1 2 3 4 _ 5 6

In this work we use the more regimented methodology introduced by Sol LeWitt in his explorations of arcs and lines like Wall Drawing #260 or All Combinations of Arcs from Corners and Sides: Straight, Not-Straight, and Broken Lines to explore his ideas about the relationship between the artist, the artwork, and its realization in a given installation. Sol LeWitt wrote in Sentences on Conceptual Art in 1969 that:

7. The artist’s will is secondary to the process he initiates from idea to completion.

28. Once the idea is established in the artist’s mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist can not imagine. These may be used as ideas for new works.

29. The process is mechanical and should not be tampered with. It should run its course.

LeWitt’s installations of arcs and lines were presented as table diagrams, or regimented instructions for transferring a discrete vocabulary of marks in a prespecified grid to the gallery walls. Here we have used a (nearly!) random sequence generator and a vocabulary of seven marks (four 90˚ arcs, two diagonal lines, and a blank) to construct a computerized installation of arcs and lines. Even the process of selecting the series is thereby blind and mechanical. The work is constructed from 5 overlapping passes through the grid, starting in the upper left corner and moving horizontally across the rows from left to right. The total time from start to completion for each iteration of the drawing is 30 (?) minutes. You will notice that patterns emerge as the marks are drawn in over time. One may be tempted to assign aesthetically ideal stopping points or to identify an ideal number of passes through the grid. LeWitt’s writings, of course, ask us to question the relationship between the idea of an artwork and these, sometimes quite compelling, aesthetic intuitions. Our question is whether this is sound advice!