索爾·勒維特認(rèn)領(lǐng)

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. In his own words: "Once it is out of his hand the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way."

In 1981, leading conceptual artist Sol LeWitt was invited by the Fairmount Park Art Association (currently known as the Association for Public Art) to propose a public artwork for a site in Fairmount Park. He selected the long, rectangular plot of land known as the Reilly Memorial and submitted a drawing with instructions. Installed thirty years after its conception, Lines in Four Directions in Flowers is a work of monumental scale, made up of more than 7,000 plantings arranged in strategically configured rows. In his original proposal, the artist describes an installation of flower plantings of "four different colors (white, yellow, red & blue) in four equal rectangular areas, in rows of four directions (vertical, horizontal, diagonal right & left) framed by evergreen hedges of about 2’ height. In the winter the rows of plants would retain their linear direction, in the summer the flowers would bloom and provide the color."