Edited with text by Francesco Stocchi. Text by Rem Koolhaas, Adachiara Zevi.
Looking at a considerable range of works spanning the entire career of Sol LeWitt (1928–2007)—from seven of his famous Wall Drawings to sculptures such as Complex Form and Inverted Spiraling Tower, and including the photo-series Autobiography—this book explores the deeply intertwined relationship between LeWitt's work and architecture. Featuring a collaboration by the architect Rem Koolhaas—as a curator, for the first time ever—in dialogue with the curator Francesco Stocchi, Between the Lines addresses broad aspects of LeWitt's oeuvre, with the aim of moving beyond the divisions that traditionally separate architecture from art history (the flouting of which characterizes the artist's entire body of work). In particular, this book reformulates the still-popular assumption that an artwork must adapt to the architecture.
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FORMAT: Pbk, 7 x 9.5 in. / 320 pgs / 160 color. LIST PRICE: U.S. $50.00 LIST PRICE: CANADA $67.5 ISBN: 9783960983446 PUBLISHER: Koenig Books AVAILABLE: 6/26/2018 DISTRIBUTION: D.A.P. RETAILER DISC: FLAT40 PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA ASIA AU/NZ AFR
Published by Koenig Books. Edited with text by Francesco Stocchi. Text by Rem Koolhaas, Adachiara Zevi.
Looking at a considerable range of works spanning the entire career of Sol LeWitt (1928–2007)—from seven of his famous Wall Drawings to sculptures such as Complex Form and Inverted Spiraling Tower, and including the photo-series Autobiography—this book explores the deeply intertwined relationship between LeWitt's work and architecture. Featuring a collaboration by the architect Rem Koolhaas—as a curator, for the first time ever—in dialogue with the curator Francesco Stocchi, Between the Lines addresses broad aspects of LeWitt's oeuvre, with the aim of moving beyond the divisions that traditionally separate architecture from art history (the flouting of which characterizes the artist's entire body of work). In particular, this book reformulates the still-popular assumption that an artwork must adapt to the architecture.
