Description
LEWITT, SOL (1928-2007)
*Cock fight Dance.
new-York : rizzoli /Multiples Inc., 1980.
broché. 11 x 11 cm. édition originale.
réf. : Moeglin-Delcroix, esthétique du livre d'artiste, reproduit p. 375.
sol lewitt books 1966-1990 reproduit sur deux pages.
CLOSKY, CLAUDE (1963)
*100 photographs which are not photographs of horses.
Pougues-les-eaux : éditions de la rn7, 1995
broché illustrée.
20,5 x 14,5 cm.
édition originale.
on y joint le carton d'invitation, « 100 photos qui ne sont pas des photos de salles
de bains et qui ne sont pas des photos de cuisine, » 1996.
DELVOyE, wIM (1965)
*Pigs.
relié, avec une image embossée, dos en toile noire. 29,5 x 21,5 cm.
édition originale.
HORN, RONI (1955)
*Bird
göttingen/Zürich/londres : steidl /Hauser & Wirth, 2008.
relié sous toile gris-vert. 31 x 28,5
édition originale.
Cette publication a été réalisée pour une exposition à la galerie Hauser & Wirth.
texte de Philip laratt-smith, « Hornitology - nature's Question Mark »
Notes
Solomon "Sol" LeWitt (September 9, 1928 - April 8, 2007) was an American artist linked to various movements, including Conceptual art and Minimalism.[1] LeWitt came to fame in the late 1960s with his wall drawings and "structures" (a term he preferred instead of "sculptures") but was prolific in a wide range of media including drawing, printmaking, photography, and painting. He has been the subject of hundreds of solo exhibitions in museums and galleries around the world since 1965.
LeWitt was born in Hartford, Connecticut to a family of Jewish immigrants from Russia. His mother took him to art classes at the Wadsworth Atheneum in Hartford.[2] After receiving a BFA from Syracuse University in 1949, LeWitt traveled to Europe where he was exposed to Old Master painting. Shortly thereafter, he served in the Korean War, first in California, then Japan, and finally Korea. LeWitt moved to New York City in 1953 and set up a studio on the Lower East Side, in the old Ashkenazi Jewish settlement on Hester Street. During this time he studied at the School of Visual Arts while also pursuing his interest in design at Seventeen magazine, where he did paste-ups, mechanicals, and photostats. In 1955, he was a graphic designer in the office of architect I.M. Pei for a year. Around that time, LeWitt also discovered the work of the late 19th-century photographer Eadweard Muybridge, whose studies in sequence and locomotion were an early influence. These experiences, combined with an entry-level job as a night receptionist and clerk he took in 1960 at the Museum of Modern Art (MoMA) in New York, would influence LeWitt's later work. At the MoMA, LeWitt's co-workers included fellow artists Robert Ryman, Dan Flavin, and Robert Mangold. Curator Dorothy Canning Miller's now famous 1960 "Sixteen Americans" exhibition with work by Jasper Johns, Robert Rauschenberg, and Frank Stella created a swell of excitement and discussion among the community of artists with whom LeWitt associated. LeWitt also became friends with Hanne Darboven, Eva Hesse, and Robert Smithson. LeWitt taught at several New York schools, including New York University and the School of Visual Arts, during the late 1960s. In 1980, LeWitt left New York for Spoleto, Italy. After returning to the United States in the late 1980s, LeWitt made Chester, Connecticut, his primary residence.[3] He died at age 78 in New York from cancer complications.
LeWitt's work was first publicly exhibited in 1963 at St. Mark's Church, New York.[20] Dan Graham's John Daniels Gallery later gave him his first solo show in 1965.[21] In 1966, he participated in the "Primary Structures" exhibit at the Jewish Museum in New York (a seminal show which helped define the minimalist movement), submitting an untitled, open modular cube of 9 units. The same year he was included in the "10" exhibit at Dwan Gallery, New York. He was later invited by Harald Szeemann to participate in "When Attitude Becomes Form," at the Kunsthalle Bern, Switzerland, in 1969. Interviewed in 1993 about those years LeWitt remarked, "I decided I would make color or form recede and proceed in a three-dimensional way." The Gemeentemuseum in The Hague presented his first retrospective exhibition in 1970, and his work was later shown in a major mid-career retrospective at the Museum of Modern Art, New York in 1978.[20] In 1972/1973, LeWitt's first museum shows in Europe were mounted at the Kunsthalle Bern and the Museum of Modern Art, Oxford.[22] MoMA gave LeWitt his first retrospective in 1978-79. The exhibition traveled to various American venues. For the 1987 Skulptur Projekte Münster, Germany, he realized Black Form: Memorial to the Missing Jews, a rectangular wall of black concrete blocks for the center of a plaza in front of an elegant, white Neoclassical government building; it is now installed at Altona Town Hall, Hamburg. Other major exhibitions since include Sol LeWitt Drawings 1958-1992, which was organized by the Gemeentemuseum in The Hague, the Netherlands in 1992 which traveled over the next three years to museums in the United Kingdom, Germany, Switzerland, France, Spain, and the United States; and in 1996, the Museum of Modern Art, New York mounted a traveling survey exhibition: Sol LeWitt Prints: 1970-1995. A major LeWitt retrospective was organized by the San Francisco Museum of Modern Art in 2000. The exhibition traveled to the Museum of Contemporary Art, Chicago, and Whitney Museum of American Art, New York. In 2006, LeWitt's "Drawing Series..." was displayed at Dia:Beacon and was devoted to the 1970s drawings by the conceptual artist. He had drawn directly on the walls using graphite, colored pencil, crayon, and chalk. The works were based on LeWitt's complex principles, which eliminated the limitations of the canvas for more extensive constructions.[23] Sol LeWitt: A Wall Drawing Retrospective, a collaboration between the Yale University Art Gallery (YUAG), MASS MoCA (Massachusetts Museum of Contemporary Art), and the Williams College Museum of Art (WCMA) opened to the public in 2008 at MASS MoCA in North Adams, Massachusetts. The exhibition will be on view for 25 years and is housed in a three-story 27,000-square-foot (2,500 m2) historic mill building in the heart of MASS MoCA's campus fully restored by Bruner/Cott and Associates architects (and outfitted with a sequence of new interior walls constructed to LeWitt's specifications.) The exhibition consists of 105 drawings -- comprising nearly one acre of wall surface--that LeWitt created over 40 years from 1968-2007 and will include[citation needed] several drawings never before seen, some of which LeWitt created for the project shortly before his death. Furthermore, the artist was the subject of exhibitions at P.S. 1 Contemporary Center, Long Island City (Concrete Blocks); The Addison Gallery of American Art, Andover (Twenty-Five Years of Wall Drawings, 1968-1993); and Wadsworth Atheneum Museum of Art, Hartford (Incomplete Cubes), which traveled to three art museums in the United States. At the time of his death, LeWitt had just organized a retrospective of his work at the Allen Memorial Art Museum in Oberlin, Ohio.
Claude Closky is a French artist born in Paris in 1963 who specialized in contemporary art. Frieze Magazine has stated that "Most of Closky's works explore repetition, accumulation, and alphabetical, numerical or binary classifications."
