DAN FLAVIN, RITA MCBRIDE, ROBERT MORRIS, and ROBERT THERRIEN Side by Side November 27, 2012 – January 18, 2013

Total Page：16

File Type：pdf, Size：1020Kb

DAN FLAVIN, RITA MCBRIDE, ROBERT MORRIS, AND ROBERT THERRIEN Side by Side November 27, 2012 – January 18, 2013 Castelli Gallery is pleased to present Side by Side, an exhibition of four sculptures by Dan Flavin, Rita McBride, Robert Morris, and Robert Therrien. Borrowed from Rita McBride’s 2004 work, the exhibition title refers to Minimalism’s modular and repeated forms, as well as to the exhibition’s pairing of iconic sculptures from Minimalism’s inception in the 1960s with works from the 1990s and early 2000s that reflect its legacy. Pioneering Minimalist art in the 1960s, Dan Flavin and Robert Morris created works that eschewed figurative and expressive content in favor of sculptural elements reduced to their most essential qualities. Dan Flavin’s seminal “monument” for V. Tatlin #65, 1970, comprises ready-made florescent tubes in an elegant sculptural homage to the Russian constructivist sculptor, Vladimir Tatlin. Robert Morris’ similarly restrained Untitled, 1966, employs four geometric modules that while constructed identically, may be installed in a variety of ways, allowing basic cubic units to take many permutations. Representing a pivotal shift in twentieth century art, the Minimalist works of Flavin and Morris activate the space and environment around them through an innovative use of light, scale, and arrangement. These reductivist gestures proved fertile territory for later generations of artists. Nearly 40 years after its emergence, Rita McBride and Robert Therrien explore Minimalism’s influence within contemporary art and architecture. Depicting a miniaturized, modern day parking lot, McBride’s Side by Side, 2004, highlights the sculptural qualities of utilitarian architecture, complete with minimalist gridding and geometric planes. Similarly addressing the subject of architecture through sculpture, Robert Therrien’s No Title, 1992, simplifies the profile of a chapel into a single, iconic form. Minimalism’s grasp, these works seem to suggest, pervades not only in art, but in architecture and the everyday. Images from Left to Right: Dan Flavin, “monument” for V. Tatlin #65, 1970; Rita McBride, Side by Side, 2004; Robert Morris, Untitled, 1966; Robert Therrien, No Title, 1992. For more information please contact Lisa Williams at [email protected] .

Copy Link

Recommended publications

Fluorescent Architecture
Fluorescent Architecture The architecture of supermarkets. The history of fluorescent light- ing. The art of Dan Flavin (Figure 1). Given the fundamental differences between these three topics, it is not surprising that when examined inde- pendently they tell distinct stories about post-WWII America. However, given their obvious intersection, when studied together they reveal important historical relationships between aesthetics, architecture, and suburbia. These relationships revolve around a sensibility shared by Minimalist art, suburban building typologies, and the technologies of DAVID SALOMON Ithaca College everyday life; a sensibility that is best described as the banal spectacle. We tend to think of sensibilities and styles as either superficial or as the result of other cultural forces. They are what covers up or comes after the important stuff. This paper reverses this sequence and hierarchy. In examining these three interre- lated phenomenon this essay asks: What is to be gained by starting with sensibility and aesthetics when generating and analyzing architectural artifacts? Can they be robust techniques for producing desirable social effects, especially in suburbia? 1 This paper will use these questions to examine the interrelated histories of suburbia, the supermarket, the fluorescent light and the work of Dan Flavin. In doing so it will argue for the architectural efficacy of employing aesthetic practices and products to better understand, engage and fulfill its social and environmental responsibilities. DAN FLAVIN AT THE SUPERMARKET By all accounts the modern grocery store was born in 1940 in Winter Haven, Florida. Figure 1: L. to R.: Postwar Supermarket; Diagram of Among the innovations found in George Jenkins’ Publix Market was the first com- Fluorescent Fixture; Dan Flavin’s Work.
