Mass MoCA - Sol Lewitt

Field Trip to Massachusetts Museum of Contemporary Art - - - Monday May 1st 7:30am - 7pm

Back-to-Back Drawing
Pair up or 3-Person up
Who will be the drawer??Who will be the describer??

ROUND 2 – A NEW ARTWORK
ASK GOOD QUESTIONS…
Who will be the drawer??Who will be the describer??

WHAT CAN WE LEARN
FROM THIS ACTIVTY??
• Erin: The drawing doesn’t always come out exactly as it’s described…there’s an “interpretive distance.”
• Dolfo: Kind of like the game “Telephone” How the interpretation changes a bit each time.
• Anna: SPECIFICS ARE IMPORTANT. Everything counts! If you don’t account for the details, it comes out
differently.
• KT: Agree with Dolfo. This is like what artists and curators have to go through…what the audience sees
is not always what the artist wants them to see.
• Heba: It’s possible for one viewer to sway the the interpreation of others??
• Janel: It’s like messing up your thought process, because everyone has their own idiosyncratic way
of seeing.
• Chess: There’s just too much visual information in a work of art to convey verbally. There’s too many
ways words can be interpreted. You may forget to include stuff
• Khiri: IT’s tricky to catch up to someone else’ thought process.

WHAT CAN WE LEARN
FROM THIS ACTIVTY??
• Jess: We can learn how to listen to others. If you’re just dictating for yourself you won’t actually
communicate with them.
• Angel: Pay attention to small details of things. Your partner may not be able to see the entire image
from your point of view.
• Michelle: It’s important to pay attention to what people say…and to learn how to describe.
• Tash: It’s tough to describe things that are absurd or things you don’t see everyday.
• Jess: Sometimes you need to rely on pop-cultural references.
• Cailan: Asking better questions leads to better understanding.
• Camila: I learned how my partner (M-Train) felt about the work while I was drawing it.
• Stephanie: You won’t have a full picture of something until break the image down into smaller
manageable pieces.

WHO IS THE ARTIST HERE??
• Michelle: Who’s the artist?? It’s kind of like the Mr. Brainwash thing…it’s like he was the describer and
his workers were the drawers.
• Stephanie: It’s the describer! Without the IDEA the person who makes the art wouldn’t be able to do it.
• Michael: Your MIND is where the art (idae) comes from.
Jessica: I think the person who makes the art is the true artist here. Like with Xiaoyu Weng...she designs
the exhibit, but the artists actually make the work. The work is greater than the idea.
• TASH: If you don’t take initiative to make the art then it’s not able to be physically exhibited.
• Steph: This is is like Fashion or Architecture. (kozak: YAAAS!!!) The person who comes up with the
idea is more important that the maker of the thing.
• Angel: It’s going to come back to the person who is actually drawing it... Perception of the instructions
is everything.
• Rachel: DAMN STEPHANIE! YOU CONFUZZELED ME! When Architects design a structure, they’re still
“making” art.

Who’s the artist here?
• Khiri: IT’s tricky to catch up to someone else’ thought process.
• Alex: Sometimes I’m not able to stay involved in the conversation because I’m busy writing out
what was already said.
• Raian: The describer is the artist because they’re telling the “drawer” what to do. They came up with
the idea so it’s their art. BUT it’s a collective effort.
• JJ: The drawer is basically just taking orders…the describer is dictating how they see it and how it
should be.
• Dolfo: It’s like an architect vs. a construction worker. They’re just doing the task they’re given.
• Rizzi: Architecture is a bit different, since there’s specific plans or materials that are required. This
it’s a collaborative effort.
• Khiri and Anna: THIS REMINDS US OF MR. BRAINWASH. BECAUSE he’s credited with the art and
directing his team with his vision. The question of art “ownership” is up for debate here.
• ALEX: The credit belongs to whoever claims it…the idea person gets most of it because it’s their vision.

Notebooks OUT!
• Also drop your ID and grab a computer!

