Sol Lewitt

Sol Lewitt was an American artist who was considered a founding member of numerous movements including minimalism and conceptual art, coining the term he helped establish them as dominant movements of the post-war era. Lewitt was elevated to the public eye in the late 1960s with his wall drawings and sculptures (or “structures” as he preferred to call them). Sol Lewitt worked across various mediums; drawing, printmaking, photography, etc. Being the subject of many solo exhibitions in museums and galleries around the world since 1965, including being invited to Australia by John Kaldor to participate in 'Project 6' (1977) at Sydney's Art Gallery of NSW and Melbourne's National Gallery of Victoria, as well as 'Project 11' which incorporated his new wall pieces rather than his wall drawings which were seen in 'Project 6'.

Sol Lewitt's work 'K 1 2 3 4 5 6 #2' similarly to many of the artist's works explore the variations possible within the basic structure of a cube. The simplified cube structure, became the basis of the artist’s three-dimensional work. His work tested the audiences visual and psychological flexibility.

"Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.” - Sol LeWitt

John Kaldor Family Collection – Summary

On May 2011, the Art Gallery of New South Wales (AGNSW) opened The John Kaldor Collection. Truly a gift to the Australia, the collection is of over 200 contemporary international artists and has been composed over a period of 50 years, since the 1960s. It is worth over $35 million. Kaldor over the years has collected the works of numerous emerging artists, many of which are now highly influential in the art world. Due to the input of John Kaldor the Art Gallery of NSW can now boast an internationally acclaimed collection of contemporary art.

The collection is a conglomeration of both internationally recognised and emerging artists. Incorporating the works of Jean-Claude, Robert Rauschenberg, Gilbert and George, Nam June Paik, Sol LeWitt, Jeff Koons, Carl Andre, Rebecca Horn, and the list goes on. As one of the most dedicated collectors of contemporary art in Australia, John Kaldor’s collection ranges in mediums including performance, photography, sculpture, instillation, drawing, to name a few. Director of the Art Gallery of NSW, Edmund Capon conveyed "The John Kaldor Collection is the most important collection of late 20th century avant-garde art in Australia.”[1]

After a $27 million grant from the NSW government, AGNSW were able to complete the gallery space after having the collection since 2008. The floor was transformed from storage space into a space where the collection, and all that is included within it, could be enjoyed and marveled at by those who visit the gallery. As one goes downstairs into the space Sol LeWitt’s site specific drawings are one of the first pieces to catch the eye. The presence of the five drawings is consuming, largely due to the huge scale of the works, and exciting. In a way the Sol LeWitt pieces are like an enticing introduction to the gallery space, however not at all preparing you for what’s still to come.

The John Kaldor Family Collection, as a whole, works seamlessly with the rest of the Art Gallery of New South Wales, extending the contemporary collection to now be one admirable on an international scale. The experience of the collection alone is inspired.

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[1]http://archive.artgallery.nsw.gov.au/media/archives_2008/kaldor_gift/index.html

Some Relations between Conceptual and Performance Art – Summary

In the article ‘Some Relations between Conceptual and Performance Art’ by Frazer Ward, he examines the relations between conceptual and performance art, as the title implies. Looking at the similarities and connections between both during the period of the late 1960’s to early 1970’s.

Frazer Ward suggests that the concept of a work should come before the materialization of a work. The temporal position of performance evokes these same ideas with the material considerations becoming secondary in conceptual pieces. Many artists were heavily influenced by this deterioration of aestheticism and the dematerialization of art, many artists shifted away from the galleries to creating art just in studio spaces, art then no longer existed as much as a commodity but more so as something in the moment, more temporal.

In the late 1960’ to early 1970’s there was clear overlapping between conceptual and performance art, due to this many thought of Performance Art as an opposition to Conceptual Art. In the reading Ward looks at the art work ‘Mirror Piece’ (1967) by Ian Burns and Vito Acconci’s ‘Step Piece’ (1970) comparing them in order to find the connections. ‘Mirror Piece’ is made up of 13 typed pages of notes and diagrams and a mirror, both framed behind glass and ‘Step Piece’ is a performance where Acconci steps up and down from an 18” stool in his apartment for as long as he can without stopping, regularly making the audience aware of his progress via announcements. Acconci’s work is the perfect example of rebellion against the gallery space, inviting the general public to watch his performance in his studio completely removing the existence and notion of the institution.

Ward describes the first, ‘Mirror Piece’, as being “typically Conceptual in it’s abandonment of aesthetic authority.” Whilst on the other hand describes Acconci’s performance piece, ‘Step Piece, as vaguely Conceptual. Both works remove the idea of the ‘elitist’ and challenge the traditional values of what is considered ‘art’.

In 1973, Rosalind Krauss and Greogory Battock compiled the collection of writings ‘Idea Art’, which features writings by both critics and artists. Together the writings comment on the rationalisation of conceptual art. 

Summary - Interventions

Artists often utilise instillation in attempt to move away from the traditional art making practices and to build a relationship between the artwork and its surroundings. As a medium sculpture allows the audience to view the work spatially as well as conceptually. In a way interventions allow the artist to confront the viewer due to the confusing nature of them as “an outgrowth of art that refuses to abide by conventional practices” Buren’s work Within and Beyond the Frame (1973) manipulates the notion of boundaries, going ‘beyond the frame’ he leaves his work open for interpretation to his audience. During the 1960’s the art world saw drastic changes. Artists were in many cases working against the traditional art forms and art making practices, pushing forward controversial and experimental techniques and thought forms. Not only the artists changed but the values of museums and galleries shifted also. No longer was it something admired, but by contrast, it was now critique. The birth of site-specific works made museums futile in what they were traditionally used for. Additionally this allowed for artists to develop work out of reach of the traditional art world and the structures and limitations that went hand in hand with it.

Ultimately the aim of interventions is to reduce or remove the traditional conventions of art from instillations. Artists such as Bruce Nauman, Carl Andre and Richard Serra are all minimal artists that explore this this notion within their work. Serra and Nauman’s works both take on a more aggressive approach to audience participation; in a way they are forcing the viewer to engage with the works. A juxtaposition can be seen with the works of Nauman and Serra when compared to the works of Andre; Andre’s works unlike Nauman and Serra give the audience a choice as to whether they wish to engage, or not, with them.

Eva Hesse

Eva Hesse - Minimalist/Abstraction



Eva Hesse
Untitled (Rope Piece), 1970
rope, latex, string, wire, variable dimensions

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