[Show full text]
Download Press Release
GALERIE THADDAEUS ROPAC MONUMENTAL MINIMAL CARL ANDRE, DAN FLAVIN, DONALD JUDD, SOL LEWITT, ROBERT MANGOLD, ROBERT MORRIS PARIS PANTIN 02 Jan 2019 - 27 Apr 2019 Opening: Wednesday 17 October 2018, 6 - 9pm Galerie Thaddaeus Ropac presents in its Pantin space a group exhibition dedicated to American Minimal art. Featuring over 20 major sculptures and paintings by Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Robert Mangold and Robert Morris, Monumental Minimal addresses the many questions raised by the main protagonists of this artistic revolution. Started in New York in the 1960s as a reaction to Abstract Expressionism, Minimal art is characterised by a formal radicalism that breaks the traditional codes of sculpture. Seriality and the emphasis put on the concept, as well as the use of industrial materials, constitute the common base from which different individual practices stemmed. The works presented have been selected to interact with the architecture of the space. Whether placed on the wall, in a corner, or directly on the floor, the sculptures dialogue with one another and with the structural elements of the gallery in Pantin. The volumes of the former industrial building, together with its zenithal lighting, contribute to emphasising the primary structures of the works, in particular their form, colour and material. One of the main characteristics of Minimal art is to re-define the viewer's relationship with the artwork through exhibition display. Indeed, the very status of the work is radically changed, as demonstrated by Donald Judd's Stacks, consisting of several identical elements mounted on a wall. The artist considers this series of work as neither paintings nor sculptures, but rather as "Specific objects", in accordance with the term he coined in his 1965 manifesto.
[Show full text]
Untitled (To Dorothy and Roy Lichtenstein on Not Seeing Anyone in the Room), 1968
THE EMPTY ROOM AND THE END OF MAN THE EMPTY ROOM AND THE END OF MAN Robert Slifkin The Empty Room and the End of Man It is indeed impossible to imagine our own death; and whenever we attempt to do so we can perceive that we are in fact still present as spectators. Sigmund Freud, 1915 1 The spotless gallery wall . is a perfect surface off which to bounce our paranoias. Brian O’Doherty, 1976 2 “I can see the whole room! . And there’s nobody in it!” These words, borrowed from a dime-store detective comic book, where they float above the head of a man gazing out of a peephole, become in the 1961 painting of the same title by Roy Lichtenstein (1923–1997) a potent allegory of the ideal conditions for aesthetic experience in the postwar era (fig. 1). By imagining the elimination of any beholders in front of the canvas, Lichtenstein’s painting slyly parodies the modernist 1 principle of a disembodied and disinterested mode of spectatorship in Roy Lichtenstein, I Can See the Whole which the subjective contingencies of personal experience in no way Room and There’s influence the work’s ultimate significance. Beyond its engagement Nobody in It, 1961. with the legacy of the monochrome and color field painting, the work Oil and graphite on presents a decidedly forward looking vision of the seemingly depopu- canvas, 48 × 48 in. (121.92 × 121.92 cm). lated spaces that would serve in the ensuing decades as the privileged Private collection. sites for experiencing and understanding the avowedly 158 Robert Slifkin The Empty Room and the End of Man 159 Pictorialism as Theory 2 Dan Flavin, untitled (to Dorothy and Roy Lichtenstein on not seeing anyone in the room), 1968.