Student Quotes….
Erin: The drawing doesn’t always
come out exactly as it’s
described…there’s an
“interpretive distance.”
Steph: This is is like Fashion or
Architecture. (kozak: YAAAS!!!)
The person who comes up with
the idea is more important that
the maker of the thing.

Past
trips….
Do Now: Describe
the relationship
between a city and
the cultural
institutions…
 Raian: They reflect our communal values and views.
 JJ: The Art Walls responding to the cultural history of Coney
Island.
Anna: The city itself is an attraction for people from around
the world.
Dolfo: The more institutions you have the more they are able to
attract others. The more institutions a city has more worth.
GIO: DISAGREE!! The institutions reflect the populace that
surrounds it.
Alex: We tend to support artists who are local (like the Studio
Museum of Harlem and El Museo)
Chess: THEY FEED OFF EACH OTHER NOM NOM NOM. They’re
outposts of ideas that bleed into the gradient of our city.
Janel: Creative Time is pushing more ideas than mainstream
museums like MoMA or the Guggy.

Trip Info
Goin’ to MoMA on Tuesday, Feb 28
Meet in Kozak’s room beginning of P6.
Tour from 1pm-2pm
Choice to stay in the museum TBD.
Permishh
Slipss
Due next
Tuesday

Goin’ to Mass MoCA on
May 1st
Meet on the front
terrace at 7am
Rotating tours
throughout the day with
Boston students.
We leave at
3:45pm…
Choice to stay in the
museum NOT A THING. 
ART HIST: Permishh Slipss Due April 4th
STUDIO ART: Permish-SLIPS Due April 20th
ANYONE ELSE – Due April 27th

When we were making art a few months ago…
• Choice!
• Structure!
• Decisions!
• Working within or outside of a prompt.
• How to organize
• Kozak as a roadblock or delay
• .
• .
• .
• .

How do FREEDOM and CONSTRAINTS
impact CREATIVITY? What I want to do vs. what I have to do.
CONSTRAINTS Limitation!
Gio: School restrictions make me
downsize a lot of my ideas.
Janel: If someone just said “make art”
I would just be confused. But if there’s
a topic (like racism for example) then I
have direction. But if I want to make
artwork about Feminism, The prompt
would be “all up in my way” as Heba
would say.
Khiri: $$$$ is a limit on resources.
There’s also city, state, and national
laws.
Chess: A lot of creativity comes from
finding ways around constraints. If
there’s no problem to solve, where
does the idea come from??
FREEDOM
Heba: It takes the fun out of art.
There needs to be 100% in art.
Not rules.
Freedom Constraints make you
refine your ideas. But Freedom
allows artists to….
KT: Constraints isn’t the right
word. Limitation or drawback may
be the word. Like “Site Specific”
lets us hone our ideas in a
common way.
Anna: WE CREATE OUR OWN
CONSTRAINTS!!! HUHH!

How do FREEDOM and CONSTRAINTS
impact CREATIVITY?
FREEDOM
• Steve: If I had more freedom I
wouldn’t try as hard…I would
choose to do something
quickly and easily.
• Cailan: this gives us more
opportunities to be ourselves.
• Rachel: This allows you to be
100% yourself.
• John: We had the freedom to
choose the topic, but the
guidelines were related to
some key words and the site
of our school.
CONSTRAINTS Guidelines or
Limits
• .
• Cailan: It’s hard to narrow down
ideas to figure out what kind of
art you want to make.
• Rachel: These make you think
real hard…this challenges
you....and gives you a more
opportunity for accomplishment.
• Michelle: When I have freedom, I
don’t feel pushed to do my best.
If I don’t have a certain path to
making the art…

JJ: This follows a sequence.
Vertical, Horizontal, Diagonal,
and a different diagonal.
.
.
.

Michael: New lines forming to make this last
quadrant . Like more lines are being added to
make more complex forms.
Michelle: some optical illusions
Camila: All those intersections
Angel: This is like a throwback to where every
work of art starts.

