terms, perhaps the most interesting aspect of this series is the treatment of the wall surface and artwork as a singular and integrated whole, rather than as a piece of art on the wall. The wall drawings are carefully calculated, but as a means to an end, intended to transcend the prosaic nature of their creation and achieve a poetic plane. The work of LeWitt raises questions of authorship
in the arts and brings up the issue of intellectual property. Decisions are made that require delegation to a production team. As in architecture, more emphasis is given to the idea and the final artifact, and less importance is placed on the role of production. This inclusiveness not only extends the reach of LeWitt’s influence and presence, but arguably, it also makes his work immortal.
The “Circle with Towers” sculpture might be contrasted with the new “Skyspace” piece by James Turrell atop the Student Activity Center, also part of UT Austin’s Landmarks program. While the former embodies the abstract essence of minimalist art, the latter also aims to transcend its physical presence to become an instrument for experiencing nature — in this case, the sky — beyond the confines of the sculpture. Both pieces maintain a direct relationship to the scale and the human body, yet LeWitt’s sculpture is inextricably linked to its physical make-up and tectonic narrative, while Turrell’s piece is only interested in tectonics to the extent that it ensures that the piece disappears as much as possible to the viewer inside. In short, it can be argued that Turrell sculpts with light and that Lewitt sculpts
with rigorous forms in which Platonic geometry is the topic explored. At first glance, one might conclude that LeWitt and his work are nothing if not methodical. With rigorous explorations of variations on theme-based, self-imposed constraints, the work may come off as exclusively rational and devoid of the expressiveness one expects in the fine arts. However, in his seminal piece “Sentences on Conceptual Art,” LeWitt stated: “Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach. Irrational thought should be followed absolutely and logically.” Ultimately, this quote gets to the core of abstraction and its promise in art and architecture, as well as the cooperative collabora-
Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach. Irrational thought should be followed absolutely and logically.
The Sol LeWitt installations at the new Pelli Clark Pelli Gates Computer Science Complex and the new James Turell “Skysapce” atop the Student Activity Center are two prominent additions to the Landmarks public art program at UT Austin.
tion in the balance between universality and site-specificity. Part of the intrigue of this artistic series is the fact that it does not spell out an idea completely, but rather suggests larger ideas by means of diagrams. These aspects, in addition to careful consideration of the relationship between part and whole through timeless abstraction, reinforce the brilliance of the Landmarks program in bringing pieces by LeWitt and Turrell to the Austin campus. Landmarks will continue to add interesting art to the campus and looks forward to the transformation of the East Mall into a scenic gateway designed Peter Walker Partners Landscape Architecture. Plans are already underway for numerous installations. Matt Fajkus, AIA, teaches and practices architecture in Austin.
11/12 2013
Texas Architect 21