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Sol LeWitt was commissioned to create a masterpiece for the Grand Lobby of Sarofim Hall. Measuring 35’ x 27’, Wall Drawing 2002 was applied to the prepared wall surface by Tomas Ramberg, assistant to Mr. LeWitt and Lead Artist, along with a team of local Houstonartists.

A sculptor and conceptual artist, Sol LeWitt has worked since 1964 creating art that focuses on abstract philosophical theories. Born in Hartford Connecticut in 1928, LeWitt graduated from Syracuse University with a BFA in 1949 and later worked for architect I.M. Pei from 1955 to 1956. In 1962, LeWitt began his career as an artist with his first relief sculpture. LeWitt’s work evolved into modular geometric pieces painted white to emphasize the underlying concept of the sculptures and not the execution. In direct opposition to Abstract Expressionism, LeWitt’s art served as the beginning of a new era in Conceptual Art and the end of the Modernist art revolution. In the late 60s, LeWitt began designing murals and wall drawings of geometric designs, brilliant colors, and jarring patterns. Drawn directly onto walls and painted by a team of artists, his works are “temporary”, as they are painted over with the next exhibit or renovation of the hall—another conceptual tactic that lends itself to the non-materialistic and abstract. LeWitt pushed the conventions of art by asserting that art exists abstractly and lives in the intellectual practice of conceptualizing, planning, and mapping. By this philosophy, the original imaginative experience presides over the actual creation of the work or the finished product.

LeWitt states in the catalog of his art, “In conceptual art the idea of concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair.” LeWitt designs his pieces himself, but the artistic development of the works ends in his imagination, removing the “creative” out of the “creation” process by halting the emotional or intuitive possibilities that arise during installation.

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