Sol Lewitt
Lines in four directions

DO NOW: Are there any Art Movements (-isms)
that we could use to describe Lewitt’s work??
• Jess: Minimalism! YAY!! Because he doesn’t
use a lot of
• HEEBS: Abstract (expressionism??) The lines
are basic and rudimentary.
• Anna: Fauvism?? Cause it emphasizes heavy
lines
• Erin: No, Fauvism also emphasizes brush
strokes and stuff.
• Chess: Cubism breaking life down into
geometric (GIO-METRIC!!) Shapes)
• Raian: deStijl! Because there’s so much bold
color and basic shapes.
• !
• . …
There’s also references to
Architecture...Maybe math/sciencey?
MUSIC

Conceptual Art -
It’s not about the
art itself but the
IDEA behind the
art.
Minimalism
Steve Reich
“Piano Phase”
**put that ish on.

• Wing: Passed away in 2006 His work invovles
drawing lines on museum walls.
• Camila: He’s like a describer, and allows
people to “draft” his work. People are
constantly remaking his work as the materials
fade.
• Tash: The whole idea of his work relates to
the work being “refreshed?”
• Cailan: He gives instructions and people make
work off of that. When the work is taken
down, the work is >>Rachel: SITE SPECIFIC ;)
• Angel: His work shows the simplicity of all art
in general. He challenges what all art can be
reduced to.
• Michelle: This reminds me of Music and Math,
because of the (repetition? Patterning?
Consistency?) Tash: His work is SOOO kind of similar to THAT GUY.
Kozak: You mean, Barnett Newman?
John: This reminds me of non-
objective art, it’s all shapes and
colors and like…

Sol Lewitt Wall Drawing #391
Two-part drawing. The two walls are each divided horizontally and vertically into four equal parts. First wall:
12-inch (30 cm) bands of lines in four directions, one direction in each part, drawn in black India ink.
Second wall: Same, but with four colors drawn in India ink and color ink washes.

Sol Lewitt
Wall Drawing #85
(15 part Composite)
A wall is divided into four horizontal parts.
In the top row are four equal divisions,
each with lines in a different direction. In
the second row, six double combinations;
in the third row, four triple combinations;
in the bottom row, all four combinations
superimposed.

Sol Lewitt
Wall Drawing #85
(15 part Composite)

Ten thousand lines about 10 inches (25 cm) long, covering the wall evenly.

The first drafter draws a not straight vertical line as long as possible. The second drafter draws a line
next to the first one, trying to copy it. The third drafter does the same, as do as many drafters as
possible. Then the first drafter, followed by the others, copies the last line drawn until both ends of
the wall are reached.

The first drafter has a black marker and makes an irregular horizontal line near the top of the wall. Then the second
drafter tries to copy it (without touching it) using a red marker. The third drafter does the same, using a yellow marker.
The fourth drafter does the same using a blue marker. Then the second drafter followed by the third and fourth copies
the last line drawn until the bottom of the wall is reached.

Fifty randomly placed points connected by straight lines.

(15 part Composite)

(15 part Composite)
On a wall divided vertically into fifteen equal parts, vertical lines, not straight, using four colors in all one-, two-,
three-, and four-part combinations.

Vertical lines, not straight, not touching, covering the wall evenly.

Sol Lewitt
Wall Drawing 1:
Drawing Series
II 18 (A & B),
October 1968
Graphic on wall
Lines in four
directions
WHERE IT ALL GOT STARTED….

