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SOL LEWITT WALL FROM 1968 TO 2007

PRESS PACK 07.03.12 > 29.07.13

centrepompidou-.fr SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

CONTENTS

1. PRESENTATION OF THE PROJECT ...... 02

2. EXHIBITION SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 ...... 03

THE PRACTICE OF WALL ...... 03

THE CHOICE OF AND WHITE ...... 03

AN EXHIBITION ORGANIZED IN CLOSE COLLABORATION WITH THE LEWITT COLLECTION ...... 03

AN EXHIBITION DESIGN IN ACCORDANCE WITH THE ARTIST'S PRINCIPLES ...... 04

THE PREPARATION OF THE WALLS ...... 04

AN EXHIBITION IN PARTNERSHIP WITH ART SCHOOLS IN NORTH-EASTERN ...... 04

SELECTED WORKS ...... 05

TEXTS ON WALL DRAWING BY SOL LEWITT ...... 10

3. THE WORK AND CAREER OF SOL LEWITT ...... 11

4. PUBLICATION ...... 12

5. RELATED EVENTS ...... 13

YOUTH WORKSHOPS ...... 13

EVENTS IN THE AUDITORIUM WENDEL AND STUDIO ...... 13

SOL LEWITT. COLORS, JUNE 21 – OCTOBER 14, 2012 AT M-MUSEUM LEUVEN (BELGIUM) ...... 14 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007, AN EXHIBITION AS PART OF MONO, A CROSS-BORDER EVENT ...... 15

6. LENDERS ...... 16

7. PARTNERS ...... 17

8. CREDITS ...... 19

9. VISITOR INFORMATION ...... 22

10. PRESS VISUALS ...... 23 1 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 1. 2. PRESENTATION THE EXHIBITION OF THE PROJECT SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

OPENING MARCH 7, 2012 THE PRACTICE OF WALL DRAWING THE CHOICE OF BLACK AND WHITE A MAJOR RETROSPECTIVE, UNPRECEDENTED IN EUROPE -Metz presents a major project around In 2013, Centre Pompidou-Metz will feature Sol LeWitt's Reminiscent of the fresco tradition, Sol LeWitt's wall Centre Pompidou-Metz has chosen to present thirty-three the American conceptual artist Sol LeWitt (1928-2007). In personal collection. This second exhibition will reflect drawings marked from the late 1960s on, a decisive wall drawings by Sol LeWitt exclusively in black and white. the 13,000 square feet of Galerie 2, Centre Pompidou-Metz LeWitt's extraordinary career not only as a prolific artist development in the history of contemporary drawing "Black and white is at the heart of the conception of Sol is hosting a retrospective of Sol LeWitt's wall drawings on but also as an insatiable collector. in particular, and of art in general. Expressing thought LeWitt's wall drawings, even for the most colorful works," a scale never seen before in Europe. The selected thirty- processes which the artist conceived beforehand, the wall explains the exhibition's curator, Béatrice Gross."The The LeWitt Collection (Chester, ), assembled three wall drawings, the largest group ever exhibited in drawings are then executed directly onto the walls on the preparatory drawings are always done in . Colors, largely through trades and gifts rather than purchases, Europe, span the artist's career from its beginnings to his scale of the exhibition venue. The wall drawings, produced where they exist, are indicated only by their initial letter contains, alongside a selection of LeWitt's own works, final works. on-site, exist for the duration of the exhibition; they are (R for red, Y for yellow, B for blue). In addition, the use of over 4000 works by other artists. With over 250 works, the then destroyed, giving the work in its physical form an black and white frames the artist's work: LeWitt made his Chosen from the 1200 wall drawings which LeWitt presentation at the Centre Pompidou-Metz will be the first ephemeral quality. Its content (or concept) however remains first wall drawings in black pencil, and the last ones in created between 1968 and 2007, the selected wall major showing of the LeWitt Collection in Europe. identical from one exhibition to the next. graphite, both on white walls." drawings reflect both the extraordinary consistency of the artist’s systematic explorations - with logical sets and LeWitt conceived the drawings to be executed mainly by This decision to show only black and white wall drawings combinations of geometric elements - and the remarkable people other than himself. Professional assistants trained also underlines the striking visual impact of LeWitt’s diversity of his practice, both in the evolution of the forms by the LeWitt studio, and drafters new to the process, work. Depending on the materials and techniques used, (from simple geometric figures to what the artist called are brought in to precisely follow LeWitt's instructions the powerful contrast between black and white, or the "complex" or "continuous" forms), and of the materials and diagrams. As the artist stated back in 1967, “In more subtle contrast of various shades of gray, stresses used by LeWitt (from pencil and crayon to India , acrylic , the idea or concept is the most important the structure and the optical effects that bring the works paint and graphite). aspect of the work (…) and the execution is a perfunctory to life, from the subtle vibration of pencil lines to the affair. The idea becomes the machine that makes the sustained cadence of flat areas of black and white in Through a remarkable partnership with local schools of art.” (“Paragraphs on Conceptual Art,” in , vol. acrylic, through soft variations of ink washes. art and architecture, the execution of the wall drawings 5, no. 10, , June 1967, pp. 79-83). Like musicians at Centre Pompidou-Metz fully conveys the principle of performing a musical score, the drafters interpret, collaboration advocated by the artist. each time slightly differently and in their own way, the In partnership with Centre Pompidou-Metz, and as a geometric formulae set out by LeWitt. AN EXHIBITION ORGANIZED IN CLOSE chromatic counterpart to its retrospective of wall drawings LeWitt's wall drawings are based on: in black and white, M-Museum Leuven (Belgium) will show — a basic visual vocabulary of elementary geometric COLLABORATION WITH THE LEWITT from June 21 to October 14, 2012, twenty wall drawings in forms - straight, not straight, and broken lines, color. squares, arcs, circles, grids, etc. - which expanded COLLECTION towards more irregular, complex forms such as isometric figures, curves, and loops; Sol LeWitt. Wall Drawings from 1968 to 2007 in Galerie 2 of — a range of diverse techniques using pencil, crayon, Centre Pompidou-Metz has been conceived and developed India ink, acrylic paint and graphite. in close collaboration with the LeWitt Collection (Chester, Connecticut). The format of the exhibition, the selection The artist never ceased to explore every possible of the works, and their execution result from an ongoing combination of closed systems - the notion of the infinite dialogue with the artist's estate. The preparation of the was never part of his work - in which the repetition of exhibition’s related publication benefits from a unique forms and modules is conceived as a narrative in its own opportunity to research the LeWitt archives. right.

