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Home>Yes No Maybe Introduction>Yes No Maybe Yes>Yes No Maybe LeWitt

# 

Exhibition Introduction

Note to the ReaderAcknowledgments

IntroductionKeithJohnLeslieSelf-Portrait

IntroductionTouched RedGreenCombinationHigh Green Version 1

Introduction17 Drawings by ThoreauSeven Day Diary (Not Knowing)Changes and DisappearancesWhere R=RyoanjiFireThe Missing Stone 75 StonesEninkaStonesWhere There is Where There

IntroductionAnne ApplebyPia FriesDarren AlmondSusan MiddletonJoel FisherBrad BrownTom Marioni

IntroductionMamma AnderssonSol LeWittFred WilsonRobert BechtleKiki Smith

IntroductionJulie MehretuWayne ThiebaudJockum NordströmTomma AbtsNathan OliveiraChris Ofili

IntroductionPat SteirLaura OwensWayne ThiebaudAmy Sillman

# Sol Lewitt

Sol LeWitt, Curvy Brushstrokes 1, 1997
*Curvy Brushstrokes I* (working proof)1997sugarlift aquatint in black (printed from “blue” plate)plate: 39 3⁄4 × 14 3⁄4 (101 × 37.5)sheet: 52 3⁄8 × 20 3⁄4 (133 × 52.7)Crown Point Press© 2013 The LeWitt Estate / Artists Rights Society (ARS),New York

Sol LeWitt, Curvy Brushstrokes 1, 1997
*Curvy Brushstrokes I* (working proof)1997sugarlift aquatint in black (printed from “red” and “yellow”plates)plate: 39 3⁄4 × 14 3⁄4 (101 × 37.5)sheet: 52 7⁄16 × 20 1⁄8 (133.2 × 51.1)Crown Point Press© 2013 The LeWitt Estate / Artists Rights Society (ARS),New York

Sol LeWitt, Curvy Brushstrokes 1, 1997
*Curvy Brushstrokes I*(working proof 6)1997sugarlift aquatint in blue, red, yellow, and two shadesof grayplate: 39 3⁄4 × 14 3⁄4 (101 × 37.5)sheet: 52 5⁄8 × 20 (133.7 × 50.8)Crown Point Press© 2013 The LeWitt Estate / Artists Rights Society (ARS),New York

Sol LeWitt, Curvy Brushstrokes 1, 1997
*Curvy Brushstrokes I*1997sugarlift aquatint in blue, red, yellow, and grayplate: 39 3⁄4 × 14 3⁄4 (101 × 37.5)sheet: 52 7⁄8 × 20 1⁄4 (134.3 × 51.4)National Gallery of Art, Washington, Gift of Kathan Brown,2001© 2013 The LeWitt Estate / Artists Rights Society (ARS),New York

Sol LeWitt working at Crown Point Press,photograph by Kathan Brown, CourtesyCrown Point Press

An artist’s idea, LeWitt noted in his landmark “Paragraphs on Conceptual Art” (1967), becomes “the machine that makes the art.” Once the idea is set in motion, “the fewer decisions made in the course of completing the work, the better.” The idea behind *Curvy Brushstrokes I*was to overlay curvy brushstrokes in blue, red, yellow, and gray. The first proofs were inked using black so that LeWitt could evaluate the quality of the curving strokes alone. In working proof 6 he introduced a gray background, but in the final print he opted for the brilliance of the white paper.

Inked plates used to print LeWitt's *Curvy Brushstrokes I*, photograph by Kathan Brown, Courtesy Crown Point Press

Banner image: Detail, Mamma Andersson, *Room Under the Influence*, 2008, color spitbite aquatint, sugarlift aquatint, aquatint, and softground etching,  Gift of Kathan Brown, Crown Point Press, © Mamma Andersson

Next: Fred Wilson

"Yes, No, Maybe: The Art of Making Decisions," lecture by exhibition curators Judith Brodie and Adam Greenhalgh (audio)Julie Mehretu, artist, in conversation with curator Judith Brodie, Diamonstein-Spielvogel lecture (audio)"An Insider's Perspective," lecture by Kathan Brown, founder of Crown Point Press (audio)

Exhibition tour by curators Judith Brodie and Adam Greenhalgh (audio)

Sol LeWitt in the collection of the National Gallery of Art

Crown Point Press prints in the collection of the National Gallery of Art

Press release

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