Coop LeWitt: (re)constructing Sol LeWitt
Since art is a vehicle for the transmission of ideas through form, the reproduction of the form only reinforces the concept. It is the idea that is being reproduced. Anyone who understands the work of art owns it. We all own the Mona Lisa.
Sol LeWitt
Coop LeWitt Cube
2019, wood, polycarbonate, steel reflecting balls and lures, glass letters, black Padovana hens June, LeLe, 6' x 6' x 6'
NPR: Where We Live: An Exchange About Sol LeWitt
Group Exhibition: Cabinet Magazine and MASS MoCA Radio Show
curated by Regine Basha
The story of Sol LeWitt's exchanges with other artists is widely known. Though most artists engage in this process at one point or another, LeWitt seemed fully committed to it as an artistic code of conduct, a way of life.For LeWitt, the act of exchange seemed to be not only a personal gesture, but also an integral part of his conceptual practice. In addition to encouraging the circulation of artworks through a gift economy that challenged the art world's dominant economic model, LeWitt's exchanges with strangers have the same qualities of generosity, and risk, that characterized his work in general. This kind of exchange was designed to stage an encounter between two minds, outside the familiar confines of friendship.
Where We Live Host: John Dankosky
Guests: Regine Basha; Robert Storr; Hope Sandrow; Jeremy Zieman, Jesse Good; Peter Good
Friday, January 18, 2019
Coop LeWitt Cube, (right) one of four (North, South, East) Coop LeWitt's inspired by Chance Encounters. Beginning with the white Padovana Cockerel, Shinnecock, who crossed the road to follow Sandrow home; a spider on a LeWitt wall drawing at Dia Beacon. LeWitt's practice to Sandrow’s in form and function.
Modeled on LeWitt's India ink drawings, this one of a Cube, from his 1982 series Forms Derived from a Cube (below ) (re)constructed into four dimensions (the fourth being, Time) to shelter the Padovana Rooster Shinnecock and his family flock.
Outside the traditional art practice of the “white” cube. The steel spirals, balls, and, glass letters were placed to reflect light to repel flying predators such as hawks, herons, and, eagles. The look of a display case characterizes Cube: like contemporary artists, Padovana’s are now considered mainly for “exhibition purposes”; before industrialized farm practices, they were renowned for their delicious eggs.
Coop LeWitt North realized from this India ink drawing by Sol LeWitt from his series, Forms Derived From a Cube.
Coop Le Witt North
Coop LeWitt North
2009 - 2019 9' x 9’x 14.5'
Wood, Stockade Pickets, Polycarbonate, Steel Reflecting Balls and Lures, Glass Letters, Padovana Partridge Hen Barbary with Cuckoo Rooster Mercury, Full Moon open air studio Shinnecock Hills
Coop LeWitt North (pictured right) was one of two (the other South 2009) Coop LeWitt's inspired by Chance Encounters (since 2019 four). Conceived as a shelter for the white Padovana Cockerel Shinnecock, who crossed the road to follow Sandrow home, and his family flock; inspired by a spider on a LeWitt wall drawing at Dia Beacon. LeWitt's practice to Sandrow’s in form and perspective: modeled on his India ink drawings in the 1982 series Forms Derived from a Cube and (re)constructed into four dimensions (fourth being Time).
Viewers observed the construction of Coop LeWitt North and South via four network cameras (a dozen since 2013 compose Happening Live) streaming real-time audio, still frames, and video online. A setting for interaction between people and the natural world. A landscape once painted by plein air painter William Merritt Chase when he lived, painted, and taught nearby one hundred twelve years ago.
The stockade pickets reference the colonialist’s practice of claiming land from Native Americans by fencing “in” domestic farm animals such as the chicken (reference “Creatures of Empire How Domestic Animals Transformed Early America by Virginia DeJohn Anderson”). The steel spirals, balls, and glass letters are positioned to reflect light as an effort to repel flying predators hawks herons, and eagles.
Coop Le Witt South
Coop LeWitt South
2009 - 2018 8.5' x 8.5' x 20' Wood, Polycarbonate.
Padovana Hens Buff Lace Isadora, Black June, LeLe, Marchelle; White Makemake, White Crested Black Pandora; Cuckoo Roosters Sommers, Alain, Charlemagne open air studio Shinnecock Hills
Coop LeWitt South (right) and North (above) — the first two of four coops (North, South, Cube, East) Coop LeWitt's inspired by Chance Encounters.
Conceived as a shelter for the white Padovana Cockeral Shinnecock, who crossed the road to follow Sandrow home, and his family flock; inspired by a spider on a LeWitt wall drawing at Dia Beacon. LeWitt's practice to Sandrow’s in form and perspective: modeled on his India ink drawings in the 1982 series Forms Derived from a Cube and (re)constructed into four dimensions (fourth being Time).
The look of a display case characterizes Coop LeWitt South: like contemporary artists, Padovana (aka Padua or Polish) are now considered mainly for “exhibition purposes.” Prior to the industrialization of farm practices, Padovana chickens were reknowned for their delicious eggs.
Coop Le Witt East
Two views of Coop LeWitt East (left and above)
2016 - 2019 6' x 6' x 6' (in process 2009 -2019) Cedar pickets, Polycarbonate. Steel Reflecting Balls and Lures, Glass Letters, Polycarbonate, Padovana Gold Lace Hen Briel and Rooster Mars onsite open air studio Shinnecock Hills; installation view, Museum of Arts and Design: Against the Grain: Contemporary Works in Wood
Coop LeWitt East (pictured l) one of four (North, South, Cube) Coop LeWitt's inspired by Chance Encounters. Pictured on site (l) following the tour of the traveling exhibit Against the Grain: Contemporary Works in Wood Museum of Arts and Design (installation view, below) commissioned (2012) by (then) MAD Curators Lowery Stokes Sims and Elizabeth Kirrane. Based on a 3/4 scale model of Coop LeWitt North.
The stockade pickets reference the colonialist practice of claiming land from Native Americans by fencing “in” domestic farm animals such as the chicken (reference “Creatures of Empire How Domestic Animals Transformed Early America by Virginia DeJohn Anderson.The steel spirals, balls and glass letters placed to reflect light as an effort to repel flying predators Hawk, Eagles, Heron.
Coop Le Witt: (re)constructing Sol Lewitt (drawings)
Two views of Coop LeWitt East (left and above)
2016 - 2019 6' x 6' x 6' (in process 2009 -2019) Cedar pickets, Polycarbonate. Steel Reflecting Balls and Lures, Glass Letters, Polycarbonate, Padovana Gold Lace Hen Briel and Rooster Mars onsite open air studio Shinnecock Hills.
Hope is the thing with feathers
That perches in the soul.
And sings the tune
Without the words,
and never stops at all.
Emily Dickinson