2 3 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

AN EXHIBITION DESIGN IN ACCORDANCE AN EXHIBITION IN PARTNERSHIP WITH ART SELECTED WORKS Wall Drawing #340A WITH THE ARTIST'S PRINCIPLES SCHOOLS IN NORTH-EASTERN FRANCE A specificity of the captions and wall labels to Sol LeWitt's LeWitt's initial vocabulary of straight lines in four works is that they include the names of the first people directions expanded to include simple geometric forms, The exhibition design, by Cécile Degos, respects LeWitt's The execution of the wall drawings at Centre Pompidou- who drew them and the location of their first installation. which the artist classified as "primary" shapes (square, strict working principles. Metz is an exceptional opportunity for young artists and This is also how the works are dated (as opposed to by circle and triangle), and "secondary" shapes (rectangle, students in North-Eastern France to work alongside the date of their conception). Hence, while the idea takes trapezoid and parallelogram), as shown by the two rows of The lay-out of the exhibition space is organized based on: professional drafters from the LeWitt studio. precedence over the execution, the execution is part of the striped figures in Wall Drawing #340A (1993). — a logical grid system - consisting of precisely noting idea: it would run counter to the concept of the work not the dimensions and arrangements of elements – The execution of the wall drawings, which required eight to produce it. applied throughout Galerie 2; weeks of intensive work, has involved: — the definition of the general format of the walls based — some 60 students from four schools: l’École supérieure on the nature of the drawings (most of which fit inside d’art de Lorraine, Metz-Épinal, l'ENSarchitecture a square and cover the entire surface of the wall); de Nancy, l’École nationale supérieure d’art in return, the general dimensions of the drawings, de Nancy, l'ESAD de Reims/École supérieure d’Art with rare exceptions, are determined by the height et de Design ; of the walls; — 13 young artists; — a close attention to proportions and their perception — 7 professional assistants. in space; For each wall drawing, a team is appointed around a — a flowing circulation throughout the gallery, governed professional assistant who supports and guides those new by the succession of regular open spaces on the south to the process. The professional supervises each team side, and more varied and enclosed environments throughout the execution of the drawing and, where the on the north side. degree of difficulty of the piece allows, endeavors to let them work autonomously. The students have two types of responsibility: the preparation of the tools and the actual THE PREPARATION OF THE WALLS execution of the drawings to the artist's instructions. In addition to their work in the galleries, Centre Pompidou- Sol LeWitt's wall drawings are produced directly on the Metz has devised a program of encounters and exchanges walls. As the very suport of the artworks, they must be for the students and young artists in Metz and in Leuven prepared in accordance with the artist's instructions. Prior (Belgium), in February and in May 2012. to the execution of the drawings, several coats of primer and paint are applied to the walls. For optimal results, This initiative is a unique opportunity for both students the preparation is adapted to the technique of each wall and young artists to be involved in the creative process of drawing (pencil, crayon, ink wash, acrylic paint, and one of the greatest contemporary American artists. graphite). Part of Galerie 2 has been set aside to show a "making-of" As an example, at Centre Pompidou-Metz, the walls for the documentary by Patric Chiha which records this pencil drawings were given a thin coat of plaster, sanded, one-of-a-kind process. then wiped clean. Two coats of primer were followed by three coats of white paint applied in a specific manner using a roller. The walls were then sanded again to produce a perfectly smooth surface.

Wall Drawing #340A Six-part drawing. The wall is divided horizontally and vertically into six equal squares, bordered and separated by 6-inch (15 cm) white bands. Within each square a geometric figure outside of which are black horizontal parallel lines, and within which are black vertical parallel lines. All lines are 1 inch (2.5 cm) apart. The horizontal lines do not enter the figures.

Wall Drawing #879 Black crayon Loopy Doopy (black and white) (detail) First drawn by: Brian Coleman, Shawn Perry Acrylic paint First installation: Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts April 1993 First drawn by: Elizabeth Alderman, Sachiko Cho, Edy Ferguson, Anders Felix, Paux Hedberg, Choichi Nishikawa, Jim Prez, Emily Ripley, Mio Takashima LeWitt Collection, Chester, Connecticut First installation: PaceWildenstein, New York © Adagp, Paris 2012 September 1998 © Photo: Centre Pompidou-Metz / Rémi Villaggi View of the installation at Centre Pompidou-Metz, February 2012 LeWitt Collection, Chester, Connecticut © Adagp, Paris 2012 © Photo: Centre Pompidou-Metz / Rémi Villaggi View of the installation at Centre Pompidou-Metz, February 2012

4 5 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

Wall Drawing #2 Wall Drawing #414 Drawing Series II (A) (24 drawings) Drawing Series IV (A) with India ink washes (24 Drawings)

Organized within a grid, Wall Drawing #2, Drawing Wall Drawing #414, Drawing Series IV (A) with India ink Series II (A) (24 drawings) (1968), presents one of the four washes (24 Drawings) (1984) returns to another of the sections of a closed system of permutations. Twenty-four four sections of the system of permutations presented combinations of sixteen squares organized according to earlier in the exhibition with Wall Drawing #2 (1968). the “Mirror” method, show the possible permutations Here, LeWitt uses the "Cross Reverse" method to arrange of a straight line positioned in the four basic geometric his permutations. The sequences of sixteen squares are directions: vertical, horizontal, 45° diagonal left to right, executed in India ink wash, applied with a soft rag. Each and 45° diagonal right to left. shade of gray corresponds to one of the four directions of a straight line.

