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[LEWITT Sol] COLLECTIF
Sol LeWitt
Metz, Editions du Centre Pompidou-Metz, 2012, 25,5 x 28,5, 326 pages sous cartonnage éditeur imprimé. Iconographie noir & blanc et couleurs. Ouvrage publié à l'occasion des expositions présentées à Louvain du 21 juin au 14 octobre 2012 et au Centre Pompidou-Metz du 7 mars au 29 juillet 2013.
Reference : ARTTTTT91910924
ISBN : 9782359830187
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5 book(s) with the same title
Geometric Figures & Color. Sol LeWitt. Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue
LeWitt, Sol: Geometric Figures & Color. Sol LeWitt. Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue. New York: Harry N. Abrams, 1979. Signed by the artist on the title page. 48 pages of illustrations. Paperback. 21 x 21cms. Lewitt conceptually explores: 'Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue.' The book is divided into three sections, each of which differ by background color. Barbara M. Reise wrote that 'LeWitt's colours, like his lines and squares, are like 'facts': they are inert, pre-established, accepted and un-emotional man-made constructs which can 'come to life' within a present context but do not necessarily do so. Red, yellow, blue, and black (and the white of wall or paper) are standard 'absolute primaries basic to all pigment colour - that is according to the colour system accepted by an art academic from early 19th-century theorists like Chevreul. Unlike the Newtonian rainbow-spectrum based on light-waves, this theoretical structure is more conceptually mathematical and tautological than referential to some exterior and inhuman Nature. LeWitt's use of these colours is as flatly complete, physical, and self-reflective as the theory itself. Unlike Seurat, whose use of the same colour theories was subordinated and interrelated to other interests in proportion theories and (seen) scene subject-matter, LeWitt uses colour as both the subject and the object of his art' (in: 'Sol Lewitt Critical Texts,' ed. Adachiara Zevi, Rome, 1994, p. 188).
Lewitt conceptually explores: 'Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue.' The book is divided into three sections, each of which differ by background color. Barbara M. Reise wrote that 'LeWitt's colours, like his lines and squares, are like 'facts': they are inert, pre-established, accepted and un-emotional man-made constructs which can 'come to life' within a present context but do not necessarily do so. Red, yellow, blue, and black (and the white of wall or paper) are standard 'absolute primaries basic to all pigment colour that is according to the colour system accepted by an art academic from early 19th-century theorists like Chevreul. Unlike the Newtonian rainbow-spectrum based on light-waves, this theoretical structure is more conceptually mathematical and tautological than referential to some exterior and inhuman Nature.. LeWitt's use of these colours is as flatly complete, physical, and self-reflective as the theory itself. Unlike Seurat, whose use of the same colour theories was subordinated and interrelated to other interests in proportion theories and (seen) scene subject-matter, LeWitt uses colour as both the subject and the object of his art' (in: 'Sol Lewitt Critical Texts,' ed. Adachiara Zevi, Rome, 1994, p. 188). Text in English
Sol LeWitt : Collectif
, Centre Pompidou Metz, 2012 Hardcover, 326 pages, ENG. edition, 290 x 260 x 30 mm, as NEW !, Fully illustrated in colours / b/w. ISBN 9782359830187.
In his 1967 "Paragraphs on Conceptual Art," Sol LeWitt set out the fundamental principle of his artistic practice: "In conceptual art the idea or concept is the most important aspect of the work ... The idea becomes a machine that makes the art." From the first wall drawing in 1968 until his death in 2007, LeWitt never ceased to develop new "machines," conceiving some 1,200 wall drawings and laying down the foundations of Conceptual and Minimalist art. LeWitt's wall drawings, always installed by assistants, eliminated any intermediary object (such as a canvas) between the work and its support, thereby dovetailing a sensuous material immediacy with a powerful Platonic detachment. His sculptural variations on grids, cubes and pyramids likewise project this moving simplicity and clarity. Magnificent in scope, design and scholarship, this essential volume is the first comprehensive LeWitt monograph published since the artist's death, and the first overview since 2000. Besides gathering visual documentation of LeWitt's wall drawings and his sculptures-or "structures" as he preferred-the publication also includes his complete writings; spreads from his artist's books; plus interviews and essays by virtually every artist and author closely associated with LeWitt, among them Lucy Lippard, Rosalind Krauss, Mel Bochner, Dan Graham and Robert Smithson. One of the most important artists of the twentieth century, LeWitt at last receives the definitive treatment of his work in this volume. Sol LeWitt (1928-2007) was born in Hartford, Connecticut, where he took art classes at the Wadsworth Atheneum. After receiving a BFA from Syracuse University he worked as a graphic designer in the office of architect I.M. Pei. In 1976, LeWitt cofounded the artists' book bookstore Printed Matter in New York, with Lucy Lippard. A retrospective of his wall drawings opened to the public in 2008 at MASS MoCA in North Adams, Massachusetts, where it will remain on view for 25 years.