[Show full text]
Dan Flavin Installation at Richmond Hall Light Defining Space
unrealized Monument to the Third International, EMEM. Dan Flavin Intended for the center of Moscow, Tatlin’s monument as TH E COLLECTION planned would have stood over E,GDD feet tall and comprised MENIL What has art been for me ? . I have known it (basically) as a three revolving chambers dedicated to legislative and aca - sequence of implicit decisions to combine traditions of demic purposes. Though never realized, the project came to painting and sculpture in architecture with acts of electric symbolize revo lu tionary modernism as well as the earnest, Dan Flavin Installation at Richmond Hall light defining space. (Dan Flavin, Artforum, EMJI) romantic, but ultimately unfulfilled ideologies that informed it. Flavin appreciated the aesthetic of the Con structivists but an Flavin, one of the founders of Minimalism, revo - did not share their utopian vision. By placing the titles of his lutionized art in the EMJDs, using light as a sculptural monuments in quotation marks, the artist emphasized that medium and transforming the very experience of he intended them to be understood iron ically. Built of mass- Dspace. Richmond Hall at the Menil Collection produced fluorescent tubes that can be switched on and off, houses one of the artist’s final works and one of his few they are temporary memorials only as timeless as the light permanent installations in the United States. Born in EMGG in fixtures themselves. Though this tongue- in-cheek treatment New York City, Flavin became one of the most influential and refutes the idealism of the Construct ivist’s utterly serious inno vative artists of his generation.
[Show full text]
Cardi Gallery Dan Flavin
CARDI GALLERY Dan Flavin, “Monument” for V. Tatlin, 1968, Cool white flourescent light, width 427 cm (168 1/8 in) DAN FLAVIN February 20-June 28, 2019 Corso di Porta Nuova 38, Milan Cardi Gallery Milan is delighted to present a solo exhibition of the legendary American Minimalist Dan Flavin. The exhibition is organized in collaboration with the Estate of Dan Flavin and is accompanied by a fully illustrated catalogue that includes an essay by the esteemed Italian art critic Germano Celant. The American artist Dan Flavin (1933–1996) is internationally renowned for his installations and sculptural works made exclusively of commercially available fluorescent light. The exhibition at Cardi Gallery Milan will feature fourteen light works from the late 1960s through the 1990s that show the evolution over four decades of the artist’s investigations into notions of colour, light and sculptural space. In the summer of 1961, while working as a guard at the American Museum of Natural History in New York, Flavin started to make sketches for sculptures that incorporated electric lights. Later that year, he translated his sketches into assemblages he called “icons”, which juxtaposed lights onto monochromatic, painted Masonite constructions. By 1963, he removed the rectangular support altogether and began to work with his signature fluorescent lamps. In 1968, Flavin expanded his sculptures into room-size environments and filled an entire gallery with ultraviolet light at Documenta 4 in Kassel (1968). Flavin always emphatically denied that his sculptural light installations had any kind of transcendent, symbolic, or sublime dimension, stating: “It is what it is and it ain’t nothing else”.
[Show full text]
Dan Flavin / Donald Judd
GALERÍA ELVIRA GONZÁLEZ GENERAL CASTAÑOS, 3 – 28004 MADRID – TEL 91 3195900 www.galeriaelviragonzalez.com Dan Flavin / Donald Judd Opening: September 10th, 2013 Galería Elvira González is pleased to announce the launching of the new season with a joint exhibition of work by Dan Flavin and Donald Judd. The exhibition will include a selection of pieces dating from the 1980’s and 90’s, emphasizing the profound aesthetic affinities between the two American minimalist artists, who were not only peers and colleagues, but also close friends. Dan Flavin and Donald Judd are regarded as two of the most important artists of the second half of the 20th century. The Galería Elvira González regularly exhibits the work of both artists, including a 2009 exhibition of Donald and a 2001 exhibition of Flavin. Dan Flavin (New York, 1933-1996) pioneered the use of fluorescent light as sculptural material. His work sculpts light itself, changing each time it is exhibited as it integrates itself into the architecture of different spaces. Flavin’s wide-ranging and varied personal background included studies for the priesthood in a Catholic seminary in Brooklyn and a stint in the U.S. Army Air Forces, finally culminating in his definitive decision to become an artist in the late fifties. This background was key to the development of his work, which according to the critic Fernando Huici is "based on chromatic atmospheres of intense mystical resonance and resolves, with revolutionary solutions, the religious concerns that shaped his artistic education.” Throughout his career Flavin made over 750 light sculptures, including permanent installations integrated into the architecture of buildings and institutions such as New York’s Grand Central Station, the lobby of the MetroTech Center building in New York, the facade of the Hamburger Bahnhof Museum in Berlin, the six buildings of the Chinati Foundation in Marfa, Texas, and Untitled (for Annemarie and Gianfranco) 4, 1989, Dan Flavin the church of Santa Maria Annunciata in Chiesa Rossa, Milan.