Wall Drawing #2 Wall Drawing #414 Drawing Series II (A) (24 drawings) (detail) Drawing Series IV (A) with India ink washes (24 Drawings) (detail)

Black pencil India ink wash First drawn by: Tony Day, Guy Dill, Jim Ganzer, Michael Maglich, Jerry Kamitaki, Sol LeWitt First drawn by: David Higginbotham, Jo Watanabe First installation: , Los Angeles First installation: Moderna Museet, Stockholm November 1968 March 1984 CAPC musée d’art contemporain de Bordeaux LeWitt Collection, Chester, Connecticut © Adagp, Paris 2012 © Adagp, Paris 2012 © Photo: Centre Pompidou-Metz / Rémi Villaggi © Photo: Centre Pompidou-Metz / Rémi Villaggi View of the installation at Centre Pompidou-Metz, February 2012 View of the installation at Centre Pompidou-Metz, February 2012

6 7 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

Wall Drawing #879 Wall Drawing #1171 Loopy Doopy (black and white) Wall Drawing #1171 (2005) is part of LeWitt's final series Wall Drawing #879 (1998) is part of a series of works with of works. Titled Scribbles and executed between 2005 undulating patterns, titled Loopy Doopy, which marks a and 2007, these wall drawings return to a technique of turning-point in LeWitt's practice as it breaks with the scribbling with colored pencil, explored in the early 1970s, systematic and modular approach that characterizes the using graphite. The seemingly random but yet highly artist’s early works. Exceptionally, these irregular curves methodical application produces precise degrees of density. cannot be drawn by following instructions or diagrams. Five or six shades of gray (depending on the drawing) are Instead, a copy of LeWitt's original drawing on paper is meticulously applied inside squares or isometric cubes. printed on a transparency and projected onto the alloted The scribbling technique produces paradoxical works in wall. The drafters can then precisely trace the meanders of combining one of drawing's most primitive forms with this surprising, organic work. carefully controlled conceptual seriality.

Wall Drawing #879 Wall Drawing #1171 Loopy Doopy (black and white) Five degrees of scribbles: A cube without a cube; a cube without a corner

Acrylic paint Graphite First drawn by: Elizabeth Alderman, Sachiko Cho, Edy Ferguson, First drawn by: Roland Lusk, Anthony Sansotta Anders Felix, Paux Hedberg, Choichi Nishikawa, Jim Prez, Emily Ripley, Mio Takashima First installation: domicile des Glimcher, East Hampton, New York First installation: PaceWildenstein, New York August 2005 September 1998 Collection Arne and Milly Glimcher, New York LeWitt Collection, Chester, Connecticut © Adagp, Paris 2012 © Adagp, Paris 2012 © Photo: Centre Pompidou-Metz / Rémi Villaggi © Photo: Centre Pompidou-Metz / Rémi Villaggi View of the installation at Centre Pompidou-Metz, February 2012 View of the installation at Centre Pompidou-Metz, February 2012

