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In 1967, American artist Sol LeWitt published a paper entitled "Paragraphs" on Artforum. on Conceptual Art" establishes the creative logic that ideas are higher than execution, and bridges the gap between minimalism and conceptual art through conceptual language, injecting materialized and dematerialized connotations into art. Sol LeWitt was born into a Jewish immigrant family. After graduating from his undergraduate degree, he traveled to Europe and viewed the paintings of masters from all over the world. After returning to the United States, he studied at the School of Visual Arts in New York. In the 1960s, Sol LeWitt occupied a place in the art field for his drawings and sculptures. He participated in and became one of the founders of conceptual art and minimalist art. Although Sol LeWitt is considered one of the important minimalist artists in the 1960s, he has a negative attitude towards its existence. He believes that previous minimalist works were limited to the exploration of form. Compared with an independent art faction, minimalism is more like a specific method and starting point for artistic expression, which ultimately leads to different conceptual results. During the period when Dadaism and Duchampian aesthetics were prevalent, Fluxus, based on perceptual and disorderly self-expression, put forward new ideas for conceptual art and gradually formed the prototype of early conceptual art. Influenced by several artists such as Ad Reinhardt and Robert Smithson, Sol LeWitt tried to establish his conceptual system in a more literary way and used minimalist lines and blocks to interpret concepts that were higher than the work itself. For Sol LeWitt, creation itself should not be bound by inherent thinking and purpose. As long as it gets rid of the limitations of internal logic, then every wall can be a door, and art can also be read and experienced as a story, thus becoming a dematerialized entity that integrates into people's lives in a more common but also more important form. In Sol LeWitt's early works, murals occupied an important position. This "space art" extended from the field of architecture is very similar to other land art and public art. It can not only prevent works from falling into vicious commercial competition such as auction sales, but also lower the threshold for the dissemination of artistic ideas, making the audience's artistic experience a part of creation. In addition, Sol LeWitt also tried to change the degree of participation of artists in the work. Although the mural Wall Drawing #260 displayed in the San Francisco Museum of Modern Art in 1975 was completed under his guidance, the actual drawing work was handled by multiple teams and art enthusiasts, which explains from the side the leading role of conceptual theory in creation. Taking this as a starting point, space runs through almost all of Sol LeWitt's works. He calls three-dimensional entities such as sculptures "structures" and focuses on the superposition of "creation" and "design". Even seemingly flat works such as murals can echo the space through visual continuity and complex geometric structures, transforming the background place into a variable element of art, breaking through its function and participation. This dialogue between lines shows the game relationship between rules and irregularities, and presents perceptual and rational thinking through the unification of opposing elements. It focuses the work on the three interrelated basic points of surface, volume and space, so that all expression elements can be balanced everywhere, achieving the creative experience pursued by Sol LeWitt. Editor: NeiWai Written by: YouChuan Arranged by: NingBai original article, does not support any form of reprinting. |
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