Sol Lewitt : Not To Be Sold For More Than $100
SOL LEWITT Not to Be Sold for More Than $100 explores the little-known but fascinating body of conceptualist pioneer Sol LeWitt’s folded, torn, and cut paper works, which he created from approximately 1971 to 1980. LeWitt referred to these works as the “R” drawings (for rip) and also as “hundred dollar drawings,” since he wanted them to be sold for $100 in perpetuity. “His wall drawings were already selling for thousands of dollars, so he wanted to have some artwork that everybody could buy,” notes Jason Rulnick. Thanks to extensive research throughout various private and public collections around the world, this volume includes over 100 color plates. In the high-flying commerciality of the contemporary art world, LeWitt’s intention and foresight for this body of work resonates more than ever.
SOL LEWITT Not to Be Sold for More Than $100 explores the little-known but fascinating body of conceptualist pioneer Sol LeWitt’s folded, torn, and cut paper works, which he created from approximately 1971 to 1980. LeWitt referred to these works as the “R” drawings (for rip) and also as “hundred dollar drawings,” since he wanted them to be sold for $100 in perpetuity. “His wall drawings were already selling for thousands of dollars, so he wanted to have some artwork that everybody could buy,” notes Jason Rulnick. Thanks to extensive research throughout various private and public collections around the world, this volume includes over 100 color plates. In the high-flying commerciality of the contemporary art world, LeWitt’s intention and foresight for this body of work resonates more than ever.
SOL LEWITT Not to Be Sold for More Than $100 explores the little-known but fascinating body of conceptualist pioneer Sol LeWitt’s folded, torn, and cut paper works, which he created from approximately 1971 to 1980. LeWitt referred to these works as the “R” drawings (for rip) and also as “hundred dollar drawings,” since he wanted them to be sold for $100 in perpetuity. “His wall drawings were already selling for thousands of dollars, so he wanted to have some artwork that everybody could buy,” notes Jason Rulnick. Thanks to extensive research throughout various private and public collections around the world, this volume includes over 100 color plates. In the high-flying commerciality of the contemporary art world, LeWitt’s intention and foresight for this body of work resonates more than ever.