- Sol Lewitt
- Three-Sided Pyramid
- baked enamel on aluminium
- 188 by 193 by 152cm.
- 74 by 76 by 59 3/4 in.
- Executed in 1991, this work is accompanied by a photo-certificate of authenticity signed by the artist.
Vanthournout Collection, Belgium (acquired from the above in 1995)
Sold: Sotheby's, New York, 14th November 2006, lot 13
Purchased at the above sale by the present owner
In the mid-1960s LeWitt experimented with form and open-grid constructions known as his ‘modular structures’ which would influence later works such as Three-Sided Pyramid. Painted in white enamel, these works would become his most celebrated ‘structures’, often incorporating elements of seriality within the structure to create infinite viewing possibilities. The pyramid had great significance for LeWitt; a mathematical form found prominently in ancient civilisations, it evokes the great pyramids of Egypt and the ziggurat formations of the first complex architectural structures. Much like the cubes, he was attracted to it as a commonplace and widely recognisable shape that offered him a neutral basis from which to build his art. In Three-Sided Pyramid he transforms the shape into a contemporary form thus imbuing it with new meaning. As Lucy R. Lippard has noted: ‘because he designs ‘useless’ items, art has provided the most receptive context, he intuitively works out ideas for which science, mathematics and philosophy, have already provided more sophisticated frameworks, but as art the manipulative intricacy of his process can provide an emotive communication with the viewer impossible in other disciplines (L. R. Lippard, in Sol LeWitt (exhibition catalogue), The Museum of Modern Art, New York, 1978, p. 23).
In the brilliant Minimalist simplicity of Three-Sided Pyramid LeWitt reduces the shape of the pyramid to its ‘skeleton’ - another aspect of his practice developed during the pioneering years of his early career - and by doing this reveals the essential nature of the shape. Even the colour was an inherent element of his desire to avoid any external significance; white, being all colours and none, avoids the expressiveness of black. As the artist Dan Graham stated: ‘LeWitt has structure freed from material content, structure that is no longer the structure of something’ (ibid., p. 26). The purity of this vision with its emphasis on structure over content is at the heart of LeWitt’s art and has, perhaps paradoxically, resulted in a body of work that is much sought-after for its architectural grace and beautiful simplicity.