Sol Lewitt: Wall Drawing #370
Ten Geometric Figures (including right triangle, cross, X,
diamond) with three-inch parallel bands of lines in two
directions

Sol Lewitt: Wall Drawing #370
http://www.metmuseum.org/exhibitions/listings/2014/sol-
lewitt

Installing Wall Drawing #370
Consists of geometric shapes
Made using two types of lines. Vertical and Horizontal
It seems very random and out of place, but most of
the installation is calculated and precise.
When you first see it, it’s too much to take in…and it’s
easier to decipher little by little.
“It’s captivating”

CHECK IN. TEMP OF
THE ROOM
HEEBS: I find it…..boring. It’s just lines. There’s no color
really....and it hurts my eyes
Raian: I feel like it’s a really good idea...making shapes
with just opposing lines. It plays optical illusions on you.
KT: The ones where there are single lines drawn at a time,
those are great. You see a progression happening
JANELLL: My mom used tape when she painted my room.
They need to draw a perfectly straight line! My mom can
do that!! I do like the “boom boom” thing...my mom can’t
do that!!
Alex: I like the simplicity. The minimalism. It’s got an IKEA
vibe.
Heebs: OK. Maybe i need to see it in person.

Come in.
sit down.
Lay down.
Listen.
“Piano Phase”
by Steve
Reich
• Jess: I almost fell asleep and it was oddly
relaxing. It was more enjoyable when I closed my
eyes. I could tune into the music more.
• Angel: I kept questioning if I was hearing what I
was hearing. I was kind of lost trying to figure
out what was hyappening
• Kristen: I was listening for the two pianos to be
less synchronized. At some points it
works...sometimes it was harmonious and at
other times it had dissonance.
• Wing: It made my heart beat faster…a bit
anxious like I was in a closed space.
• Cailan: At some points you could hear the two
different pianos and other times it was all
synchronized.
• Rachel: It sounded like a bit of a blur. I zoned
out. But then this one repetitive beat would
wake me back up.

Come in.
sit down.
Lay down.
Listen.
“Piano Phase”
by Steve
Reich
• Gio: I felt like I was under water.
• Alex: Ok. At some point it wasn’t even pianos. It
didn’t sound like anything a piano could make.
• Arielle: It sounded like a loop at first…and then you
zone out...and then the music is like changing....
• Anna: DIDN’T LIKE IT. At one point it was just a blur. It
didn’t have a structure. It was so repetitive that it
loses it’s point.
• Dolfo: SPACE MUSIC. I got very fixated on a beat that
turned into two beats, that turned into three
beats…and so on.
• Heba: DIDN’T LIKE IT EITHER. But I tried to get into it
more. That one note tho!
• Jess: I feel calmer. I was able to organize my
thoughts.
• Erin: I couldn’t fall asleep to this music….I was too
into listening to the speed (tempo) of it.

CHECK IN. TEMP OF
THE ROOM
Chess: Both are very limited mediums…because the parts
are so simple it can be built into something larger than
itself.
KT: Similar to Lewitt, Reich uses these building blocks....

Sol Lewitt – Scribble drawings

Sol Lewitt –
Scribble drawings

Sol Lewitt – Wall Drawing 1261

Throughout his career LeWitt generated
complex structures using the simplest of artistic
elements and gestures. In his final wall
drawings, the scribble served as the basic unit of
his work. Wall Drawing 1261, one of two scribble
drawings making their debut at MASS MoCA,
consists of concentric rings drawn from dense
layers of scribbles, which radiate out from the
center of the wall. Within each ring, there are
several gradations of tone, made with
progressively denser areas of markings. While
other scribble drawings are realized using a
more gradual change of tone over a larger
expanse of wall, here the different increments of
scribbles are much closer together. Light and
dark regions transition in a cadence that echoes
the frenetic character of the graphite marks
themselves. The drawing seems to reverberate
and the expanding circles appear as if they
might continue indefinitely, breaking though the
nine-foot square which contains them.
First Drawn By
Takeshi Arita, Jennifer Chian, Aran Jones, Michael
Benjamin Vedder
Mass MoCA Building 7
Third Floor

