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Conceptual art became the liberating idea that gave the art of the next 40 years its real impetus.

Sol LeWitt

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Sol LeWitt
Age: 78 †
Born: 1928
Born: September 9
Died: 2007
Died: April 8
Architect
Artist
Conceptual Artist
Drawer
Illustrator
Painter
Photographer
Sculptor
Hartford
Connecticut
Sol Le Witt
Sol Lewitt
Solomon Sol LeWitt
Ideas
Impetus
Real
Conceptual
Years
Liberating
Became
Gave
Idea
Next
Art

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The system is the work of art the visual work of art is the proof of the System. The visual aspect can't be understood without understanding the system. It isn't what it looks like but what it is that is of basic importance.
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Minimal art went nowhere.
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What the work of art looks like isn't too important.
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Your work isn't a high stakes, nail-biting professional challenge. It's a form of play. Lighten up and have fun with it.
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Also, since art is a vehicle for the transmission of ideas through form, the reproduction of the form only reinforces the concept. It is the idea that is being reproduced. Anyone who understands the work of art owns it. We all own the Mona Lisa.
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One should be intelligent enough to know when not to be too intellectual
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In conceptual art the idea or concept is the most important aspect of the work
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During the '70s I was interested in words and meaning as a way of making art.
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New materials are one of the great afflictions of contemporary art. Some artists confuse new materials with new ideas.
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You shouldn't be a prisoner of your own ideas.
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Artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
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I didn't want to save art - I respected the older artists too much to think art needed saving. But I knew it was finished, even though, at that time, I didn't know what I would do.
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Minimalism wasn't a real idea - it ended before it started.
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Conceptual art is only good if the idea is good.
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An architect doesn't go off with a shovel and dig his foundation and lay every brick. He's still an artist.
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Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.
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A blind man can make art if what is in his mind can be passed to another mind in some tangible form.
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Obviously a drawing of a person is not a real person, but a drawing of a line is a real line.
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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 a machine that makes the art.
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Once it is out of his hand the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way.
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