[Show full text]
Dan Flavin Was Born in 1933 in New York City, Where He Later Studied Art History at the New School for Social Research and Columbia University
DAN FLAVIN Dan Flavin was born in 1933 in New York City, where he later studied art history at the New School for Social Research and Columbia University. His first solo show was at the Judson Gallery, New York, in 1961. Flavin made his first work with electric light that same year, and he began using commercial fluorescent tubes in 1963. Fluorescent light was commercially available and its defined systems of standard sized tubes and colors defied the very tenets of Abstract Expressionism and Pop Art, from which the artist sought to break free. In opposition to the gestural and hand-crafted, these impersonal prefabricated industrial objects offered, what Donald Judd described as “…a means new to art.”1 Seizing the anonymity of the fluorescent tube, Flavin employed it as a simple and direct means to implement a whole new artistic language of his own. He worked within this self-imposed reductivist framework for the rest of his career, endlessly experimenting with serial and systematic compositions to wed formal relationships of luminous light, color, and sculptural space. Vito Schnabel Gallery presented Dan Flavin, to Lucie Rie and Hans Coper, master potters in St. Moritz from December 19, 2017 — February 4, 2018. The exhibition featured nine light pieces from the series dedicated to Rie, nine works from his series dedicated to Coper, and a selection of ceramics by Rie and Coper from Flavin’s personal collection. Major solo exhibitions of Flavin’s work have been presented at the National Gallery of Canada, Ottawa; Staatliche Kunsthalle, Baden- Baden; St. Louis Art Museum, Missouri; Morgan Library and Museum, New York; and Dan Flavin: A Retrospective, an international touring exhibition that included the National Gallery of Art, Washington, D.C.; Modern Art Museum of Fort Worth, Texas; Museum of Contemporary Art, Chicago; Hayward Gallery, London; the Musée d’Art Moderne de la Ville de Paris; Los Angeles County Museum of Art; and Pinakothek der Moderne, Munich.
[Show full text]
David Zwirner Is Pleased to Present a Selection of Works from the 1960S and 70S by American Artist Michael Heizer (B
David Zwirner is pleased to present a selection of works from the 1960s and 70s by American artist Michael Heizer (b. 1944) at the gallery’s 519 West 19th Street space. As a pioneer of the 1960s Land Art movement, Heizer has created a prolific and ambitious practice encompassing painting, sculpture, and large-scale earthworks. His paintings and sculptures, which he has produced intermittently throughout his career—manifest many of the ideas explored in his monumental works—which use land as a material form. Bringing together rarely seen paintings and sculptures from the 1960s and 70s, this exhibition reveals Heizer’s early engagement with the contrasting qualities of negative and positive forms. Heizer moved from California to New York City in 1966, where he began his career as a painter. He was attracted to the concepts and aesthetics of what is now referred to as Minimalism, and his practice during this period was in close dialogue with that of the artists he befriended, such as Carl Andre, Dan Flavin, Frank Stella, Walter de Maria, and Tony Smith. By the late 1960s, Heizer had left the constraints of New York City for the deserts of California and Nevada, where he could create large-scale works that did not conform to the institutional and commercial boundaries of museums and galleries. It is in these empty deserts that he created some of his most impressive and laborious earthworks, among them Double Negative (1969-70). Inspired by Egyptian, Incan, and Mayan architectural ruins—which his father, an archeologist, exposed him to at a young age— Heizer’s earthworks often employ depressions and trenches in the ground as a means of addressing displacement and space.