“Scribble: Square without a square.”
Many critics see the scribble drawings, the last
wall drawings of LeWitt’’s career, as possessing
significance beyond LeWitt’’s stated interests.
The gradations seem to toy with ideas of
recession and infinite space, while the
extremes between bright white and the dark
pencil lines can be read as meditations on
absolutes. In the end, however, these readings
are resisted by others. For example, Robert
Storr places these late wall drawings in
relation to their predecessors: “…these last
drawings…issue from the same source as all
that came before, anticipating nothing, but
instead embodying a state of simultaneous
presence and absence, immediacy and
immanence, physicality and indeterminacy.
First Drawn By
Takeshi Arita, Jennifer Chian, Aran Jones, Michael
Benjamin Vedder
Mass MoCA Building 7
Third Floor

https://www.youtube.com/watch?v=AnKgSWugUWU
“It’s not anybody’s work. It’s not personalized. You can’t
claim it and say “I’m going to do it MY way. You have to
relax and let everyone work together on the thing.”
Michael Benjamin Vedder
• Heebs: Even the parts that are pitch black are actually scribbled. It’s not colored in.
• Erin: This does not seem enjoyable…I feel bad for the hands.
• Anna: I like how it’s collaborative. It’s a beautiful concept.
• Khiri: It’s really tedious and may seem second nature but there’s still a fear in making mistakes.
• .
• .

https://www.youtube.com/watch?v=AnKgSWugUWU
“It’s not anybody’s work. It’s not personalized. You can’t
claim it and say “I’m going to do it MY way. You have to
relax and let everyone work together on the thing.”
Michael Benjamin Vedder
• Tash: I like how they organize the gradients with strings and numbers
• Camila: Sarah H talks about how it’s physically demanding. It’s not just something you can do
easily. Another guy (Gabe) said how your hand is constantly scribbling even when you’re not
scribbling.
• Angel: (Sarah H says) It gets easy to get lost in doing it. Which makes it difficult to concentrate
on it.
• Michelle: I like how if they do make a darker spot, they can easily fix it up…even if it’s meant to
be messy, it can be perfect?
• .
• .

Test it out! Scribble Drawing HW!!
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Scribble testing!
• Jess: Sometimes my eyes would drift away, I thought this may help with
randomization.
• Kristen: I wasn’t looking at my paper at all…it’s easy to drift away and
disregard what you’re doing because it seems like a simple task.
• Sean: My arm was starting to ache a bit.
• Angel: You may think there’s no intention to what you’re doing but you fall into loops
and patterns.
• Camila: I feel like when I was talking to people I would fall back into loops and
patterns.
• Andia: I think I became more focused as I went from person to person. So I
tried to change that.
• Rachel: For making scribble drawings for Lewitt drawings, He has
specifically random types of lines.
• Cailan: When you’re scribbling on the page for yourself, you can do it the
way you want. For Lewitt, there’s more specifics.
• Wing: For Lewitt, his scribbles are different…since he sets guidelines for the
gradation, there’s also symmetry involved.

Scribble testing!
• KT: The things people added make it look more uniform.
• Raian: Scribbling on top of others may go away from the intentions of the
original drawer. People add their own twist to it.
• Dolfo: An image emerged from the scribbles (same happened on Rizzi’s)
• Chess: We start to see patterns that we then enforce. But the nature of scribbling is
that it builds up into something, and we instinctively try to give that something a
FORM.
• KT: You start to notice patterns, or a mental image appears to you.
• Heba: I noticed that I would scribble first over the darkest part of the page,
since you can’t always stay in the same place at the same time.
• Alex: I would see a part that isn’t dark and try to go over it, but it didn’t
always work out.
• JJ: It’s NOT easy when you do it for homework….but it is when you’re in
class and bored.
• Chess: Some folks scribbled absolutely wherever, others paid attention to
what was already shaded in.

Sol Lewitt Public Installations –
Whirls and Twirls

Sol Lewitt Public Installations - Toronto Airport

Wall Drawing #260
1975
Oil Pastel on wall
Dimensions variable.
Owned by MoMA
“On black walls, all two-
part combinations of
white arcs from corners
and sides, and white
straight, not-straight, and
broken lines.”
New Lines in the mix!

