A couple of weeks ago, I traveled up at MASS MoCA for a wedding. My friend Meredith was marrying her boyfriend of 10 years, Andres. There's many places I would have traveled to in order to help them celebrate their wedding, but I was excited that I had a reason to go up to MASS MoCA.
MASS MoCA opened in 1999 on the site of a vast complex of 19th century factory buildings in North Adams, Massachusetts. They curate a range of shows, from student shows from William's College, a current show featuring Anselm Kiefer and Joseph Beuys, and a group show featuring Sam Taylor Wood and Pawel Wojtasik. The show I was most excited about was the Sol LeWitt retrospective.
Sol LeWitt has been one of my favorite artist since I first saw one of his pieces when on an architectural travel trip in college in 1991. His work was featured in a group show at CAPC, Musee D'Art Contemporain in Bordeaux, France. What struck me was the simplicity of his earliest works where the art is a set of instructions to be followed by anyone. His art was pure concept that could be installed anywhere. I really considered trying to install one in my apartment. Over the years anytime I've seen his work that feeling returns. This has been joined by appreciating the ephemeral aspects of his work once it's installed. Although the pieces installed at DIA Beacon are in one of their permanent galleries, the wall drawings at the Whitney were gone once the show ended.
The show at MASS MoCA is installed in a three story mill building, one floor each for his early, mid-career, and late work. The entire show will be there until 2033. Yes, that's right, a 25 year long installation. The show was installed over a period of six months by students from Williams College, students from Yale, and other art professionals from various colleges along with artists who had worked with Sol LeWitt over the last 25 years. My first thought while watching the installation video was 'what I would have given to have the opportunity to participate in this show.' Here are some other thoughts about selected works:
WALL DRAWING 51: ALL ARCHITECTURAL POINTS CONNECTED BY STRAIGHT LINES
http://www.massmoca.org/lewitt/walldrawing.php?id=51
This is one of his works that affects me the most. It is only one of the only works that changes drastically depending on where its installed. The number of openings in a wall affects the lines, if there are soffits, the work changes - it the work that is most influenced by architecture. It is also created by one of the most basic building tools - a chalk line.
WALL DRAWING 38: TISSUE PAPER CUT INTO 1 1/2" (4 CM) SQUARES AND INSERTED INTO HOLES IN THE GRAY PEGBOARD WALLS. ALL HOLES IN THE WALLS ARE FILLED RANDOMLY
http://www.massmoca.org/lewitt/walldrawing.php?id=38
This work appeals to my most anal side. All holes are the same size and spaced evenly. All paper to be inserted is cut to the same size. If any of you have seen the sewing on my ditty bag, you will know why I find an affinity to such precise work. I also enjoy the trickery where the rolls of paper appear to be straws all cut to the same size. The difference here between installations is the color pattern created by the grouping of straws.
WALL DRAWING 146A: ALL TWO-PART COMBINATIONS OF ARCS FROM CORNERS AND SIDES, AND STRAIGHT, NOT STRAIGHT, AND BROKEN LINES WITHIN A 36-INCH GRID (90 CM). WHITE CRAYON ON BLUE WALL
http://www.massmoca.org/lewitt/walldrawing.php?id=146A
There is a clarity of intention here. A curve or a line was assigned a number. The artist designed a grid, laying out the numbers, creating a play between curves, lines, and angles. And the blue is a fantastic background.
WALL DRAWINGS 822: A WALL DIVIDED HORIZONTALLY BY A CURVY LINE. THE TOP IS FLAT BLACK; THE BOTTOM IS GLOSSY BLACK.
http://www.massmoca.org/lewitt/walldrawing.php?id=822
A beautiful work of simplicity. One color, one continuous curve. The only difference is the texture of the paint above and below the curve. The black is oppressive, but with the light ceiling and the natural light flooding in from the windows, the space still feels open and dynamic due to the movement of the defining line between paint textures.
WALL DRAWING 1260 AND 1261: SCRIBBLES
http://www.massmoca.org/lewitt/walldrawing.php?id=1260
http://www.massmoca.org/lewitt/walldrawing.php?id=1261
These are two of his last works, and he never saw them installed. Although I'm saddened by the fact he never saw these two drawings realized, I think it speaks to the intent of his work that they are still successful although he never applied his own hand in them. These were both created with squiggly lines, placed in varying proximity to each other to create light and dark areas. These remind me of my own efforts with sketching with stippling in college. My own efforts were not nearly as fantastic, but I do have an appreciation for how much work goes into drawings like this.
Out of the three floors of installations, these six works had the biggest impression on me. I walked through the exhibit hours prior to the wedding, but it was upon the ceremony that the beauty of the work came through. One of the galleries was the backdrop for the wedding. I can't imagine a better setting.
i think im most interested in the first one because it changes in its setting. it almost creates a dialogue with the space, you know? it's beautiful.
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