The diagram and certificate of authenticity signed 'Sol LeWitt', 1977, together with related paperwork; and Sol LeWitt Wall Drawings, Stedelijk Museum, Amsterdam and Wadsworth Atheneum, Hartford, CT, 1984..
Each sheet 9 3/4 x 7 1/2 in., unframed.
Literature: S. Singer, ed., Sol LeWitt Wall Drawings 1968-1984, 1984, p. 306 (not illustrated.).
Note: Sol LeWitt's monumental wall drawings explore the idea of art as 'unique' and its permanence through its potential to be recreated. Each wall drawing is realized by a team of draughtsman who follow LeWitt's original diagram and instructions, creating the artist's vision on a space of the owner's choosing. Wall Drawing #306 was installed in the Rose apartment in October, 1977, by Jo Wantanabe. It is a three-part drawing in black pencil, described on the artist's certificate as follows:
1st panel: Arcs from two adjacent corners and the midpoint of one adjacent side between. (left side) (ACG 20);
2nd panel: Circles and arcs from four corners and the midpoints of two opposite sides (left and right) (ACG 95);
3rd panel: Arcs from two adjacent corners and the midpoint of one adjacent side between (right side) (ACG 20).
Through his continued exploration of the core ideas innate to the wall drawings, LeWitt created a visual language uniquely his own. Once the image is 'written', LeWitt felt no need to confine the execution of the work to himself, allowing it to be realized by others who followed his instructions with discipline and precision. The coordinates for each drawing are laid out by the artist using the words ascribed to each work during its inception. In Wall Drawing #306, the instructions dictate that the lines be enclosed in three rectangles, with arcs and circles moving from the corners to meet at various points along the straight outer lines. It is beautiful in its simplicity, and complex in its visual and philosophical meaning. LeWitt said of the installation process that "each person draws a line differently and each person understands words differently" (1). This observation exemplifies the conceptual nature of the wall drawings, and furthers the artist's continued exploration and conversation around ideas that explore the permanence of works of art, their ownership and their uniqueness.
(1) Adrain Searle, Second Thoughts, The Guardian, December 7, 2006.
In very good condition. Catalogue with wear.
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The artist; Collection of Bernice Rose.