8 9 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 3. TEXTS ON WALL DRAWING BY SOL LEWITT THE WORK AND CAREER “WALL DRAWINGS,” 1970 “DOING WALL DRAWINGS,” 1971 I wanted to do a work of art that was as two-dimensional The artists conceives and plans the wall drawing. It is as possible. realized by draftsmen, (the artist can act as his own It seems more natural to work directly on walls than to draftsman.) The plan (written, spoken or a drawing) is make a construction, to work on that, and then put the interpreted by the draftsman. OF SOL LEWITT construction on the wall. There are decisions which the draftsman makes, within The physical properties of the wall, height, length, color, the plan, as part of the plan. Each individual being material, architectural conditions and intrusions, are a unique, given the same instructions would carry them out necessary part of the wall drawings. differently. He would understand them differently. Sol LeWitt (1928-2007) was born in Hartford, Connecticut 1989: Wall Drawings 1984-1989, Kunsthalle Bern Different kinds of walls make for different kinds of The artist must allow various interpretations of his plan. (). He studied fine arts at 1992-1995: Sol LeWitt: Drawings 1958–1992, Haags drawings. The draftsman perceives the artist’s plan, then reorders it (New York State), then at the and Illustrators Gemeentemuseum, [traveling to the Centre Imperfections of the wall surface are occasionally apparent to his own experience and understanding. School (now ) in . He Pompidou, Musée national d’art moderne, Paris, and the after the drawing is completed. These should be considered The draftsman’s contributions are unforeseen by the artist, worked as a graphic designer at the architectural practice Musée de Picardie, Amiens, France, among other venues] a part of the wall drawing. even if he, the artist, is the draftsman. Even if the same of I.M. Pei, and as a night receptionist at the Museum The best surface to draw on is plaster, the worst is brick, draftsman followed the same plan twice, there would be of , where his co-workers included artists 2000-2001: Sol LeWitt: A Retrospective, San Francisco but both have been used. two different works of art. No one can do the same thing , and , and the . [traveling to the Museum Most walls have holes, cracks, bumps, grease marks, twice. critic Lucy R. Lippard. LeWitt was first associated with of Contemporary Art, Chicago; Whitney Museum are not level or square and have various architectural The artist and the draftsman become collaborators in American Minimal art from which he would soon distance of American Art, New York] eccentricities. making the art. himself. LeWitt defined the principles of his practice in 2006-present: Sol LeWitt Drawing Series, The handicap in using walls is that the artist is at the Each person draws a line differently and each person his influential “Paragraphs on Conceptual Art,” published Dia: Beacon, New York mercy of the architect. understands words differently. Neither lines nor words are in 1967 in Artforum, along with another seminal text The drawing is done rather lightly, using hard graphite so ideas, they are the means by which ideas are conveyed. “Sentences on Conceptual Art,” published in 1969 in 0 To 9. 2008-2033: Sol LeWitt: A Wall Drawing Retrospective, that the lines become, as much as possible, a part of the The wall drawing is the artists’s art, as long as the plan is Massachusetts Museum of Contemporary Art (MASS While the wall drawings, which he started in 1968 at the wall surface, visually. not violated. If it is, then the draftsman becomes the artist MoCA), North Adams, Massachusetts age of 40, constitute LeWitt’s most emblematic practice, Either the entire wall or a portion is used, but he and the drawing would be his work of art. But art that is a his oeuvre also includes three-dimensional works (which dimensions of the wall and its surface have a considerable parody of the original concept. he referred to as "structures"), innumerable drawings on effect on the outcome. The draftsman may make errors in following the plan paper, photographic series, prints, and artist's books. The [SELECTED GROUP EXHIBITIONS] When large walls are used the viewer would see the without compromising the plan. All wall drawings contain different media which the artist explored are equally used 1968: Documenta, Kassel (also in 1972, 1977 and 1982) drawings in sections sequentially, and not the wall as a errors, they are part of the work. as tools to work out similar or closely-related thought whole. The plan exists as an idea but needs to be put into 1971: Guggenheim International Exhibition, New York processes. An instance of this fluid correspondence Different draftsmen produce lines darker or lighter and its optimum form. Ideas of wall drawings alone are between these different practices can be found in LeWitt’s 1976: Venice Biennale (also in 1980, 1988 and 1997) closer or farther apart. As long as they are consistent there contradictions of the idea of wall drawings. contribution to Seth Siegelaub’s Xerox Book, a collaborative is no preference. The explicit plan should accompany the finished wall 1979: Whitney Bienniale (also in 1987) project in bookform from 1968, for which LeWitt proposed Various combinations of black lines produce different drawing. They are of equal importance. a system of twenty-four drawings combining straight 1981: Mise en pièces, mise en place, mise au point, tonalities; combinations of colored lines produce different lines in four directions. The same year, sections of this Chalon-sur-Saône, Maison de la culture / Dijon, colors. First published in Art Now, vol. 3, no. 2, New York, June 1971, n. p. system were executed directly on the wall at Paula Cooper Le Coin du miroir, France The four basic kinds of straight lines used are vertical, © LeWitt Collection, Chester, Connecticut Gallery, including Wall Drawing #2, Drawing Series II (A) horizontal, 45° diagonal left to right and 45° diagonal right 1982: Murs, Centre Pompidou, Musée national d’art (24 drawings) which shows one of these four sections, and to left. moderne, Paris which has been realized anew at Centre Pompidou-Metz. When color drawings are done, a flat white wall is 1995: 1965–1975: Reconsidering the Object of Art, preferable. The colors used are yellow, red, blue and black; LeWitt’s first solo show was held at John Daniels Gallery in The Museum of Contemporary Art, Los Angeles the colors used in printing. New York City in 1965. He would go on to show his work in When a drawing is done using only black lines, the same numerous galleries, museums, and at art events worldwide, 1999-2000: Global Conceptualism: Points of Origin, tonality should be maintained throughout the plane in including: 1950s-1980s, The Queens Museum of Art, Queens; order to maintain the integrity of the wall surface. MIT , Cambridge, Massachusetts An ink drawing on paper accompanies the wall drawing. 2004: Singular Forms (Sometimes Repeated): Art from 1951 It is rendered by the artist while the wall drawing is [SELECTED ONE-PERSON EXHIBTIONS] to the Present, Solomon R. Guggenheim Museum, New York rendered by assistants. 1970: Sol LeWitt, Gemeentemuseum, The Hague The ink drawing is a plan for but not a reproduction of the 2007: Le Mouvement des images, Centre Pompidou, Musée wall drawing; the wall drawing is not a reproduction of the 1975: Prints, Stedelijk Museum, Amsterdam national d’art moderne, Paris ink drawing. Each is equally important. 1978-1979: Sol LeWitt, The Museum of Modern Art, New 2009: In & Out of Amsterdam, The Museum of Modern Art, It is possible to think of the sides of simple three- York (traveling to the Museum of Contemporary Art, New York dimensional objects as walls and draw on them. Montreal; Krannert Museum of Art, University of Illinois, The wall drawing is a permanent installation, until 2011: On Line: Drawing Through the Twentieth Century, Champaign; Museum of Contemporary Art, Chicago; La destroyed. The Museum of Modern Art, New York Jolla Museum of Contemporary Art, ) First published in Gregory Battock (dir.), “Documentation on Conceptual Art,” Arts Magazine, vol. 44, no. 6, New York, April 1970, p. 45.

10 11 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 4. 5. PUBLICATION RELATED EVENTS

In conjunction with the exhibition, Centre Pompidou-Metz is publishing a 480-page catalog, with editions in French and in English. This ambitious YOUTH WORKSHOPS EVENTS IN THE AUDITORIUM WENDEL publication aims to become a new reference work on Sol LeWitt, as most Through March 19, 2012, visitors aged 11 to 18 can take monographic books about the artist are now out-of-print. AND STUDIO part in "On the Walls Again" and execute Sol LeWitt's Wall The catalog will be divided in three parts: Drawings #84 (1971), #869c (1998), #960 (2001) and #1054 As a place to experiment with new ideas and experiences, — Part one looks at the work of Sol LeWitt, with an emphasis (2002) directly on the walls in the workshop spaces. Centre Pompidou-Metz takes an original and engaging on his wall drawings; approach to modern and contemporary art, by bringing They are guided by team leaders from the youth staff who — Part two compiles all of LeWitt's writings, published for the first time different disciplines together and encouraging real have been trained by professional drafters from the LeWitt in French, in addition to a selection of projects, instructions and interviews; exchange between artists and audiences. studio. — Part three examines the breadth of the LeWitt Collection. The 2012-2013 season will begin with events that echo Through an exceptional selection of more than 430 illustrations, including the work of Sol LeWitt. Entitled “Sol LeWitt hier et installation views of wall drawings at Centre Pompidou-Metz and M-Museum USEFUL INFORMATION aujourd’hui” (Sol LeWitt Yesterday and Today), the program Leuven, and a number of previously unpublished documents, and texts by will highlight LeWitt's interaction with serial and minimal Up to 15 participants (from schools or youthclubs) can partake in the acclaimed international authors including Lucy R. Lippard, Rosalind Krauss and music of the 1960s and 1970s, as well as dance and workshops on weekdays and 12 individuals on weekends. Anne Rorimer, this monograph presents every aspect of the work of this major live performance. The program will also feature events artist of the second half of the twentieth century. Weekdays 9am to 11am (for schools and youthclubs, admission free after that highlight LeWitt's ongoing influence on younger booking on Centre Pompidou-Metz website). generations of artists. The catalog, published in patnership with M-Museum Leuven (Belgium), will be launched in September 2012. Saturday and Sunday 11am to 12.30pm, 2pm to 3.30pm, 4pm to 5.30pm. The program for March-June 2012 is online on Centre Admission €3. Sign up at Centre Pompidou-Metz. Limited number of Pompidou-Metz website. Sol LeWitt participants. Catalog directed by Béatrice Gross Published by Centre Pompidou-Metz LENGTH: 90 minutes In partnership with M-Museum Leuven (Belgium) LOCATION: Ateliers Jeunes Publics (Youth Workshops), 1st floor Published in September 2012 480 pages, bound, €49.90 French: ISBN 978-2-35983-017-0 These youth workshops have the support of the Caisse d'Épargne Lorraine English: ISBN 978-2-35983-018-7 Champagne-Ardenne.

