His work was also included in the exhibitions After Construction: work from the collection (1994) and Something Turned Into a Thing (2012–2013) at Magasin III. Magasin III had a large solo exhibition of Sol LeWitt’s wall drawings in 2009–2010. In 2013, When Attitudes Become Form, which also included a work by Walter De Maria, was recreated at Fondazione Prada for the 55th Venice Biennale, Venice, Italy. Group exhibitions include the Istanbul Biennal (1989) Venice Biennale (1988) Skulptur Projekte Münster, Münster (1987) Documenta 7, Kassel (1982) Documenta 6, Kassel (1977) Kunsthalle Bern, Bern (1969) och The Jewish Museum, New York (1966). The exhibition Sol LeWitt: A Wall Drawing Retrospective at MassMoCA, North Adams, will be on until the year 2033. Key solo exhibitions include Dia Beacon, Beacon (2006, 2010) MOCA Chicago (2010) Walker Art Center, Minneapolis (2010) Tate Liverpool, Liverpool (2009) Bonnefanten Museum, Maastricht (2005–2006) San Francisco Museum of Modern konst, San Francisco (2000) Stedelijk Museum, Amsterdam (1984) Museum of Modern Art, New York (1978) Israel Museum, Jerusalem (1975) and John Weber Gallery, New York (1974). In 1968 he made his first wall drawing, for an exhibition at Paula Cooper Gallery, New York. In 1967 he also funded Printed Matter together with Lucy Lippard and others, an organization dedicated to the funding and distribution of artists’ books. In 19 LeWitt wrote two short essays that came to define Conceptual Art: “Paragraphs on Conceptual Art” and “Sentences on Conceptual Art”. His first solo exhibition was held in 1965, at John Daniels Gallery in New York. This was an environment LeWitt has later credited with helping him decide to become an artist. Pei, and took on a job in the bookshop and as a guard at the Museum of Modern Art, New York, at a time when a young Dan Flavin, Robert Ryman, Robert Mangold and Lucy Lippard also had odd jobs at the museum. He worked for a year as a graphic designer at the office of the architect I.M. He was drafted for the Korean War in 1951, and after his service moved to New York City to study illustration. LeWitt’s longtime assistant, Susanna Singer, describes LeWitt’s overall practice as ‘using a vocabulary to create language.’ This exhibition gives the audience an opportunity to revel in his language and hopefully celebrate the curiosity with which LeWitt approached life.Sol (Solomon) LeWitt was born in 1928 in Hartford, Connecticut and studied art at Syracuse University. Visible and hidden, monochrome and polychrome, 3D and 2D, and numerous other seeming dichotomies are treated by LeWitt as mutually significant. This sense of equality is key to understanding LeWitt’s work from the date of the first piece in the show (1968) to the last (2005). By not using illustrative perspective, LeWitt honors the flatness of the paper by presenting all visible sides of the cube and the background as equal.
Furthermore, the different pieces help illuminate the processes he used to layer color on paper to create the variations of tone, positive/negative, foreground/background and surface/depth. The works on paper present two ways LeWitt drew/painted cubes - isometric and trimetric. The exhibition contains an ‘open form’ structure, a ‘closed form’ structure, a ‘progression’ and an extremely rare 1968 “Hidden Cubes” structure that has never previously been exhibited. In addition, a large wall piece (“White styrofoam on black wall” from 1993) provides a bold contrast to all the rectilinear forms. Through structures (LeWitt’s terminology for his three dimensional works) and gouaches, the exhibition displays forty years’ exploration of the cube. To begin 2020, Krakow Witkin Gallery proudly announces an expansive exhibition of Sol LeWitt’s work.
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