ABOUT THE BOOK
Sol LeWitt: Not to Be Sold for More Than $100 explores the little-known but fascinating body of conceptualist pioneer Sol LeWitt’s folded, torn, and cut paper works, which he created from approximately 1971 to 1980. LeWitt referred to these works as the “R” drawings (for rip) and also as “hundred dollar drawings,” since he wanted them to be sold for $100 in perpetuity. “His wall drawings were already selling for thousands of dollars, so he wanted to have some artwork that everybody could buy,” notes Jason Rulnick. Thanks to extensive research throughout various private and public collections around the world, this volume includes over 100 color plates. In the high-flying commerciality of the contemporary art world, LeWitt’s intention and foresight for this body of work resonates more than ever.
ABOUT THE ARTIST
Sol LeWitt (1928 – 2007) has been the subject of hundreds of solo exhibitions in museums and galleries worldwide since 1965. His prolific two and three-dimensional work ranges from wall drawings, over 1,300 of which have been executed, to photographs and hundreds of works on paper, and extends to structures in the form of towers, pyramids, geometric forms, and progressions. LeWitt helped revolutionize the definition of art in the late 1960s with his famous notion that “the idea becomes a machine that makes art.” Reducing art to its essentials, the cube became the basic modular unit for his artistic inquiry—”the grammatical device.” LeWitt achieved a major breakthrough in 1968 when he began executing drawings directly on the wall, using predetermined line-making procedures and materials normally associated with drawing or commercial art techniques.
ABOUT THE CONTRIBUTORS
Jason Rulnick is a Senior Specialist in Post-War and Contemporary Art at Artnet; he holds an MFA from the San Francisco Art Institute and a BFA from Columbus College of Art & Design. Veronica Roberts is curator of modern and contemporary art at the Blanton Museum of Art at The University of Texas at Austin. Previously, she served as Director of Research for the Sol LeWitt Wall Drawing Catalogue Raisonné and in curatorial positions at the Indianapolis Museum of Art, Museum of Modern Art and Whitney Museum of American Art. Her first exhibition at the Blanton was Converging Lines: Eva Hesse and Sol LeWitt. She edited the accompanying book and has authored numerous essays on Sol LeWitt.