12 13 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

SOL LEWITT. COLORS, SOL LEWITT. WALL DRAWINGS JUNE 21 - OCTOBER 14, 2012 FROM 1968 TO 2007, AN EXHIBITION M-MUSEUM LEUVEN (BELGIUM) AS PART OF MONO, A CROSS-BORDER EVENT In collaboration with Centre Pompidou-Metz, M-Museum The fourth gallery, with an extraordinary ceiling height of Beginning June 1, 2012, cultural venues in Lorraine, The exhibitions: Leuven (Belgium) presents a chromatic counterpart to the 7 meters (23 feet), is set aside for a single work which runs Saarland and Luxembourg are joining forces for MONO, Wesley Meuris - Casino Luxembourg – Forum d’art black and white retrospective. A selection of over twenty over two walls. Wall Drawing # 867 (1998), combines new a major cross-border event: contemporain, Luxembourg wall drawings, this time in color, span LeWitt’s entire variables in the artist’s systems: saturated colors in acrylic 18 solo shows of modern and contemporary art Erick Beltrán - Centre d’art contemporain - Synagogue career, from the earliest drawings in fine pencil to his late paint, wavy lines, and glossy varnish, as the instructions 19 artists de Delme, Delme works in acrylic paint. This exhibition will constitute the read: "A wall divided vertically into six equal parts, 15 venues Raphaël Dallaporta - Centre national de l’audiovisuel, largest ensemble of LeWitt’s wall drawings ever on view in yellow; purple; blue; orange; red; and green. The wall is 3 countries Dudelange, Luxembourg Belgium. divided horizontally in two parts by a wavy line. The top is 3 opening days Sol LeWitt - Centre Pompidou-Metz, Metz flat; the bottom is glossy." The wall drawings shown at the M will be executed to the 3 months Ben Vautier - Château de Malbrouck, Manderen artist’s precise instructions by trained drafters from the Curators of Sol LeWitt. Colors John Giorno - Faux Mouvement, Metz MONO carries on from earlier cross-border events between LeWitt studio, assisted by young artists and students from Eva Wittocx (Chief-Curator, M-Museum Leuven) and Doug Wheeler - 49 Nord 6 Est – Frac Lorraine, Metz cultural venues within the Greater Region of Lorraine, the following Belgian art schools: Hogeschool Sint-Lukas, Béatrice Gross (Independent curator, New York). Carine et Elisabeth Krecké – Centre d’art Nei Licht, Luxembourg, Saarland, Rhineland-Palatinate and Wallonia. Brussels; La Cambre / École Nationale Supérieure des Dudelange When in 2007 the project for Luxembourg European Capital Arts Visuels, Brussels; Koninklijke Academie voor Schone Sanja Ivekovic, Emily Bates, Filipa César, Sarah Sze - of Culture was extended to the entire Greater Region, Kunsten | KASK, Gent; Sint-Lucas Beeldende Kunst Gent; Mudam Luxembourg - Musée d’Art Moderne Grand- VISITOR INFORMATION exchanges between cultural institutions moved to a new Koninklijke Academie voor Schone Kunsten, Antwerp; and Duc Jean, Luxembourg M - Museum Leuven stage. Sint Lucas, Antwerp. Roland Fisher - Saarlandmuseum, Sarrebruck L. Vanderkelenstraat 28 MONO elicits an original and different format, as cultural Nicolas Dhervillers - Weltkulturerbe Völklinger Hütte, The exhibition will take place in four large consecutive 3000 Leuven institutions in France, and Luxembourg combine Völklingen galleries, each focusing on one of the four media adopted Tel. +32 16 27 29 29 their energies and expertise in a program of exhibitions, Gregor Hildebrandt – Saarländisches Künstlerhaus, by LeWitt for his works in color: pencil, crayon, India ink, [email protected] each with the same premise: solo shows of contemporary Sarrebruck and acrylic paint. Similarly to the techniques and forms www.mleuven.be artists. August Sander - Museum Schloss Fellenberg, Merzig that LeWitt explored, colors are used conceptually, as OPENING TIMES Otto Steinert - Galerie der Hochschule der Bildenden another variable in the artist’s geometric systems. Each venue will address the specific question of the solo Monday, Tuesday, Friday thru Sunday 11am to 6pm, Thursday until 10pm, Künste Saar, Sarrebruck show in its own way. Through these different approaches, The first gallery will feature wall drawings in colored closed Wednesday. Peter Schlör - Städtische Galerie Neunkirchen MONO sets out to reveal the particular but also pencil from the late 1960s to the early 1970s. Fine lines ADMISSION complementary light that can be shed on a given form of in primary colors are repeated separately, or gradually Individuals: €9 exhibition. superimposed, leading to secondary colors. While several works fit inside vast squares, other drawings cover the Concessions: €7 entire surface of the wall evenly. Under 26: €5 13-18 years: €3 The second gallery will show wall drawings in crayon from Under 13: free the 1970s to the early 1980s. LeWitt’s formal vocabulary Families: €22 evolves to include large painted areas of color (always based on the three primary colors of yellow, red, and blue) PRESS RELATIONS incorporating simple geometric shapes. In other crayon Ilke Christiaens works, the artist’s principle of collaboration extends Press Relations to allow his drafters to determine the position of given M - Museum Leuven ARTS FLANDERS, PARTNER TO MONO elements. Tel. +32 16 27 29 38 [email protected] In 2012, Belgium is hosting five major exhibitions of The third gallery will present two works executed in ink PRESS VISUALS contemporary art in its Flemish provinces. washes. Using this technique, reminiscent of Renaissance frescos, LeWitt creates complex hues through repeated Download from: Visual Arts Flanders 2012 presents Beaufort04 applications of yellow, red, blue, and gray (primary ftp://ftp1.leuven.be/ (ouvrir en Windows Explorer) (Belgian coast), TRACK (Ghent), Middelheim (Antwerp), colors are superimposed directly on the wall rather than Login: persm Manifesta 9 (Genk) and Newtopia (Mechelen). mixed beforehand). Password: museum The geographic proximity of these five locations and the common focus on contemporary art gives rise to an international platform that brings these attractive events together into a single hub. www.visualartsflanders.be

