Sol LeWitt. The Conceptuality of Drawing

Abstract

Two significant faxes can be found in the archive of the ‘Pietro
Vannucci’ Academy of Fine Arts in Perugia: they are worthy of
note both because they are signed by two well-known personalities
(Sol LeWitt and Bruno Corà) and because they markedly
represent a genuine manifesto which is theoretically capable of
healing the fracture that traditionally separates architecture and
art history in matters of drawing intended as a form of thought.
In the first fax, dated March 22, 1995, LeWitt (at the time residing
for long periods in Spoleto) tells his friend Bruno Corà
(then professor of Art History in the Academy) about the delivery
of the maquette of a work created specifically for Perugia
[1]: an ‘open cube’ (the solid form most loved by LeWitt [2])
which, as an element of the exhibition project City and Art, aimed
at injecting viral works into extra moenia urban areas of symbolic
interest, was to be exhibited in the portico of the large public
building built in those same years by Aldo Rossi and located
on the western side of the Piazza Nuova in Fontivegge [3].