Sol LeWitt: The Well-Tempered Grid (WILLIAMS COLLEG)
ISBN-13:
9780913697313
ISBN-10:
0913697311
Author:
Charles Haxthausen, Christianna Bonin, Erica DiBenedetto
Publication date:
2013
Publisher:
Williams College Museum of Art
Format:
Paperback
120 pages
Category:
Monographs
,
Individual Artists
,
History
,
Arts History & Criticism
,
Conceptual
,
Arts Other
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Book details
ISBN-13:
9780913697313
ISBN-10:
0913697311
Author:
Charles Haxthausen, Christianna Bonin, Erica DiBenedetto
Publication date:
2013
Publisher:
Williams College Museum of Art
Format:
Paperback
120 pages
Category:
Monographs
,
Individual Artists
,
History
,
Arts History & Criticism
,
Conceptual
,
Arts Other
Summary
Sol LeWitt: The Well-Tempered Grid (WILLIAMS COLLEG) (ISBN-13: 9780913697313 and ISBN-10: 0913697311), written by authors
Charles Haxthausen, Christianna Bonin, Erica DiBenedetto, was published by Williams College Museum of Art in 2013.
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Description
Sol LeWitt: The Well-Tempered Grid is the first exhibition to focus on the centrality of the grid in LeWitt’s art. The exhibition focuses on LeWitt’s use of the grid as a generative matrix for his artistic production over the span of nearly five decades, from 1960 until his death in 2007. Inspired by his first encounter with the work of photographer Eadweard Muybridge in the late 1950s, LeWitt began experimenting with a loosely structured grid in several large oil paintings of 1960, based on the Muybridge motif of a running man. By 1962 he had simplified his use of this format to exclude figurative elements, and by 1964 he was making his first wall-mounted grid structures. When LeWitt made his first wall drawings in 1968 he used the grid as the underlying structural principle. Thereafter, grids became a pervasive matrix in all of the media in which LeWitt worked--three-dimensional “structures,” drawings and gouaches on paper, photographic cycles, artist’s books, furniture and wall drawings. Fully illustrated with 95 color images (and a plate section), the book includes three essays, including Charles W. Haxthausen on LeWitt’s relationship to the grid and classical music, especially Bach; Christianna Bonin on LeWitt’s relationship to Richard Serra and the wall drawing; and Erica DiBenedetto on LeWitt’s 1980 artist’s book, Autobiography, a publication consisting solely of 1,101 photographs of LeWitt’s New York studio, organized over 128 pages in nine-part grids.
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