The Bonnier Gallery
Skip to main content
  • Menu
  • Artists
  • Exhibitions
  • Art Fairs
  • Press
  • News
  • Viewing Room
  • Contact
Menu

Artworks

Sol Lewitt, Progression, 2000

Sol Lewitt American, 1928-2007

Progression, 2000
acrylic on wood
36 5/8 x 29 3/8 x 36 1/2 in. / 93 x 74.6 x 92.7 cm
Copyright The Artist
Sold
Enquire
%3Cdiv%20class%3D%22artist%22%3ESol%20Lewitt%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EProgression%3C/span%3E%2C%20%3Cspan%20class%3D%22title_and_year_year%22%3E2000%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3Eacrylic%20on%20wood%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3E36%205/8%20x%2029%203/8%20x%2036%201/2%20in.%20/%2093%20x%2074.6%20x%2092.7%20cm%3C/div%3E
Sol LeWitt began making his iconic open-grid geometric structures in the mid-1960s. At the same time, he formulated a serial approach to art making in which the progression or development...
Read more
Sol LeWitt began making his iconic open-grid geometric structures in the mid-1960s. At the same time, he formulated a serial approach to art making in which the progression or development of a structure was preset by an initial determining idea. He used the cube as his basic primary structure and the common denominator of works which followed the mathematical principle of elementary progression through addition or subtraction. Initially painted black, by the late 60s his open-grid structures were universally painted white. They were constructed either from wood or of enamel on aluminum. Others were made of steel. Although the progressions or permutations of LeWitt’s modular forms appear logical, he has emphasized the intuitive nature of his process.

To work with a plan that is pre-set is one way of avoiding subjectivity. It also obviates the necessity for designing each work in turn. The plan would design the work. The objects are made by assistants according to LeWitt’s instructions. By minimizing his physical presence in the process of fabrication, LeWitt emphasizes the impersonality of these structures.

LeWitt's structures strip his conceptual work down to its bones. The skeletal cubes acted as a base of which he would then build on or elaborate with other minimalist techniques. LeWitt's structures followed the agenda of removing the 'skin' from art, an idea popular in the '60s.
Close full details
Share
  • Facebook
  • X
  • Pinterest
  • Tumblr
  • Email
Previous
|
Next
83 
of  107
Manage cookies
Copyright © 2025 The Bonnier Gallery Inc.
Site by Artlogic
Facebook, opens in a new tab.
Instagram, opens in a new tab.
Join the mailing list

This website uses cookies
This site uses cookies to help make it more useful to you. Please contact us to find out more about our Cookie Policy.

Manage cookies
Accept

Cookie preferences

Check the boxes for the cookie categories you allow our site to use

Cookie options
Required for the website to function and cannot be disabled.
Improve your experience on the website by storing choices you make about how it should function.
Allow us to collect anonymous usage data in order to improve the experience on our website.
Allow us to identify our visitors so that we can offer personalised, targeted marketing.
Save preferences