Sol LeWitt
Forms Derived from a Cube 9
1982

Name: Forms Derived from a Cube 9
Brand: Sol LeWitt
Price: 2750 USD
Availability: InStock

About the Item

Sol LeWitt (1928-2007) is an important contributor to the 20th century's most cerebral "isms" notably minimalism and conceptual art. Many of his works were created from elaborate and detailed instructions rather than his own hand or labor. His (in)famous large-scale "wall drawings" for example, destabilized and expanded the conventional definition of authorship as they were executed by teams using instructions. Furthermore these classic "wall drawings" were often temporary - only lasting the duration of an exhibition. Influenced by his time as an architect, LeWitt's artistic practice was rooted in a deep appreciation of geometric forms. Utilizing ratios, patterns, and formulas, the artist would geometric, abstract works across many mediums. "Forms Derived from a Cube" is an exciting series that exemplifies LeWitt's nearly scientific approach to exploring shape. This work features a pyramid encased by grid-based drafting reminiscent of a blueprint. The pyramid is transformed through a series of lines and angles that divide the shape into fractions as if to reveal its complete geometric potential. Through his meticulous line work, LeWitt creates an illusion of depth and space that transcends the work's two-dimensional surface. Click here to see another example of how LeWitt presents a dynamic shape contained within a transparent cube. Given the limited edition size of this series, it is quite uncommon to find individual prints for sale. This work can be found in the permanent collection of the MoMA (New York), the Tate (London), SFMoMA (San Francisco), and the Metropolitan Museum (New York) to mention a few. Questions about this piece? Contact us. "Forms Derived from a Cube" USA, 1982 Etching with aquatint on Somerset Satin White paper Signed and inscribed "T.P." (trial proof) in pencil, lower right Artist proof, aside from an edition of 24 20.5"H 20.75"W (work) Printed by Jeryl Parker Editions, New York. Published by Multiples, Inc., New York. Very good condition. Note: this work is sold unframed.

Creator:

Sol LeWitt (1928 - 2007, American)

Creation Year:

1982

Dimensions:

Height: 20.5 in (52.07 cm)Width: 20.75 in (52.71 cm)

Medium:

Etching,Aquatint

Movement & Style:

Minimalist

Period:

1980-1989

Condition:

Very good condition.

Gallery Location:

Toronto, CA

Reference Number:

Seller: 07-231stDibs: LU215212717992

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Shop All Sol LeWitt

Sol LeWitt

While New York City’s art scene in the 1950s and ’60s revolved around Abstract Expressionism, multidisciplinary artist Sol LeWitt paved an alternative path, creating a prolific output of work in the genres of minimalism and, later, Conceptual art.

While LeWitt is perhaps best known for his immense “wall drawings,” he created work in a wide range of media, including drawing, painting, printmaking and sculpture. (However, in a characteristic rebuttal of canonical art history, he referred to these pieces as “structures.”) He also produced several texts, including the seminal Sentences on Conceptual Art (1969).

Born in Hartford, Connecticut, in 1928, LeWitt received a BFA from Syracuse University before going to work as a graphic designer for the renowned architect I.M. Pei. He would later work at the book counter at the Museum of Modern Art, where his colleagues included fellow artists. LeWitt’s early exposure to architecture may well have had outsize influence on his subsequent career: He was known for the geometric nature of his work, specifically his fastidious, near-obsessive treatment of the cube, which he rendered repeatedly in various ways throughout his paintings, structures and wall drawings.

In the 1960s, LeWitt showed in several group exhibitions throughout New York and also began to experiment with three-dimensional structures, most modular riffs on the cube shape. His work was included in “Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art,” curated by Mel Bochner, another leading exponent of Conceptualism.

Later, LeWitt debuted his now-iconic wall drawings, creating work directly on the walls of galleries and show spaces, beginning with pioneering gallerist Paula Cooper’s inaugural show in 1968. The wall drawings became a prime example of LeWitt’s philosophical approach to art, with their installation often carried out by museum staff or curators following precise instructions from the artist.

“The idea,” the artist once said, “becomes a machine that makes the art.” LeWitt continued to produce work until his death in 2007.

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