Do-it-yourself frame for a modular picture. Master class on making modular paintings for your home. Selection of the necessary materials.

Saul LeWitt has earned a place in art history for his leading role in the conceptual movement. His faith in the artist as a generator of ideas played important role in the transition from the modern to the postmodern era. Conceptual art, expounded by Levitt as an intellectual, pragmatic act, added a new dimension to the role of the artist that was clearly separated from the romantic nature of Abstract Expressionism. Levitt believed that the idea itself could be a work of art and argued that, like an architect who creates a design for a building and then turns the design into a construction crew, the artist must be able to think about the work and then either delegate their actual production to others or never even do it at all.

Levitt's work ranged from sculpture, painting and drawing to almost exclusively conceptual pieces that only existed as ideas or elements of the artistic process itself. He applied them to the formulas of his invention, which hinted at mathematical equations and architectural specifications but were neither predictable nor necessarily logical. Levitt's conceptual works often took on at least a basic material form, although not necessarily in his own hands.

The instructions for these works, whether they were large-scale wall paintings or outdoor sculptures, were deliberately vague so that the end result was not entirely under the control of the artist who conceived. Thus, Levitt challenged some very fundamental beliefs in art, including the artist's authority in the production of a piece. His emphasis is most often on process and materials rather than creating a work with a specific message or narrative. Art, for Levitt, could exist for its own sake.

Master class: do-it-yourself modular painting

Meaning was not a requirement. Although the use industrial materials implied a certain expectation of permanence in relation to a work of art, in direct contrast, Levitt appreciated the ephemeral nature and impermanence of conceptual art.

In short, he allowed traditional materials to speak for themselves, to demonstrate their own vulnerability to decay, decay, or obsolescence. Solomon "Sol" Levitt was the only child of Russian Jewish parents. His family lived in Hartford, Connecticut until his father, a doctor, died when Saul was six years old. After that, Levitt and his mother, a nurse, lived with their aunt in New Britain, Connecticut.

Although Levitt rejected artistic creativity as something that "most of us like children", as a young boy, he showed a real aptitude for art and in particular for creating "humorous" drawings. Levitt recalled that during one of his classes, his mother made a spontaneous black circle and encouraged him to do the same. unwilling to enter into industrial work Like many workers in New Britain, Levitt chose to make art as an act of rebellion. However, his mother wanted him to higher education; He ended up attending Syracuse University as a compromise.

However, during his later years of study, the infusion of new instructors gave the school a more flexible atmosphere.

During his service, he visited shrines, temples, and gardens in Korea and Japan. After his release, Levitt moved to New York and took balanced classes at the School of Cartoonists and Illustrators with a design internship at Seventeen magazine. What he learned from the architectural process convinced him to view art as an idea or a procedural blueprint that could be carried out by others as part of one person's property.

Levitt once said: An architect doesn't leave with a shovel and dig the foundation and lay every brick. Sol Levitt's biography continues. Levitt continued to paint, but his lack of direction became a source of frustration for him. Leaving his job to devote his time entirely to art, Levitt moved into a loft in Soho and enrolled in drawing classes. He experimented with a wide range of subjects, including the human figure, still life, interiors, and sketched copies of the Old Masters.

The inspiration came when he took a night position at the Museum of Modern Art. He met other artists, including Dan Flavin, Robert Mangold, and Robert Ryman, who were also looking for ideas outside the all-pervading, in their opinion, increasingly outdated ideology of Abstract Expressionism. These artists, each in their own way, sought to free art from outmoded feelings associated with gesture and personal expression.

Heavily influenced by the work of Jasper Johns and Eidzidd Muybridge, Levitt began incorporating elements of relief and a range of moving figures into his painting, as did Wall Run, Blue marks the artist's first step towards a more simplified form, relying on color, shapes and textures. to make a bold statement. Combining new simplified compositions with an interest in three-dimensionality, Levitt's work developed over the next few years into his first "open" structures, modular structures from black or white wood, or metal that repeats itself according to predetermined variations or mathematical permutations.

These skeletal variations of the basic square or rectangle were literal building blocks, which Levitt used throughout his career. At the same time, he began the process of distancing himself from minimalism. In this project, art production conditions were standardized and artists were given a series of "requirements" that they were asked to follow. Representing a critical development in their work, the walls focused on the overall concept and rules of execution rather than the work itself, which would inevitably be painted.

Levitt himself is rarely present in these paintings; He most often refused to submit his photographs for publication, insisting that the focus should be on his work and not on himself. This well-organized exhibition forced Levitt to rethink his work and explore new techniques.

These structures redefined the basic shape of the cube subjected to various devices. Conceptual art, expounded by Levitt as an intellectual pragmatic act, added a new dimension to the role of the artist, which was clearly separated from the romantic nature of Abstract Expressionism.

His minimalist approach, which emphasized simplicity and clarity, was embraced by artists such as Eva Hesse and Frank Stella. Even Hesse's work itself, with its emphasis on intimacy and the human face, pays tribute to Levitt's work, which, in its slight imperfections, eschews mechanical precision for the craft. Levitt was a vocal champion of the artistic community. His willingness to exchange his work with almost anyone, be it an amateur or an established artist, encouraged a kind of support network in the visual arts.

It also allowed him to assemble a large collection from local and international artists. He was the founder of the printed matter, non-profit organization, which promotes book arts and now maintains an exhibition space in Chelsea. The creation of the Saul LeWitt Creativity Fund, thanks to a generous donation from the artist, continues to support the creation and exhibition of public art in New York City. His cinder block sculptures are still exhibited in in public places throughout the United States, and the Massachusetts Museum of Modern Art will have a complete retrospective of their work on display before.

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