纽约的约翰丹尼尔斯画廊于1965年登上Sol LeWitt的首次个展。1966年,他参加了纽约犹太博物馆的初级结构展览。这是极简主义艺术的一个决定性事件。纽约现代艺术博物馆于1978年推出了Sol LeWitt回顾展。许多艺术评论家在展览后首次接受了LeWitt。 1992年Sol LeWitt图纸1958-1992展览开始于荷兰海牙的Gemeentemuseum,然后前往世界各地的博物馆展示未来三年。 2000年旧金山现代艺术博物馆的一次重要的LeWitt回顾展前往芝加哥和纽约。一个名为Sol LeWitt的大型展览:墙壁绘画回顾展 – 耶鲁大学,马萨诸塞州当代艺术博物馆和威廉姆斯学院的合作项目 – 于2008年开幕,艺术家去世一年后。它包括几乎一英亩的墙面空间,专门为LeWitt的规格创建超过105张图纸。六十五位艺术家和学生执行了这些作品。该展览位于一座占地27,000平方英尺的历史建筑内,将继续开放供观赏25年。 LeWitt使用线条,形状,块和其他简单元素的方法使他成为极简主义艺术中的关键人物。然而,他的主要遗产是他在概念艺术发展中的重要作用。他认为概念和观念是艺术的实质,而不是创造的最终作品。他还坚持认为艺术不是特别关注任何东西。这些观点将LeWitt与抽象表现主义者的浪漫和情感作品区分开来。 LeWitt 1967年发表在ArtForum上的论文“概念艺术段落”,是该运动的一个定义陈述;在其中,他写道,“这个想法成为制作艺术的机器。”

英国格拉斯哥建筑论文代写:历史建筑

The John Daniels Gallery in New York was listed on Sol LeWitt’s first solo exhibition in 1965. In 1966, he participated in the exhibition of the primary structure of the Jewish Museum in New York. This is a decisive event in minimalist art. The New York Museum of Modern Art launched the Sol LeWitt Retrospective in 1978. Many art critics accepted LeWitt for the first time after the exhibition. The 1992 Sol LeWitt drawing 1958-1992 exhibition began in Gemeentemuseum, The Hague, the Netherlands, and then went to museums around the world to showcase the next three years. An important LeWitt retrospective at the 2000 Museum of Modern Art in San Francisco traveled to Chicago and New York. A large exhibition called Sol LeWitt: Retrospective of Wall Painting – Yale University, the Massachusetts Museum of Contemporary Art and Williams College’s collaborative project – opened in 2008, a year after the artist’s death. It includes almost one acre of wall space and is dedicated to creating more than 105 drawings for LeWitt’s specifications. Sixty-five artists and students performed these works. The exhibition is housed in a 27,000-square-foot historic building that will remain open for 25 years. LeWitt’s approach to lines, shapes, blocks and other simple elements makes him a key figure in minimalist art. However, his main legacy is his important role in the development of conceptual art. He believes that concepts and concepts are the essence of art, not the final works of creation. He also insists that art does not pay special attention to anything. These views distinguish LeWitt from the romantic and emotional works of abstract expressionists. LeWitt’s essay “Conceptual Art Paragraph” published on ArtForum in 1967 is a definition of the movement; in which he wrote, “This idea becomes a machine for making art.”

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