Wall Drawing #260
1975
Crayon on wall
Owned by MoMA
“On black walls, all two-
part combinations of
white arcs from corners
and sides, and white
straight, not-straight, and
broken lines.”

Wall Drawing #146a
…
Crayon on blue wall
Owned by the Lewitt
Collection
“All two-part combinations
of arcs from corners and
sides, and straight, not
straight, and broken lines
within a 36-inch (90 cm)
grid.”
Timelapse:
http://massmoca.org/event/walldrawi
ng146a/

Wall Drawing #146
…
Blue crayon on wall
Owned by the Lewitt
Collection
“All two-part combinations
of arcs from corners and
sides, and straight, not
straight, and broken lines
within a 36-inch (90 cm)
grid.”

Wall Drawing #146a
…
Crayon on wall
Owned by the Lewitt
Collection
“All two-part
combinations of
arcs from corners
and sides, and
straight, not straight,
and broken lines
within a 36-inch (90
cm) grid.”

Wall Drawing #821
1997
Acrylic Paint on wall
Owned by Art Institute of
Chicago
A black square divided
horizontally and
vertically into four
equal parts, each with
a different direction of
alternating flat and
glossy bands.

Wall Drawing #821A
2007
Acrylic paint on wall
Owned by the LeWitt
Collection
Wall Drawing 821A was created
for Pure, an exhibit of works
that conceptually and formally
investigate the color white. By
alternating flat and glossy
bands of white acrylic paint, Sol
LeWitt subtly explored different
qualities of the color.

Wall Drawing #822
1997
Owned by Estate of
Sol Lewitt
A wall divided
horizontally by a curvy
line. The top is flat
black; the bottom is
glossy black.

Wall Drawing #824
1997
Owned by Estate of
Sol Lewitt
A black square divided
in two parts by a wavy
line. One part flat; one
glossy.

Wall Drawing #824
1997
Owned by Estate of
Sol Lewitt
Wall Drawing 824 demonstrates Sol LeWitt’’s interest in the effects of glossy and matte finishes
on monochromatic paint. The drawing consists of a series of squares divided by various
permutations of undulating lines. The iteration of the curvy line reveals LeWitt’s interest in
seriality, which began early in his artistic career and continued into his works which use paint
as a medium.
Time lapse for this piece
http://massmoca.org/event/wall
drawing824/

Wall Drawing #38
1970
Tissue paper on
pegboard wall
Owned by Panza
collection
Tissue paper cut into
1½-inch (4 cm)
squares and inserted
into holes in the gray
pegboard walls. All
holes in the walls are
filled randomly.

In Wall Drawing 38, small rolls of colored tissue project
from the surface of the wall. Viewers moving through the
gallery space are confronted with shifting arrays of color.
The sculptural quality of the work may seem to subvert Sol
LeWitt’s original objective in making drawings directly on
the wall: to make art ‘as two-dimensional as possible’ by
dispensing with the canvas.
In the case of Wall Drawing 38, Lewitt was invited to an
exhibition in Japan in 1970. And upon arrival he saw that
the gallery walls were all made of pegboard which could
not be removed or covered. In fitting with this specific site,
he drafted this new work to suit the location. He made use
of the pegboard wall by devising a technique of tightly
rolling squares of tissue paper and inserting them in the
pegboard holes.
In accordance with this Lewitt said: “Different kinds of
walls, make for different kinds of drawings.” assertion,
the unique form of Wall Drawing 38 is a consequence of

• Janel: There can only be a certain amount of “line drawings” before they start to be the
same…this branches off into new directions. It shows versatility.
• Gio: To walk or conform to the walls?? I would have walked. This deviates from his
aesthetics…I would wonder how we felt about it...
• Anna: Everything we set up for ourselves is a challenge that we have to overcome. We make
our own struggles to deal with.
• KT: It’s important to try new things, new challenges. Also, I can’t image doing this alone. You
need people to help you.