14 15 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 6. 7. LENDERS PARTNERS

SPAIN FRANCE PARTNERS TO THE CENTRE POMPIDOU-METZ

MADRID BORDEAUX Centre Pompidou-Metz is the first offshoot of a French cultural institution, Centre Pompidou, developed in collaboration with a regional authority, the Communauté d'Agglomération Metz Private Collection. Courtesy Fundación Almine y CAPC musée d'Art Contemporain de Bordeaux Métropole (the combined district council for the Greater Metz area). Bernard Ruiz-Picasso para el Arte Centre Pompidou-Metz is an Établissement Public de Coopération Culturelle (public LYON establishment for cultural cooperation) whose founding members are the French State, Centre Musée d’Art Contemporain de Lyon Pompidou, the Lorraine Region, Communauté d'Agglomération de Metz Métropole and the City UNITED STATES of Metz. PARIS The Centre Pompidou-Metz would like to thank all its partners for their essential contribution CHESTER, CONNECTICUT to the staging of its exhibitions. Centre Pompidou, Musée national d’art moderne LeWitt Collection Collection M. et Mme. Buren Collection MJS CHICAGO

The Art Institute of Chicago CAIMAN ISLANDS AND ISRAEL LOS ANGELES Art Partners

Los Angeles County Museum of Art NEW ZEALAND NEW HAVEN, CONNECTICUT Alan Gibbs Collection THE EXHIBITION'S PARTNERS Yale University Art Gallery LeWitt Collection, Chester, Connecticut (USA) M – Museum Leuven (Belgium) NEW YORK Collection Arne and Milly Glimcher The Museum of Modern Art LUGANO Whitney Museum of American Art FOR THE EXECUTION OF THE WALL DRAWINGS Panza Collection École supérieure d’art de Lorraine, Metz - Épinal SAN FRANCISCO ENSarchitecture de Nancy École nationale supérieure d’art de Nancy San Francisco Museum of Modern Art ESAD de Reims/École Supérieure d’Art et de Design

WITH THE SUPPORT OF

French Embassy in Belgium American Embassy in Belgium

16 17 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 8. Founding Sponsor CREDITS SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 IS A CENTRE POMPIDOU-METZ PRODUCTION. IT WAS CONCEIVED AND REALIZED IN COLLABORATION WITH THE LEWITT COLLECTION, CHESTER, CONNECTICUT, USA.

