While serving he visited shrines, temples and gardens in Korea and Japan. In 1951, LeWitt was drafted for the Korean War and was assigned to the Special Services his duties included making posters. Different people will understand the same thing in a different way."īlack and white photographs mounted on paper - LeWitt Collection In his own words: "Once it is out of his hand the artist has no control over the way a viewer will perceive the work. The idea becomes a machine that makes the art." Likewise, by emptying this "burial"-like an actual interment, an extremely important, emotional, and personal affair-of content, value, gesture and expression, LeWitt disengages himself from the work and takes a strong "death of the author" stance. In the manifesto, he declares, "The execution is a perfunctory affair. A conceptual piece, this work was produced shortly following the publication of LeWitt's 1968 manifesto describing the new Conceptual art movement. Without seeing the event taking place, or knowing what is held within the cube, Buried Cube relies on the idea, as opposed to a finished object. The burial of the cube reportedly took place in a local garden, but these photographs, referring again to the notion of the series or process, are the only proof that LeWitt's actions actually took place. Once again, LeWitt challenges the conventional methods of artistic production in this instance, he halts the additive process of sculpting and allows the viewer to observe what would only have existed beneath other materials.īaked enamel on aluminum - The Museum of Modern Art, New Yorkġ968 Buried Cube Containing an Object of Importance but Little Value It also imposes itself as a kind of framework for a finished work or series of works, imitating the preparatory sketches that precede blueprints and completed structures. Looking at Serial Project #1 as a whole, it appears to be nothing so much as a city, revealing LeWitt's architectural roots. The network of cubes allowed LeWitt to study the juxtaposition of different sizes and shapes, arranged according to certain preset rules and ideas. This accumulation of open structures signifies a revival of seriality in LeWitt's work, inspired by the serial photographs of Eadweard Muybridge, whose work LeWitt discovered in an abandoned book a previous tenant had left in his apartment. In short, he let the traditional materials speak for themselves, to demonstrate their own vulnerability to decay, destruction, or obsolescence. While the use of industrial materials implied a certain expectation of permanence with regard to a work of art, in direct contrast, LeWitt appreciated the ephemeral character and impermanence of Conceptual art.
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