報告5:Sol Lewitt

(1)Sol Lewitt的作品提出來的觀念有哪些?(他的意念在哪?為什麼要使用那些色塊或線條?)
(2)介紹Sol Lewiit的作品。
(3)相較於極簡藝術，Sol Lewitt認為他的作品比較偏向觀念藝術的條件是什麼?

Sol Lewitt

Solomon "Sol" LeWitt (September 9, 1928 – April 8, 2007) was an American artist linked to various movements, including Conceptual art and Minimalism.

LeWitt came to fame in the late 1960s with his wall drawings and "structures" (a term he preferred instead of "sculptures") but was prolific in a wide range of media including drawing, printmaking, photography, and painting. He has been the subject of hundreds of solo exhibitions in museums and galleries around the world since 1965.

LeWitt was born in Hartford, Connecticut to a family of Jewish immigrants from Russia. His mother took him to art classes at the Wadsworth Atheneum in Hartford. After receiving a BFA from Syracuse University in 1949, LeWitt traveled to Europe where he was exposed to Old Master painting. Shortly thereafter, he served in the Korean War, first in California, then Japan, and finally Korea. LeWitt moved to New York City in 1953 and set up a studio on the Lower East Side, in the old Ashkenazi Jewish settlement on Hester Street. During this time he studied at the School of Visual Arts while also pursuing his interest in design at Seventeen magazine, where he did paste-ups, mechanicals, and photostats. In 1955, he was a graphic designer in the office of architect I.M. Pei for a year. Around that time, LeWitt also discovered the work of the late 19th-century photographer Eadweard Muybridge, whose studies in sequence and locomotion were an early influence. These experiences, combined with an entry-level job as a night receptionist and clerk he took in 1960 at the Museum of Modern Art (MoMA) in New York, would influence LeWitt's later work.

At the MoMA, LeWitt’s co-workers included fellow artists Robert Ryman, Dan Flavin, and Robert Mangold, and the future art critic and writer, Lucy Lippard who worked as a page in the library. Curator Dorothy Canning Miller's now famous 1960 “Sixteen Americans” exhibition with work by Jasper Johns, Robert Rauschenberg, and Frank Stella created a swell of excitement and discussion among the community of artists with whom LeWitt associated. LeWitt also became friends with Hanne Darboven, Eva Hesse, and Robert Smithson.

LeWitt taught at several New York schools, including New York University and the School of Visual Arts, during the late 1960s. In 1980, LeWitt left New York for Spoleto, Italy. After returning to the United States in the late 1980s, LeWitt made Chester, Connecticut, his primary residence.^[3] He died at age 78 in New York from cancer complications.

MORE LINKS
https://www.youtube.com/watch?v=VBUidG3mOoI
https://www.youtube.com/watch?v=z_7pVjcWWQw
http://www.youtube.com/watch?v=j_UXIlEfpLM
https://www.youtube.com/watch?v=HOz6T5JDP7Q
http://www.youtube.com/watch?v=c2_50PXmlWk
http://www.youtube.com/watch?v=NrRgnfj0t7E
https://www.youtube.com/watch?v=3CV3iYNn0y0
http://youtu.be/maxG_JhPVGI

「亞洲巡弋」看展心得

1) 展覽中你最欣賞的作品是哪一件？
2) 展出四個主題中哪一個主題與作品你覺得最為相符。
3) 請詮釋四個主題之間相互呼應的關係。

報告4: Josef Alber 與 James Turrell

1) 這兩位藝術家各自的創作背景與創作媒介
2) 這兩位藝術家如何在作品中進行色彩的探究
3) 比較這兩位藝術家的創作過程與展出方式

色彩與光線

Josef Alber and Jame Turrell

Josef Alber 跟 James Turrell 這兩位藝術家分別出生在 1888年與 1943年的藝術家，他們在不同階段的藝術史扮演著很重要的位置，同樣是透過色彩來探究我們的知覺，但不同的是他們分別從物質性的繪畫與非物質性的光 兩種媒介來探索。Josef Alber運用的是一種研究型的方式進行色彩的探究，他在不同的矩形之間最為考究的是色彩跟色彩之間的界限，透過不斷的試驗與嘗試，找到我們對於色彩的知覺狀態；James Turrell 運用的則是透過光線去重塑我們對於空間的認知，有別於對於一個平面的色彩探討，他對於光的探討同時切入了不同時期藝術史的重要命題，包括 歐普藝術 地景藝術 裝置藝術 色域繪畫等等。

Josef Alber
https://www.youtube.com/watch?v=FpTr_BDVjFI

James Turrell
http://www.art21.org/videos/short-james-turrell-second-meeting
http://www.art21.org/videos/preview-james-turrell-in-season-1-of-art-in-the-twenty-first-century-2001