Wendel - Founding Sponsor of the Centre Pompidou-Metz THE EXHIBITION TEAM Curator Alice Mescolini Signage Coordinator "A Founding Sponsor since 2010, Wendel is extremely proud to pledge its five- Béatrice Gross Laura Monpeurt Claire Bonnevie Drafters Tiphaine Moreau Manufacturing and Installation of Signage year commitment to the Centre Pompidou-Metz, an initiative which will enable Aliénor Morvan Boscher and Expocom the company to support a flagship project for the Lorraine region, birthplace of Nicolai Angelov Laura Murias Takeshi Arita Pauline Nicoli Light Design the Group and its founding families. We wanted this partnership to adhere to Manon Auroux-Daix Hee-Jung Noh Thomas Klug and Guy Pilet Nadège Avril our corporate values of long-term investing, which is a synonym for loyalty and Paul Oudin Joinery and Construction Guillaume Barborini Emil Polette Volume International: Christophe Des Dorides, solidarity in our commitments, innovation, which we believe is key to creating Thomas Bellot Ilaria Positano Yves Lafarie, Patrick Fossey, Guy Haueter not only economic value but also human and artistic activities, and the ambition Salomé Bernhard Antoine Py and their team Hélène Bleys to step up our international influence in a French region located in the heart of Lou Reichling Paint Caroline Bluche Hélène Ricou Julian David Bolivar Cuellar Duval et Mauler: Julien Facon, Europe," highlighted Frédéric Lemoine, Chairman of Wendel’s Executive Board, Agathe Rosnet Stéphane Delesges and their team and Ernest-Antoine Seillière, Chairman of the Friends of the Wendel Foundation Charles Bontout Vivien Roussel Sébastien Bour Emilien Sarot Lighting MPM Equipement: Michel Mazzarini, and a benefactor of the Centre Pompidou-Metz. Alma Bucciali Matthieu Schmidlin Laurent Capron and their team Hajaratou Camara Margaux Simonetti Léa Candat Wendel is one of the leading investment companies in Europe, acting as an Baptiste Sorin Technical Inspection Estelle Chrétien Wim Starkenburg Bureau Veritas: Michel Lecuyer and Lug Soulier investor and professional shareholder, promoting the long-term development Andrew Colbert Yee-Hsien Tan Insurance of the Works Aude Couvercelle Simon Thiebaut of companies which are leaders in their sectors: Bureau Veritas, Legrand, Saint- Arthur Debert Blackwall Green: Robert Graham Angéline Thivant and Camilla Stephens Gobain, Materis, Deutsch, Stahl and Mecatherm. Christelle Debono Jo-Ana Tracjceski Aurore Derolez Alessandra Venner Centre Pompidou-Metz Visual Identity Charlotte Doireau Agathe Vial Donuts Founded in 1704 in Lorraine, Wendel Group was committed to the development Sofia Espinosa Sara Viviani Press Relations Marine Fechtig of the steel industry in France before diversifying its businesses in the late 1970s. Marion Wolff Claudine Colin Communication: Claudine Colin, Elise Franck Valentine Dolla and Léa Levkovetz Julie Freichel Matthieu Frenot Project Manager Inerns The Group is supported by its reference family shareholder, made up of more than Charline Becker Shqipe Gashi Yaëlle Audureau, Morgan Labar and Éliane de Larminat one thousand individual Wendel family shareholders, who are united in the family Damien Gete Exhibition Design company Wendel-Participations, which owns 35% of Wendel. Romain Goetz Cécile Degos Elodie-Rose Gouet Research Officer Maëlle Greffier Anais Lellouche CATALOG Press Relations: Christèle Lion - + 33 (0) 1 42 85 91 27 - Geoffrey Grimal Director Jing-Fang Hao Schools Relations Officer [email protected] Béatrice Gross Guilaine Harnist Anne Oster Caroline Hatte Youth Workshops Officer Editor Website: www.wendelgroup.com John Hogan Anne-Marine Guiberteau Claire Bonnevie Pierre-Alexandre Hugron Graphic Design Gabriel Hurier Works Registrar Irene Pomar Pierre Peronnet et Wijntje van Rooijen François Hussenot Princia Chinese Itoua Dickelet Technical Registrar Manufacturing Sarah Knobloch Alexandre Chevalier Dominique Oukkal Benjamin Lallement Site Operations and Coordination Ludovic Landolt Stéphane Leroy Min-Woo Lee SPECIAL THANKS TO Brann Le Garrec Audiovisual and Lighting LeWitt Collection, Chester, Connecticut Maximilian Le Roux Jean-Philippe Currivant Carol LeWitt, Sofia LeWitt, Anthony Sansotta, Cyrielle Lévêque Documentary Film Janet Passehl, and John Lavertu Lucie Linder Patric Chiha and his team Roland Lusk Sol LeWitt Catalogue Raisonné Loïc Lusnia Photo Editing Artifex, New York Sarra Narimane Mami Studio Rémi Villaggi and Citizen Films Susanna Singer and Veronica Roberts Amandine Mantrant Graphic Design for Signage, Invitations The Pace Gallery, New York Valérie Martens and Posters Marc Glimcher Baptiste Mathieu Pierre Peronnet and Wijntje van Rooijen Cay Rose

18 19 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007

CENTRE POMPIDOU-METZ Board of Administrators Management Department of Administration and Finance Department of Communications Department of Programming FRIENDS OF CENTRE POMPIDOU-METZ and Development President Laurent Le Bon Jean-Eudes Bour Hélène Guenin Friends of Centre Pompidou-Metz is a non- Alain Seban, President, Centre Pompidou Director Head of Department - Accountant Annabelle Türkis Head of Department profit organisation whose purpose is to Claire Garnier Jérémy Fleur Head of Department Camille Aguignier accompany the Centre in its cultural projects, Honorary President Personal Assistant and Project Accounts Assistant Erika Ferrand Cooper Editing Assistant and to enlist the support of the business world Jean-Marie Rausch Coordinator Audrey Jeanront Communications and Events Officer Claire Bonnevie and private individuals who wish to make their Vice-President Human Resources Management Assistant Marie-Christine Haas Editor contribution. Jean-Luc Bohl, President of Metz Métropole Frédéric Lewandowski Multimedia Communications Officer Géraldine Celli Jean-Jacques Aillagon General Secretariat Accouting Assistant Louise Moreau Studio and Wendel Auditorium Representing the Centre Pompidou Former Minister of Culture Ludivine Morat Communications and Press Relations Officer Programming Officer Emmanuel Martinez President Alain Seban, President, Agnès Saal, General Administrative Coordinator Marine Van Schoonbeek Anaïs Lellouche Secretary General Director, Jean-Marc Auvray, Director of Legal Alexandra Morizet Communications and Public Relations Officer Research Officer and Assistant Ernest-Antoine Seillière Pascal Keller and Financial Affairs, Bernard Blistène, Director Public Contracts Coordinator Amélie Watiez to the Director Chairmanof the Wendel Supervisory Assistant Secretary General of Cultural Development, Frank Madlener, Véronique Muller Communications and Events Officer Alexandra Müller Board Vice-President Julie Béret Director of IRCAM (Institut de Recherche Accouting Assistant Pauline Fournier Research and Exhibitions Officer Administrative Coordinator Lotus Mahé et Coordination Acoustique / Musique), Alfred Public Relations Assistant (cooperative Dominique Oukkal Hélène de Bisschop Art Historian Pacquement, Director of the Musée national education programme) Manufacturing Coordinator Legal Advisor Secretary General d'art moderne Department of Building Maintenance Élodie Stroecken Émilie Engler and Operation Coordination Assistant Philippe Bard Representing Metz Métropole Secretarial Assistant Department of Production President of Demathieu & Bard Philippe Hubert Jean-Luc Bohl, President, Antoine Fonte, Treasurer Technical Director Anne-Sophie Royer Vice-President, Pierre Gandar, Community Department of Visitor Relations Christian Bertaux Head of Department Charline Guille Councilor, Patrick Grivel, Community Councilor, Head of Building Maintenance Charline Becker Aurélie Dablanc Assistantto the Secretary General Henri Hasser, Vice-President, Thierry Hory, Sébastien Bertaux Project Manager Head of Department Vice-President, William Schuman, Community Chief Electrician Alexandre Chevalier Fedoua Bayoudh Councilor Vivien Cassar Galleries Registrar Visitor Relations and Tourism Officer Representing the Conseil Régional de Lorraine Technical Coordinator Jean-Philippe Currivant Djamila Clary Jean-Pierre Del Vecchio Technical Registrar Assistant to the Department Jean-Pierre Masseret, President, Nathalie Systems and Networks Administrator Olivia Davidson Jules Coly Colin-Oesterle, Regional Councilor, Josiane Pierre Hequet Works Registrar Visitor Relations, Information Madelaine, Vice-President, Roger Tirlicien, Building technician Jennifer Gies and Accessibility Officer Regional Councilor, Thibaut Villemin, Vice- Christian Heschung Project Manager Anne-Marine Guiberteau President Head of Information Systems Thibault Leblanc Youth Programming and Educational Representing the State Stéphane Leroy Performing Arts Registrar Activities Officer Site Operations and Coordination Éléonore Mialonier Benjamin Milazzo Christian Galliard de Lavernée, Prefect André Martinez Works Registrar Visitor Relations and Membership Officer of the Lorraine Region, Prefect of the Moselle Head of Security Fanny Moinel Anne Oster and the East France Defense and Security Zone, Jonathan Moro Project Manager Schools Relations Officer or his representative IT Manager Irène Pomar Representing the City of Metz Jean-David Puttini Project Manager Painter Jeanne Simoni Centre Pompidou-Metz thanks all its service Dominique Gros, Mayor of Metz, Intern providers and their staff: Thierry Jean, Deputy Mayor Clean Alliance, Cofely, Flammarion bookshop, Ex-Officio Phone Régie, La Voile Blanche and SGP.

