Artworks and Artists
Wall Drawing No. 623 Double asymmetrical pyramids with colour ink washes superimposed

Wall Drawing No. 623 Double asymmetrical pyramids with colour ink washes superimposed,
14 November 1989-17 November 1989
LeWitt, Sol
colour ink wash: the background is grey, blue, grey, blue; left pyramid: the apex is left - four sides: 1 - red, blue, blue, red, blue; 2 - yellow, blue, grey, blue; 3 - grey, grey, blue, red, red; 4 - red, grey, red; right pyramid: the apex is centre - four sides: 1 - grey, grey; 2 - grey, red, yellow; 3 - yellow, grey, blue, blue; 4 - grey, blue, red, red
6.18 x 11.8 m (two walls at right angles); left wall: 6.18 x 6.3 m; right wall: 6.18 x 5.5 cm

Theme:

Although LeWitt has done considerable work in sculpture, he is probably best known today for his wall drawings. He made his first wall drawing himself in 1968, directly on the wall of the Paula Cooper Gallery in New York. When the exhibition closed, the wall drawing was painted over. The wall drawings were the logical result of his desire to make two-dimensional art. In 1970 he wrote: It seems more natural to work directly on walls than to make a construction... and then put the construction on the wall. This pursuit of a radical two-dimensionality and his decision to limit his palette to black and white and the three primary colours reflects his search for a basic vocabulary of art. LeWitt has written:

"In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes the machine that makes the art. This kind of art is not theoretical or illustrative of theories: it is intuitive it is involved with all types of mental processes and is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman."


Since 1968, most of the wall drawings have been executed by draftsmen using LeWitt's detailed written instructions. They contain no distinguishable markings of the artist’s hand. They have a manufactured, impersonal look. The drawings are not necessarily executed by him. Le Witt questions the artist’s craft and the uniqueness of the art object as a measure of value.