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Sol Lewitt - Wall Drawing 1176

Sol LeWitt. Wall Drawing 1176.
Seven Basic Colors and All Their Combinations 
in a Square within a Square. For Josef Albers

Sol LeWitt’s Walldrawing for Josef Albers is the second publication (after Agnes Martin) of the Josef Albers Museum within the exhibition project of ‘Albers in Context’. This publication series not only introduces students of Albers whom he taught at the Black Mountain College or at
Yale University, but also artists whose aesthetic concepts were formulated at a time when Josef Albers was trigger-ing important impulses for an art beyond abstract Expressionism.
Sol LeWitt dedicated his wall drawing to Josef Albers, whose significance for his own artistic development he thus underlined, expressly by way of Albers’ colour theory and practice. Even if LeWitt and Albers are separated by a fundamentally different understanding of their work, what is valid for both artists is their avoidance of any emphatic idea of authorship, their surmounting of any hierarchic model of composition and the way they in general objectify the work concept by which the single piece is always also part of a long term serial study.
The wall drawing, installed in the Josef Albers Museum Quadrat in Bottrop, is reproduced in this publication in its entirety.
Pris ved 1Stk 469,00 DKK

Emne Minimalisme
Kunstner Sol Lewitt
Forfatter Sol LeWitt Heinz Liesbrock
Sprog Engelsk
Illustrationer 42 farve + 1 s/h
Format / Sideantal 23 x 29 cm. / 136 s.
Udgivelsesår 2006
Indbinding Hæftet
Forlag Richter Verlag
Antikvarisk
Antal
Køb
ISBN 978-3-937572-35-2
Lev. 3 dage
Sol LeWitt. Wall Drawing 1176.
Seven Basic Colors and All Their Combinations 
in a Square within a Square. For Josef Albers

Sol LeWitt’s Walldrawing for Josef Albers is the second publication (after Agnes Martin) of the Josef Albers Museum within the exhibition project of ‘Albers in Context’. This publication series not only introduces students of Albers whom he taught at the Black Mountain College or at
Yale University, but also artists whose aesthetic concepts were formulated at a time when Josef Albers was trigger-ing important impulses for an art beyond abstract Expressionism.
Sol LeWitt dedicated his wall drawing to Josef Albers, whose significance for his own artistic development he thus underlined, expressly by way of Albers’ colour theory and practice. Even if LeWitt and Albers are separated by a fundamentally different understanding of their work, what is valid for both artists is their avoidance of any emphatic idea of authorship, their surmounting of any hierarchic model of composition and the way they in general objectify the work concept by which the single piece is always also part of a long term serial study.
The wall drawing, installed in the Josef Albers Museum Quadrat in Bottrop, is reproduced in this publication in its entirety.