Frédéric Lemoine, Chairman of the Wendel Group Executive Board Patrick Weiten, President of the Conseil Général de la Moselle, or his representative

Representing the Staff of Centre Pompidou-Metz

Philippe Hubert, Technical Director Benjamin Milazzo, Visitor Relations and Membership Officer

20 21 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 9. 10. VISITOR INFORMATION PRESS VISUALS SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 Exhibition open to the public March 7, 2012 – July 29, 2013.

Visuals of the exhibition can be downloaded at Audioguides : €3 OPENING HOURS Multimedia audioguides can be rented HOW TO GET TO OPENING TIMES UNTIL APRIL 30, 2012 at the ticket desk. centrepompidou-metz.fr/phototheque Monday ...... 11am-6pm Languages: French, English, German. CENTRE POMPIDOU-METZ Tuesday ...... closed Adapted for hearing-impaired visitors (AFIL). On foot: a 2-minute walk from the high-speed TGV Wednesday ...... 11am-6pm Metz Ville station; 10 minutes from the historical Login: presse For more information go to: Thursday ...... 11am-8pm town centre. centrepompidou-metz.fr Password: Pomp1d57 Friday ...... 11am-8pm Saturday ...... 10am-8pm By car: A4 (Paris / Strasbourg) and A31 Sunday ...... 10am-6pm (Luxembourg / Lyon) motorways, exit Metz Centre. 700-space underground car park on Avenue FROM MAY 1, 2012 GROUPS François Mitterrand, open 24/7. Monday ...... 11am-6pm Visit with a Centre Pompidou-Metz guide Tuesday ...... closed Price: €170 By coach: A4 (Paris / Strasbourg) and A31 Wednesday ...... 11am-6pm Languages: French, English, German (Luxembourg / Lyon) motorways, exit Metz Thursday ...... 11am-6pm The price includes admission, a 90-minute Centre. Group drop-off zone on Avenue François Friday ...... 11am-6pm guided tour and group booking fees. Mitterrand; reserved coach parking on Avenue Saturday ...... 10am-8pm Groups are strictly limited to 20 people. Louis Débonnaire. Sunday ...... 10am-6pm

Self-led group visit or with a guide from outside By train: high-speed TGV Metz Ville station Last ticket sales 45 minutes before closing time. Centre Pompidou-Metz with direct trains from Paris (1hr 20 min) and Price: €7 per person + €20 booking fee Luxembourg City (40 min). Lorraine TGV station for priority access. (29 km from Metz, shuttle service) with direct ADMISSION Groups are strictly limited to 20 people. trains from Lille Europe (2 hrs), Rennes (4 hrs), General admission: €7 Bordeaux (5 hrs), and Frankfurt (2 hrs 40 min). A ticket gives admission to all the exhibitions showing on the day of your visit. WHERE TO BUY TICKETS By plane: Metz-Nancy Lorraine Airport (33 km / 20 min), Luxembourg Airport (69 km / 45 min), On site Free admission (on presentation of an official Sarrebruck Airport (79 km / 1h), Zweibrücken From the ticket desks or the ticket machines document) for: Airport (110 km / 1 hr 20 min). — under 26s, Online — teachers with a Pass Education, From our website: — disabled visitors and a companion, www.centrepompidou-metz.fr — job-seekers who are registered in France (proof of status must be less than 6 months From our partners: old), Digitick, Fnac, France Billet and TicketNet — beneficiaries of income support (proof of status must be less than 6 months old), — beneficiaries of a basic State pension, — registered tour guides, — holders of an Icom, Icomos or Aica card, — journalists with a press card, Centre Pompidou-Metz Work on cover: — artists registered with the Maison des 1, parvis des Droits de L’Homme Wall Drawing #542 Artistes. CS 90490 On two walls, lines from the bottom corner to the midpoints of the top and sides of the walls. F-57020 Metz Cedex 1 The areas between the lines are filled in with India ink wash. (Detail) The priority line is for: +33 (0) 3 87 15 39 39 Ink wash — holders of Centre Pompidou-Metz "Pass" [email protected] First drawn by: David Higginbotham, Caterine Pasteur First installation: Musée Saint-Pierre, Lyon membership card centrepompidou-metz.fr September 1987 — disabled visitors and a companion Musée d’art contemporain de Lyon — persons with reservations or pre-paid Centre Pompidou-Metz is on Facebook admission and Twitter — holders of Icom, Icomos or Aica card, — journalists with a press card.

22 23 SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007 NOTES

24 SOL LEWITT, DESSINS MURAUX DE 1968 À 2007

Press contacts

EPCC Centre Pompidou-Metz Louise Moreau +33 (0)3 87 15 39 63 [email protected]

Claudine Colin Communication Valentine Dolla +33 (0)1 42 72 60 01 [email protected]

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