Photography has become an increasingly pervasive medium of choice in contemporary art practice and is even employed at times by artists who do not necessarily consider themselves to be photographers. How did this come to be? The Last Picture Show will address the emergence of this phenomenon of artists using photography by tracing the development of conceptual trends in postwar photographic practice from its first glimmerings in the 60s in the work of artists such as Bernd &amp; Hilla Becher, Ed Ruscha and Bruce Nauman, to its rise to art-world prominence in the work of the artists of the late 70s and early 80s including Sherrie Levine, Richard Prince and Cindy Sherman. Intended as a major genealogy of the rise of a still-powerful and evolving photographic practice by artists, the checklist will include a wide array of works examining a range of issues: performativity and photographic practice; portraiture and cultural identity; the formal and social architectonics of the built environment; societal and individual interventions in the landscape; photography's relationship to sculpture and painting; the visual mediation of meaning in popular culture; and the poetic and conceptual investigation of visual non-sequiturs, disjunctions and humorous absurdities. Bringing together a newly commissioned body of scholarship with reprints of important historical texts, The Last Picture Show seeks to define the legacy that has produced a rich body of photographic practice in the art world today.

The Last Picture Show: Artists Using Photography 1960-1982 (WALKER ART CENT)

Arts & Photography

WEISS, David

Graham, Dan

Beuys, Joseph

Baldessari, John

Dibbets, Jan

Nauman, Bruce

Flood, Richard

Anselmo, Giovanni

Gronnert, Stefan

Lee, Pamela

Batchen, Geoffrey

Fischli, Peter

Bochner, Mel

Charlesworth, Sarah

Export, Valie

Acconci, Vito

Ader, Bas Jan

Boltanski, Christian

Broodthaers, Marcel

Kruger, Barbara

Oppenheim, Dennis

Lewitt, Sol

Collections, Catalogs & Exhibitions

Walker Art Center

With essays by Nicholas Baume, Jonathan Flatley, and Pamela M. Lee. Begun in 1974, Incomplete Open Cubes is a sophisticated and elaborate expression of conceptualist art-making by Sol LeWitt, one of the most influential abstract artists of his generation. No other serial project by LeWitt or his contemporaries embodies with such eloquence so many of the central artistic concerns of the period.Incomplete Open Cubes exemplifies the deployment of a single idea to become, in LeWitt's words, "a machine that makes the art." The work forges a new way of making art in its ambitious use of a serial system that enables a kind of "noncompositional composition." The translation of the same idea into different scales and media is another key aspect of the work. All 122 variations in the series exist in three dimensions, from a set in which each cube is 2 1/2 inches square to the 40 inches square human-scaled versions. There are also entire sets of photographs, drawings, working sketches and notes, and an artist's book.This publication, which accompanies an exhibition of Incomplete Open Cubes, is the first sustained critical examination of this body of work. The book features much previously unpublished material, including working drawings, schematic drawings, and models, in addition to photographs of the installed structures.Copublished with the Wadsworth Atheneum.

Sol Lewitt, Prints, 1970-86

Graphic Design

Tate Gallery Publications

On the walls of the Lower East Side

On the Walls of the Lower East Side

Mead Publishing

Agrinde Publications

Sol Lewitt, wall drawings 1984-1988

Kunsthalle

A cube

W. Konig

In addition to his well known graphic and installation works artist Sol LeWitt has been creating structures of concrete blocks for two decades. They are collected and discussed for the first time in this new volume.

Concrete Block Structures

Alberico Cetti Serbelloni,Italy

Sol LeWitt: Drawings, 1958-1992

Haags Gemeentemuseum

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Books by Lewitt, Sol