Statement Objects: 7 Sol LeWitt Wall Drawings

June 1, 2011 § 2 Comments

7 Sol Lewitt wall drawings

installed at Magasin 3 Stockholm in 2010:

”Wall Drawing #51”, June 1970
All architectural points connected by straight lines. Blue snap lines.

”Wall Drawing #85”, June 1971
Four color composite/pencil. A wall is divided into four horizontal parts. In the top row are four equal divisions, each with lines in a different direction. In the second row, six double combinations; in the third row, four triple combinations; in the bottom row, all four combinations superimposed.

”Wall Drawing #111”, September 1971
A wall divided vertically into five equal parts, with ten thousand lines in each part: 1st) 6″ (15 cm) long; 2nd) 12″ (30 cm) long; 3rd) 18″ (45 cm) long; 4th) 24″ (60 cm) long; 5th) 30″ (75 cm) long. Pencil.

”Wall Drawing #123”, 1972
Copied lines. The first drafter draws a not straight vertical line as long as possible. The second drafter draws a line next to the first one, trying to copy it. The third drafter does the same, as do as many drafters as possible. Then the first drafter, followed by the others, copies the last line drawn until both ends of the wall are reached. Pencil.

”Wall Drawing #124”, March 1972
Horizontal not straight lines. Each drafter draws one not straight horizontal line from the left side of the wall to the right. The lines should not touch. There are as many lines as drafters; each draws one. Pencil.

”Wall Drawing #422”, November 1984
The room (or wall) is divided vertically into fifteen parts. All one-, two-, three-, and four part combinations of four colors, using color ink washes. Color ink wash.

”Wall Drawing #715”, February 1993
On a black wall, pencil scribbles to maximum density. Pencil.

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From curator Elisabeth Millqvist ‘s notes:

“2-3 assistants have sharpened pencils for a whole day.”

“Wall drawing 715 has the instruction: ”On a black wall, pencil scribbles to maximum density”. The 22 meter black wall is slowly filled. After 3 days Anthony Sansotta from Sol LeWitt’s studio comments:”nice foundation”. It takes four weeks of work before it is finished.”

“INCLUDED ON THE SHOPPING LIST we have had 244 pencil leds (2mm 2B), 12 pencil sharpeners, 20 pencil holders, 18 rolls of tape, paint (Mars Black, Pyrrole Red, Quinacridoe Rose Deep, Cadmium Yellow Medium, Phthalo, Blue Deep), 15 liters of varnish, Indigo Blue chalk pigment (500 g), four 3 meter long wooden rulers, 30 l distilled water, a liquid measure, cloth rags, 3 scaffolds (with wheels), 7 stepladders and a good deal more. LeWitt is a pioneer within Conceptual Art. In 1967 he wrote ”Paragraphs on Conceptual Art” which is counted as the first manifesto of Conceptual Art. Conceptual Art has changed since then, become a field of different trajectories, but his work emphasizes that which is most fundamental – the idea is what’s important. The instructions together with the executed wall drawing constitute the art. In contrast to this the preparations for the execution are very concrete.

ANYONE CAN DO WALL DRAWINGS is what LeWitt thought originally but he changed his mind. Nowadays, after his death, the work is overseen by assistants from his studio who all worked with him at one point. At Magasin 3 the work is headed by Anthony Sansotta, Wim Starkenberg and eventually also John Hogan. It’s been two years since LeWitt died. It remains to be seen how his wall drawings will be produced. LeWitt’s studio would like the white walls to be a bluish white (a cold color) and prescribe the roller size to be used when the walls are painted. I don’t know what LeWitt’s attitude was but he said that ”different kinds of walls makes for different kinds of drawings”. This is far from a free interpretation, not even close to this summer’s staging of Strindberg’s Fröken Julie, where Miss Julie is an already mature women that falls in love with a young African instead of an aristocratic young lady in love with her fathers valet.”

[image: “Wall Drawing #111” as installed at Magasin 3, 2010 – detail]

Statement Object: Dream

May 12, 2011 § Leave a comment

Scott Burton, 1969


I. Conception

A. Agent instructs self to produce unconscious fantasy about self at specific (future) time and place.*

B. Agent sleeps.

II. Execution

A. At specified time and place agend reproduces conditions conceived in I.

B. Agent repeats I if:

1. Original conditions are inexecutable.

2. No conditions have been conceived.

*As an example, the agent, Scott Burton; the time, October 25, 1969, at noon; the place, East 65th Street, New York City, in front of #41.

[noted down during the 1969 show at PS1 this past summer]


John Perrault tells this story:

“Sleep as an art subject is rare, but Dean MacGregor may win the prize. As part of an ongoing series of sleepovers, on October 27, 2005 — as recently reported on Artnet — MacGregor slept all night in the Guggenheim Museum. Photo evidence of the Guggenheim nap and snoozes at other sites can be seen on his

Yes, Scott Burton did it first. Well, sort of. At a dinner party last month, Art in America‘s Betsy Baker asked me, vis a vis MacGregor, when Scott (a mutual friend) had done his sleeping piece.

As part of the opening night reception of Street Works at the Architectural League of New York in 1969, Burton, clad in pajamas, slept on a coton a staircase landing. Where’s the proof? Back then we did not think of photographing every single art work we made, every single thought. How do you photograph a thought?

That was to come later.

Since we had had a falling out over something or another — probably his capitulation to what I thought of asobject-mongering — I never got a chance to ask Burton if he had indeed dreamed that evening, surrounded by strangers trudging up and down the elegant stairs of that Upper East Side mansion.”

[more here]

[description of the Scott Burton Papers at MoMA]

Statement Object: Boxes for Meaningless Work

May 5, 2011 § Leave a comment

Walter de Maria, “Boxes for Meaningless Work”

“I will have built two small boxes. I put small things in the boxes. A sign explains the boxes to anyone who should approach them. It says “Meaningless work boxes.” Throw all of the things into one box, then throw all of the things into the other.  Back and forth, back and forth. Do this for as long as you like. What do you feel? Yourself? The Box? The Things? Remember this doesn’t mean anything.” March 1960

See also de Maria’s essay “Meaningless Work:”

“Meaningless work is obviously the most important and significant art form today. The aesthetic feeling given by meaningless work cannot be described exactly because it varies with each individual doing the work. Meaningless work is honest. Meaningless work will be enjoyed and hated by intellectuals—though they should understand it. Meaningless work cannot be sold in art galleries or win prizes in museums—though old fashioned records of meaningless work (most of all paintings) do partake in these indignities.”

[

both originally published in An Anthology of Chance Operations, La Monte Young, ed., Heiner Friedrich, New York, 1970


April 28, 2011 § Leave a comment

Yoko Ono’s Grapefruit

at MoMA last August.

Statement Objects: Carey Young

April 25, 2011 § Leave a comment

Carey Young: “Counter Offer 2008” (Inkjet prints, dyptich)


I offer you liberty.

This offer will be automatically withdrawn on the making of a counter offer.

Any counter offer is hereby rejected.

Counter Offer

I offer you justice.

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Carey Young: “Disclaimer (Risk) 2008” (Inkjet print on paper)


Your reliance on this work of art is at your own risk.

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On view at the New Museum in the show “An accord is first and formost only a proposition

See also Carey Young’s website

Word Object Action

April 15, 2011 § Leave a comment

We could begin here:

A field cratered by structured simul
taneous TNT explosions

(Lawrence Weiner, Statements)

Or here:

A wall divided horizontally and vertically into four equal parts. Within each part, three of the four kinds of lines are superimposed.

(Sol LeWitt, May 1969)

(image: Mass MOCA)

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