• Jess: I like it, because from far away it seems like wallpaper, but it’s textured. It ended up
working out.
• Kristen: This piece is more tedious than the others, since the drafters have
• Michelle: I don’t consider this a “wall drawing” but I like it better than his others because it’s
pushing the boundaries of “wall drawing” is.
• Tash: I like his description…he gave a new dimension to wall drawing itself.
• .

105: Drawing Lewitt
by Will Reynolds
https://www.youtube.com/watch?v=c4cgB4vJ2XY

Do NOW! What are the implications/effects of working
between freedom and constraints? (4 min)
● KT: I HATE CONSTRAINTS. But limitations are cool. It makes simple tasks more complicated. It forces
you to think further and think of more than one solution to your problem.
● Dolfo: I think kozak is showing us how complete freedom is not always the best thing. We’re
waiting for someone to take a position or role to be the authority. In terms of art, limitations shape
what you do…but don’t box yourself in...make it a basket. A “kozak-basket”
● Chess: Baskets are the answer! We need something to fall back on but it doesn’t stop us from
getting the hell out.
● Khiri: You can use limits to your advantage. Materials can constrain….and complete freedom may
lead to making your own constraints.
● Kozak-:Do we enjoy limitations ?
● Rizzie: I like constraints because I need instructions
● ANNA : if you want to create something ( random chatter in class over boats )
● KT: when you younger ppl feel like you need them , it depends like where you are in I don’t believe
in spirit reading theres constraints in life its about the way you implement it

What are the implications of working between
freedom and constraints? (4 min)
● Jess: I lean more towards the constraints…I think they’re good starting points, they provide direction. If
there’s too much freedom, you can end up in a rut.
● Not all direction is interpreted the same way though....That’s part of the process.
● Michael: When you have too much freedom, you may go too far…but with constraints, maybe you won’t
know how far too go. Both are problematic.
● Wing: When I was working on the Territory/Boundary project…I felt destroyed by a constraint. I lean
more towards constraints...
● Wait wait...you want that? But you hate that??
● If I had freedom I would make something too basic...
● What if you grow into some constraints, and even though they’re strict, you may miss
them when they’re gone?
● Michelle: Both are problematic. Too much freedom may lead to no good ideas. Too many
constraints may restrict any idea from being executed.
● Michelle and Angel: Constraints are like a POOL. It’s finite, and there’s no danger. Freedom is
like a river. There’s many different paths and risks.

Final Thoughts on Sol Lewitt
● Janel: I like the more experimental work like the pegboard one.
● HEBZ: I still think the lines are a bit boring. But I need to see it in
person. I like the relationship between instructions (constraints) and
the artwork.
● Khiri: I like that he conceptualizes his work and his intent.. But the
middle-man (drafter) doesn’t get enough credit. There needs to be a
distinction between who gets credit.
● Kozak: There is. All drafters are credited on museum plaques
and/or brochures.
● Gio: Even though he has 1,200 pieces, so many are similar. There’s
diverse range but a lot of overlap.
● Anna: I love the idea of drafters overlapping each others ideas and
the flaws being acknowledged or even allowed.
● Erin: The work is open to interpretation…but there’s still constraints.

Final Thoughts on Sol Lewitt
● Michelle: We’re anticipating to see something different than
what’s in the pictures. The camera doesn’t always capture it.
● Anesia: I’m a bit scared to see it in person…will it look like what
I’m imagining?
● RACHEL: I don’t think so...the styles are so different I think
it’ll all catch my attention.
● Steve: Personally, I’m not crazy about his work. I’ve already
heard good things about his work but seeing it doesn’t intrigue
me.
● Lina: Like Camila, I thought his work was a bit basic…but it’s
clear that there’s a lot of time and calculation with his work. This
also opens up a new door to what artists do.
● Wing: I like Wall Drawings 821, 821A, and 822 and the scribbles
(all on the 3rd floor). I don’t care for the optical illusion work.

SENTENCES ON CONCEPTUAL ART
Sub Plans….

Mass MoCA - Sol Lewitt

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Mass MoCA - Sol Lewitt