Sunday, February 25, 2024
HomeFashionPaula Cooper's flagship store reopens in tribute to Sol LeWitt

Paula Cooper's flagship store reopens in tribute to Sol LeWitt

at the reopening of her legendary New York gallery space West st Street, Paula Cooper knew she wanted an exhibition that was not only important but meaningful. This will be since First time back to her headquarters , when neighbouring buildings damaged the galleries and forced their temporary evacuation to the west th Street.

Four years later, returning feels more than just home; it’s a celebration of these two special spaces – one of the first galleries to arrive in Chelsea one1987, and has since hosted works by artists such as Donald Judd, Jennifer Bartlett and Lynda Benglis And the art world celebrities at the helm. Before moving her gallery to Chelsea, Cooper, now 32 , started another community: she was the first to open an art gallery in SoHo, then industrial and almost desolate, in 485.

Paula Cooper Outside95 West

First Street

s.

Courtesy of Paula Cooper Gallery.

So yeah, the reopening has Cooper brooding. One artist jumped out as a natural choice for the moment: Sol LeWitt, the influential postwar American artist known for his contributions to the conceptual and minimalist art movements, who is also a library Po’s best friend until he was 1967. “Saul was such an important person and artist in my life — really, really important, and in my later stages, it was very important to go back to that space, so it seemed logical,” Cooper said by phone recently. .

Turn on what should be LeWitt’s 90 Birthday earlier this month, “Sol LeWitt: Drawings and Structures” traces the artist’s career from 86s passed 1967s.

Wall painting#80

(1968 ) greets visitors at the newly opened gallery, which scrubs the entire church-like space (with its sloping wood-beamed ceilings, obscured by the earlier owners, before she is in ’84)) in vivid persimmons covered with triangular sky blue, apricot, cadmium yellow and Purple-brown. In a smaller foyer facing west st Street, two murals, also from ’27, face to face in a mirrored shade of grey, a moody contrast to the boldness of the main wing.

Wall paintings, each part of LeWitt’s pyramid series and recreated here by a team of artists under LeWitt’s meticulous direction , has a special meaning and emotion for this exhibition: Paula Cooper Gallery in 1600. (He will continue to design about 1, 86 Geometric wall drawings in various colors and shapes, installed Thousands of times around the world.)

stands out in its nuanced palette,

Wall Drawing #86 offers fans of LeWitt what may be an unexpected addition to the prolific artist’s oeuvre. “Many people 2 ;t familiar’04 wall paintings. They are not displayed too A lot,” Cooper said. A closer look at the paint-soaked walls revealed a deep, almost leather-like texture that was the result of the installation process: it took People day done, lift yourself up in the elevator, Brush the ink layer after layer on the wall like ’13 funk music plays in the background.

LeWitt’s

Wall Painting#70

(left) and

Wall painting #86

(right), both from 1986, flanking

complex Form MH 7,

from

.

Courtesy of Paula Cooper Gallery. Image: Steven Probert © 1987 Legacy of Sol LeWitt/Artists Rights Society (ARS), New York.

This process, in which a group of people follows the instructions to install the piece, can happen an infinite number of times, at least in theory, which Crucial to understanding LeWitt as an artist. “In conceptual art, the idea or concept is the most important aspect of the work,” LeWitt wrote in an essay

Art Forum

in . He continued: “All plans and decisions are made in advance, and execution is a so-so thing.” So the work is not the physical representation of the painting, but the idea itself, which is always there. Wall paintings, as the name suggests, are painted directly on the wall rather than a canvas or other movable material, they are simply painted on the wall after the show is over. Cooper remembers discussing with LeWitt what to expect as her first mural 1967 The show is drawing to a close. “He said, ‘Draw it out.’ I said, ‘Oh, I can’t do that. But then I got used to it. I believe they can come back, they can reappear.”

is attached to 350 West st Street is made by 1968 and1967. Their peaks and valleys complement the pyramidal frescoes, a more tactile representation of this massive geometry. I asked Cooper what she thought of LeWitt’s decision-making around two and three dimensions at work. “He doesn’t separate things. Dimensions are dimensions. Space is space,” she said. “With Sol, it is natural to consider every possible variation. Intellectually, there is no such separation.” This is stated in LeWitt’s

Artforum

sheet. “No matter what form it ends up in, it has to start with an idea,” he wrote.

Image may contain Human Person Sunglasses Accessories Accessory Arm and Glasses

Left: Sol LeWitt, Wall Grid (Black 3×3),

521. Right: Sol LeWitt,

Modular Floor Construction, 501/.

Depend on Courtesy of Paula Cooper Gallery. Image: Steven Probert © 1987 Legacy of Sol LeWitt/Artists Rights Society (ARS), New York.

The exhibit continues across the street from Paula Cooper’s 500 West st Street location featuring a selection of early LeWitt works. Minimalist rectilinear structures – including a painted wood grid resembling a fried tic-tac-toe board (from 90), and Modular Cube Structure White Coated Aluminum (95/1966)-and’32sand’71 works, but LeWitt has no idea about Conceptualism loyalty is evident. The pieces are similar to those of Judd and other minimalists, asking viewers to consider their physical condition in a well-lit space. Rather than evoking emotion, they invite you to watch, a self-contained art form.

LeWitt at 1600. Photo by Jack Mitchell/Getty Images. Jack Mitchell/Cap Tee Photo Agency

“Sol is one of the most liberal and generous artists I have ever met. He Loves the job, he’s not afraid. He’ll try anything,” Cooper said. The range of works in the exhibition embodies this spirit of experimentation and evolution. LeWitt found a way to deal with impermanence — his frescoes were eventually erased — and immortality. Just like him, these pieces are present in each new iteration. What better home for such an art than Cooper’s Church Reincarnation.

729067757

“Sol LeWitt: Drawings and Structures”

Open from now until October exist94 & 91 West st Street.

306283

63290601

20226329060163291

RELATED ARTICLES

LEAVE A REPLY

Please enter your comment!
Please enter your name here

LAST NEWS

Featured NEWS