Untitled (Wall Structure)

  • 1972
  • Sol LeWitt
  • painted aluminum
  • 194,1 x 345,0 x 4,0 cm
  • Location not on view.
  • Acquired in 1977
  • Inventory number 781

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This wall object by Sol LeWitt consists of a series of linked open squares made of white varnished aluminium. The work has a zigzag shape. At the bottom there are five squares linked together horizontally. From the square furthest to the right, a row goes up and the top of that row is once again the start of a row of five horizontal squares. The work is not very thick.

LeWitt preferred to base his objects on a square. He viewed this as the most neutral basic shape with which it was possible to represent an idea as objectively as possible. On the basis of the same desire for objectivity he used the neutral colours white or black and smooth materials such as sanded and varnished wood or metal for his objects. LeWitt made several series of 'Wall Structures'. First, he painted them black. Later he opted for white because he considered that they meant that they were more part of the wall. This 'Wall Structure' consists of three times five squares. However, as the first and last square of the vertical row are also the beginning or end of the horizontal rows, there are therefore only thirteen squares that can be seen. The viewer’s gaze moves between thirteen and three times five. This work illustrates that even a simple structure provides different possibilities for arrangements and observation.

Sol LeWitt considered himself a conceptual artist. The basis of a work of art was an idea which was determined in advance. The artist did not have to carry it out himself. The execution could also be of a temporary nature. LeWitt’s 'Wall Structures' also reveal characteristics of Minimal Art. One of the characteristics of Minimal Art is the use of a particular basic element which is repeated in accordance with a certain ordering principle. The interaction between the object and the space where it is presented is of crucial importance for this. The empty space around the object or between the elements is just as important for the experience of the image as the material that is present.

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