Sol Lewitt: Not to Be Sold for More Than $100

Sol Lewitt: Not to Be Sold for More Than $100 - Sol Lewitt

Sol Lewitt: Not to Be Sold for More Than $100


Among LeWitt's great contributions to art was the invention of his own economic model

Not to Be Sold For More Than $100 presents a comprehensive overview of conceptualist pioneer Sol LeWitt's numbered R Series drawings, which he created from approximately 1971 to 1979. As early as 1967, LeWitt had started making cut, folded and torn works, which he intended would always sell for $100. "His wall drawings were already selling for thousands of dollars, so he wanted to have some artwork that everybody could buy," notes Jason Rulnick.

This body of work consists of over 800 folded, torn and cut paper works, including cut maps, reproductions, and manipulated silver gelatin photographs. Thanks to extensive research throughout various private and public collections around the world, this volume includes over 100 color plates, along with an index/description of all 870 known works, information that has been made available through the artist's day books and journals uncovered (in the studio) by Veronica Roberts. In the high-flying commerciality of the contemporary art world, LeWitt's intention and foresight for this body of work resonates more than ever today.

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Among LeWitt's great contributions to art was the invention of his own economic model

Not to Be Sold For More Than $100 presents a comprehensive overview of conceptualist pioneer Sol LeWitt's numbered R Series drawings, which he created from approximately 1971 to 1979. As early as 1967, LeWitt had started making cut, folded and torn works, which he intended would always sell for $100. "His wall drawings were already selling for thousands of dollars, so he wanted to have some artwork that everybody could buy," notes Jason Rulnick.

This body of work consists of over 800 folded, torn and cut paper works, including cut maps, reproductions, and manipulated silver gelatin photographs. Thanks to extensive research throughout various private and public collections around the world, this volume includes over 100 color plates, along with an index/description of all 870 known works, information that has been made available through the artist's day books and journals uncovered (in the studio) by Veronica Roberts. In the high-flying commerciality of the contemporary art world, LeWitt's intention and foresight for this body of work resonates more than ever today.

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