‘Buried Cube’, Sol LeWitt

The burial of the cube reportedly took place in a local garden, but these photographs, referring again to the notion of the series or process, are the only proof that LeWitt's actions actually took place. Without seeing the event taking place, or knowing what is held within the cube, Buried Cube relies on the idea, as opposed to a finished object. A conceptual piece, this work was produced shortly following the publication of LeWitt's 1968 manifesto describing the new Conceptual art movement. In the manifesto, he declares, "The execution is a perfunctory affair. The idea becomes a machine that makes the art." Likewise, by emptying this "burial"-like an actual interment, an extremely important, emotional, and personal affair-of content, value, gesture and expression, LeWitt disengages himself from the work and takes a strong "death of the author" stance.

Sol LeWitt, 1968, ‘Buried Cube Containing an Object of Importance but Little Value’. — The burial of the cube reportedly took place in a local garden, but these photographs, referring again to the notion of the series or process, are the only proof that LeWitt’s actions actually took place. A conceptual piece, this work was produced shortly following the publication of LeWitt’s 1968 manifesto describing the new Conceptual art movement. In the manifesto, he declares, “The execution is a perfunctory affair. The idea becomes a machine that makes the art.” LeWitt disengages himself from the work and takes a strong “death of the author” stance. However this is only “death of the author” as a craftsman, and “birth of the author” as idea-maker.

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