One of the most fascinating aspects of a Sol LeWitt Wall Drawing is that it can never be the same from one exhibit to another.
Every time a Wall Drawing is put on display, a group of draftsmen paint or draw a new interpretation of the piece.Â In following Conceptual Art, when the idea behind the art takes precedence over the actual piece of artwork, LeWitt writes a set of directions of how to create each piece of artwork.Â The directions drive the art process.
Before creating the new piece, wherever the Wall Drawing is currently located must be painted over so it no longer exists in that setting.Â Even if MASS MoCA wanted to relocate one of our Wall Drawings, the artwork cannot be moved, it must be repainted in the new space.
Only one official interpretation of a Wall Drawing can exist at one time; once the previous one has been painted over, the draftsmen are free to start their work.Â The draftsmen then use LeWittâ€™s directions to create their interpretation.Â However, every draftsman and every space is different, meaning that each time a Sol LeWitt is put on display, it is inherently unique.
Check out how varied, and at times similar, Sol LeWitt Wall Drawings can be even when they are rooted in the same directions!
Wall Drawing 146A at MASS MoCA. Â The “A” in 146A refers to the original (146) being white wall with blue crayon and this piece having blue walls with white crayon.
146 at the Guggenheim in NYC in 1972.
Read the rest of this entry »