
© Estate of Sol LeWitt / Artists Rights Society (ARS), New York
Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

© Estate of Sol LeWitt / Artists Rights Society (ARS), New York
Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.


Sol LeWitt
American, 1928-2007
Wall Drawing # 24, 1969
black pencil on white painted aluminum box
overall: 72 x 48 x 48 inches (182.88 x 121.92 x 121.92 cm)
Collection Albright-Knox Art Gallery, Buffalo, New York
The Panza Collection and by exchange: George B. and Jenny R. Mathews Fund, Bequest of Arthur B. Michael, Albert H. Tracy Fund and Bequest of John Mortimer Schiff, 2015
2015:14.21a-e
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Information may change due to ongoing research.Glossary of Terms
Wall Drawing # 24 is a rare example in which Minimalist artist Sol LeWitt unites his two practices of wall drawing and sculpture. LeWitt’s wall drawings were conceived to be ephemeral—they are painted over at the end of an exhibition or installation and may be redrawn elsewhere. In contrast to most of LeWitt’s wall drawings, Wall Drawing # 24 was inscribed on four faces of a white-painted, four-by-four foot aluminum cube rather than on a wall. The finished work resembles one of the artist’s sculptures as well as the white walls of a gallery or museum.
The drawing on the surface of the cube employs horizontal, vertical, and two types of diagonal lines rendered in graphite, which are organized in a series of squares. These overlapping permutations produce complex patterns. It is based on an artwork that LeWitt conceived for the groundbreaking catalogue/exhibition Xerox Book in 1968. He later installed the design directly on the wall at the Paula Cooper Gallery, where it became the artist’s first wall drawing. This version, which was created for his solo exhibition at Dwan Gallery in September 1969, was drawn by artist Adrian Piper (American, 1948). Wall Drawing # 24 shows an early moment in LeWitt’s wall drawing practice when he was experimenting with different approaches to the display and presentation of this new art form.
Label from Looking at Tomorrow: Light and Language from The Panza Collection, 1967–1990, October 24, 2015–February 7, 2016
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exhibition
Looking at Tomorrow: Light and Language from The Panza Collection, 1967–1990
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Other Works by This Artist
- Artifacts at the End of a Decade ,
A Square for Each Day of the Seventies from the portfolio Artifacts at the End of a Decade
,- Schematic Drawings for Muybridge II, 1964 ,
- Wall Structure: Five Modules with One Cube, Black ,
Lines in Color on Color From Corners Sides and Centers to Specific Points on a Grid
,- Wall Drawing # 17 ,
- Wall Drawing # 53 ,
- 3-B Half-Off Piece ,
- Maquette ,
Horizontal Color Bands and Vertical Color Bands
,Straight Red, Straight Yellow
,- A sphere lit from the top, four sides, and all their combinations ,
- Wall Drawing # 1268: Scribbles: Staircase (AKAG) ,
Untitled from the portfolio Lines in Color on Color from Corners, Sides and Center to Specific Points on a Grid
,- Untitled from the portfolio Lines in Color on Color from Corners, Sides and Center to Specific Points on a Grid ,
- Untitled from the portfolio Lines in Color on Color from Corners, Sides and Center to Specific Points on a Grid ,
Untitled from the portfolio Lines in Color on Color from Corners, Sides and Center to Specific Points on a Grid
,- Untitled from the portfolio Lines in Color on Color from Corners, Sides and Center to Specific Points on a Grid ,
- Untitled from the portfolio Lines in Color on Color from Corners, Sides and Center to Specific Points on a Grid ,
Complex Forms: A Set of Three Prints-A
,- 2 Part Composite ,
No image available,
but we're working on itUntitled (cover print) from the portfolio Lines in Color on Color from Corners, Sides and Center to Specific Points on a Grid
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The Panza Collection

