essential – The line The use of line.
For a good five months, Sol LeWitt’s ‘Wall Drawing 1180, 2005 10’000 black straight lines and 10’000 black not straight lines within a four-meter circle’ (drawn by Nicolai Angelov in early May) has dominated one of our high-ceilinged exhibition rooms, and this will remain the case for some time. The spatial and visual presence and intensity of the work is almost physical, in any case sensuously tangible. At the same time, the author and draftsman fully recede into the background. The factual impact of the wall drawing ensues entirely from its specific qualities. The textual instructions of Sol LeWitt give legitimacy to the line’s potential. The clarity of the artistic concept produced an overwhelming complexity and lack of overview.
The smart interpreter handled his two instruments, the straight and the non-straight line, in such a way that a finely woven network of lines could be created, with the gaps between the lines reduced to a minimum. Thinking, seeing and acting are a palpable presence at each position within the circle. Nevertheless these important attributes cannot be attributed to a person. Remarkably, an objectification, as it were, has come to pass.
The exemplary independence of the line as a formal artistic element, in this work apparently doing without a personal or particular ‘stroke’ (this important variant of the line being addressed here), has now become the impetus for an exhibition that uses the line as a means of artistic expression or as an artistic motif, visualizing it in a wholly non-didactic, playful and at times surprising way.
A number of artist names deserve mention here: Robert Mangold, Giorgio Griffa, Agnes Martin, David Rabinowitch, Joseph Egan, Richard Tuttle, Donald Judd, Will Insley, Fred Sandback, James Bishop, Antonio Calderara.
A few additional historical accents complete the show.
Rita McBride
Kestnergesellschaft Hannover , October 17, 2015 to January 10, 2016
Alexander and Bonin Gallery New York , September 10 to October 24, 2015
November 16, 2008 – 2033
Sol LeWitt –
A Wall Drawing Retrospective
Yale University Art Gallery and Williams College Museum of Art
James Bishop / Richard Tuttle
September 9 to November 6, 2026
Richard Tuttle
Complete Interviews 1970–2022
Edited and with a Preface Interview by Dieter Schwarz
Glen Rubsamen
The Petrified Forest
Publisher: Glen Rubsamen
INSIGHT – ARTWORKS IN THE SPOTLIGHT #2, Paintings on Paper by James Bishop presents four works on paper by James Bishop. Created between 1956 and around 1993 they provide valid perspectives on an artistic oeuvre defined by an insistence on painting.
Giulio Paolini A.R.S. Scaenica, Teatro Franco Parenti, Milan , permanent installation
Giorgio Griffa Paths in the Forest, The Clark Art Institute, Williamstown (MA), through October 12, 2026
Agnes Martin Painting is not making paintings, Dia:Beacon, Dia Art Foundation, Beacon, long-term view
Rita McBride LO·CO·MO·TIV, two person show with Sophie Tottie, Lokstallet Konsthallen, Strömstad, through September 27, 2026
Abstract Constructions, Nassos Daphnis - Rita McBride, Fondation CAB, Saint-Paul-de-Vence, FR, through October 25, 2026
Richard Tuttle | Giulio Paolini | Marisa Merz | Mario Merz
Long Story Short, Museum Brandhorst, Munich, through January 2027
Marisa Merz La danza delle ore, Gallery of Modern and Contemporary Art (GAM), Turin; Fondazione Merz, Turin; Castello di Rivoli, Rivoli, October 29, 2026 to April 4, 2027
Fred Sandback Cuts into Spaces (group show), Hall Art Foundation, Kunstmuseum Schloss Derneburg, ongoing
Negativa, Metropol Kunstraum, Munich, September 24 to December 16, 2026
Richard Tuttle Almost Sky, with Jun Aoki, Tokyo Opera City Art Gallery, Tokyo, July 18 to September 23, 2026
Half-Light, Dia:Beacon, Dia Art Foundation, Beacon, long-term view
Sol LeWitt (1928–2007)
Open Structure, Amorepacific Museum of Art, Seoul, through February 28, 2027
A Wall Drawing Retrospective, Yale University Art Gallery and Williams College Museum of Art, November 16, 2008 – 2033
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