Sol LeWitt earned a place in the history of art for his Conceptual movement. His belief in the artist as a generator of ideas was instrumental in the transition from the modern to the postmodern era. Conceptual art, expounded by LeWitt as an intellectual, pragmatic act. LeWitt believed the idea itself could be the work of art, like an architect who creates a blueprint for a building and then turns the project over to a construction crew, an artist should be able to conceive of a work and then either delegate its actual production to others or perhaps even never make it at all. LeWitt’s work ranged from sculpture, painting, and drawing to almost exclusively conceptual pieces that existed only as ideas or elements of the artistic process itself.
LeWitt’s refined vocabulary of visual art consisted of lines, basic colors and simplified shapes. LeWitt would provide an assistant or a group of assistants with directions for producing a work of art. Instructions for these works, whether large-scale wall drawings or outdoor sculptures, were deliberately vague so that the end result was not completely controlled by the artist that conceived the work. In this way, LeWitt challenged some very fundamental beliefs about art, including the authority of the artist in the production of a work. His emphasis is most often on process and materials . Meaning was not a requirement.
Different shapes, located in different angels, with different perspectives, sizes and colours and the same material creating a feeling of suspension.This is a possibility of a new installation for realise project.