Strict Beauty - Sol Lewitt Prints
Couverture rigide New Haven, Yale University Press, 2020. Un volume petit in-4 (26 x 22,5 cm), cartonnage d'éditeur illustré, sous son blister d'origine. 288 pages, illustrées de 416 reproductions en couleurs et 6 en noir et blanc. Texte en anglais. L'artiste conceptuel Sol LeWitt (1928-2007) est surtout connu pour ses dessins muraux et ses structures modulaires. Parallèlement à ces œuvres, il a réalisé plus de 350 projets d'impression, comprenant des milliers de lithographies, de sérigraphies, d'eaux-fortes, d'aquatintes, de gravures sur bois et de linogravures. Cet ouvrage généreusement illustré est le premier à présenter de manière exhaustive la pratique de l'estampe de LeWitt, importante mais encore peu explorée. Avec plus de 400 illustrations, dont beaucoup n'ont jamais été publiées auparavant, cette étude offre une image plus complète de l'œuvre de LeWitt et situe les gravures de LeWitt dans le contexte plus large de son approche sérielle, systémique et basée sur des règles de la création artistique. Bel exemplaire, comme neuf.
Comme neuf
LEWIS BALTZ / SOL LEWITT
, Walter Koenig Verlag, 2020 PB, 300 x 230 mm, 88 pages, E/ G edition. ISBN 9783960987635.
The catalogue and the exhibition of the same name bring works by Lewis Baltz and Sol LeWitt into dialogue, exploring structures of spatial processes with their reduced visual language. Baltz was instrumental in conceptual photography taking its place as an equal among other media in the context of art. His groundbreaking serial works of the late 1960s and '70s describe places which were created as epiphenomena of a post-industrial society. LeWitt helped shape the understanding of contemporary art as a pioneer of conceptual art since the 1960s. His open cube structures of Serial Project (1967) and massive Black Cubes (2000) with their oversized forms point to an absence of function while the objects assert their presence in space.
Chroniques de l'Art Vivant - Aimé Maeght et Jean Clair - Irmeline Lebeer - Harald Szeemann - Madeleine Deschamps - Catherine Millet et Terry Atkinson - Sol LeWitt - Paul Lebeer - Michel Vachey sur Abraham Moles - M. Mattys - Eusebio Sempere - Henry Galy-Carles sur John Withney - Gérald Gassiot-Talabot sur Gilles Aillaud - Bernard Dufour - Alvaro Manuel Machado sur Carlos Fuentes - Vladimir Forgeney - Daniel Caux et Terry Riley - Yves Navarre - Miro
Reference : CAV-25
(1971)
Chroniques de l'Art Vivant n° 25 - Novembre 1971 - Cassel Documenta 5, - Houston De Luxe Show - Bruxelles, le dessin contemporain - Art-Language à Londres, et Terry Atkinson - Sol LeWitt - Abraham Moles - Esthétique numérique, concepts de base- Madrid, Centre de calcul - Eusebio Sempere - John Withney, Ordinateur et création animée - Gilles Aillaud - Bernard Dufour - Carlos Fuentes et l'impossible fête - Vladimir Forgeney - The Mood of Terry Riley - Amsterdam, 2nd Wet Dream Film Festival - Miro sur le vif
Maeght Editeur - Chroniques de l'Art Vivant Ferce sur Sarthe, France 1971 Book Condition, Etat : Bon broché, sous couverture imprimée éditeur, illustrée d'un guerrier chinois avec une femme nue grand In-4 1 vol. - 32 pages
très nombreuses illustrations en noir et blanc 1ere édition Contents, Chapitres : Irmeline Lebeer : Cassel Documenta 5, entretien avec Harald Szeemann, 4 pages avec 16 illustrations - Madeleine Deschamps : Houston De Luxe Show - Bruxelles, le dessin contemporain (Galerie Withofs) - Catherine Millet : Art-Language à Londres, entretien avec Terry Atkinson, 1 double-page - Irmeline Lebeer : Sol LeWitt - Textes inédits en français - Paul Lebeer : LeWitt l'inventeur - Michel Vachey : Entre la science et le kitsch, Abraham Moles - M. Mattys : Esthétique numérique, concepts de base- Madrid, Centre de calcul - Eusebio Sempere - Henry Galy-Carles : John Withney, Ordinateur et création animée - Gérald Gassiot-Talabot sur Gilles Aillaud - Jean Clair : Entretien avec Bernard Dufour, 1 double page illustrée - Alvaro Manuel Machado : Carlos Fuentes et l'impossible fête - Le feu sacré de Vladimir Forgeney - Daniel Caux : The Mood of Terry Riley, entretien - Yves Navarre : Amsterdam, 2nd Wet Dream Film Festival - Miro sur le vif en 4eme de couverture
