Building #7, has been fully restored for the exhibition by Bruner/Cott & Associates architects, which has closely integrated the building into the museum’s main circulation plan through a series of elevated walkways, a dramatic new vertical lightwell, and new stairways.
The works in the exhibition are on loan from numerous private and public collections worldwide, including the Yale University Art Gallery, to which LeWitt designated the gift of a major representation of his wall drawings, as well as his wall-drawing archive.
Jock Reynolds, the Henry J. Heinz II Director of the Yale University Art Gallery, states, “Watching this grand installation of Sol LeWitt’s wall drawings progress over the past six months has been nothing short of thrilling. In addition to providing an enduring exhibition of great beauty, this retrospective will enable visitors to behold for the first time the full trajectory of a major aspect of Sol’s artistic career. Until today, the only way to view multiple LeWitt wall drawings has been to travel far and wide, pursuing them individually in situ or in temporary museum exhibitions. Now, visitors will be able to return to MASS MoCA again and again to experience this visual feast of Sol’s wall drawings in a single location, doing so at their leisure over the next twenty-five years.”
LeWitt who stressed the idea behind his work over its execution is widely regarded as one of the leading exponents of Minimalism and Conceptual art, and is known primarily for his deceptively simple geometric structures and architecturally scaled wall drawings. His experiments with the latter commenced in 1968 and were considered radical, in part because this new form of drawing was purposely temporal and often executed not just by LeWitt but also by other artists and students whom he invited to assist him in the installation of his artworks.
Each wall drawing begins as a set of instructions or simple diagram to be followed in executing the work. As the exhibition makes clear, these straightforward instructions yield an astonishing and stunningly beautiful variety of work that is at once simple and highly complex, rigorous and sensual. The drawings in the exhibition range from layers of straight lines meticulously drawn in black graphite pencil lead, to rows of delicately rendered wavy lines in colored pencil; from bold black-and-white geometric forms, to bright planes in acrylic paint arranged like the panels of a folding screen; from sensuous drawings created by dozens of layers of transparent washes, to a tangle of vibratory orange lines on a green wall, and much more. Forms may appear to be flat, to recede in space, or to project into the viewer’s space, while others meld to the structure of the wall itself.
MASS MoCA Director Joseph C. Thompson comments, “With this exhibition, Sol LeWitt has left an amazing gift for us all. Great art draws upon previous artists, but also contradicts and contravenes. And the most essential art argues for new ways of seeing, even as it is almost immediately absorbed into the work that surrounds and supersedes it. As I believe will be evident in this landmark exhibition, LeWitt’s wall drawings rise to those highest of standards. We look forward to having this amazing collection of works on long-term view as a sort of proton at the center of our museum around which our program of changing exhibitions and performances will orbit with even more energy.”
Fransje Killaar:
Trained at the Rijksakademie in Amsterdam, Killaars began her career as a painter. Influenced by the works of Ellsworth Kelly, Henri Matisse, Barnett Newman, and the Arte Povera artists, Killaars’ first encounter with the wall drawings of Sol LeWitt (who she assisted for many years) changed her approach to scale. In the late 1980s the artist broke free from the limits of the canvas with room-size installations that translated her brilliant palette into three dimensions. In 1990 her work was further transformed by a trip to India where she found the streets exploding with color and life. Inspired by a visit to a weaving workshop as well as the sight of saris hanging over balconies and neatly displayed in shops, Killaars recognized fabric as a potent, sensual, and tactile medium for color and has since worked primarily with textiles to create her installations. Her work, which has been exhibited extensively in Holland - as well as France, Germany, and Japan - is included in numerous museum collections. The artist has been commissioned to design spaces for both private homes and public venues, including the receiving room where the Dutch Prime Minister greets international visitors.
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