[Show full text]
Minimal Art and Body Politics in New York City, 1961-1975 By
Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham M.A. Art History, Tufts University, 2009 B.A. Art History, The George Washington University, 1998 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ARCHITECTURE: HISTORY AND THEORY OF ART AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2018 © 2018 Christopher M. Ketcham. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author:__________________________________________________ Department of Architecture August 10, 2018 Certified by:________________________________________________________ Caroline A. Jones Professor of the History of Art Thesis Supervisor Accepted by:_______________________________________________________ Professor Sheila Kennedy Chair of the Committee on Graduate Students Department of Architecture 2 Dissertation Committee: Caroline A. Jones, PhD Professor of the History of Art Massachusetts Institute of Technology Chair Mark Jarzombek, PhD Professor of the History and Theory of Architecture Massachusetts Institute of Technology Tom McDonough, PhD Associate Professor of Art History Binghamton University 3 4 Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham Submitted to the Department of Architecture on August 10, 2018 in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Architecture: History and Theory of Art ABSTRACT In the mid-1960s, the artists who would come to occupy the center of minimal art’s canon were engaged with the city as a site and source of work.
[Show full text]
Dan Flavin, Untitled
Dan Flavin, Untitled (to Donna) II, 1971 © 2016 Stephen Flavin / Artists Rights Society (ARS), New York Dan Flavin (American, 1933-1996) Untitled (to Donna) II, 1971 Fluorescent lights 96 1/4 x 96 inches Museum Purchase: funds provided by an NEA purchase plan grant matched by the Contemporary Art Council © 2016 Stephen Flavin / Artists Rights Society (ARS), New York 81.53 Dan Flavin used only fluorescent tube lights arranged to create light, color, Discussion and Activities and space. He explained his idea like this: “One might not think of light as a 1. How important is light to Flavin’s sculpture? Imagine this sculpture matter of fact, but I do. And it is, as I said, as plain and open and direct an art made from another material such as metal or wood. What could be as you will ever find.” reproduced in another material? What would be lost? This was a radical approach to artmaking in the 1960s and ’70s in New York. 2. Draw a sketch of this sculpture. What do you notice about its lines and Painters and sculptors working in this manner called themselves Minimalists. shapes? Did you include the corner of the gallery, the walls, and floor They used industrial materials and tried to make invisible any mark of the as part of your sketch? Why or why not? artist. Imagery was abstracted to essential geometric forms, sometimes only 3. Why do you think Flavin uses corners, corridors, and barriers as areas one shape or one color. Minimalist artists were reacting against 1950s artists to display his sculptures? How would Untitled II look if it were hanging who made emotional works showing the painterly effects of the artist’s hand.
[Show full text]
Minimalism 1 Minimalism
Minimalism 1 Minimalism Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is stripped down to its most fundamental features. As a specific movement in the arts it is identified with developments in post–World War II Western Art, most strongly with American visual arts in the late 1960s and early 1970s. Prominent artists associated with this movement include Donald Judd, John McLaughlin, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, and Frank Stella. It is rooted in the reductive aspects of Modernism, and is often interpreted as a reaction against Abstract expressionism and a bridge to Postmodern art practices. The terms have expanded to encompass a movement in music which features repetition and iteration, as in the compositions of La Monte Young, Terry Riley, Steve Reich, Philip Glass, and John Adams. Minimalist compositions are sometimes known as systems music. (See also Postminimalism). The term "minimalist" is often applied colloquially to designate anything which is spare or stripped to its essentials. It has also been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and even the automobile designs of Colin Chapman. The word was first used in English in the early 20th century to describe the Mensheviks.[1] Minimalist design The term minimalism is also used to describe a trend in design and architecture where in the subject is reduced to its necessary elements. Minimalist design has been highly influenced by Japanese traditional design and architecture. In addition, the work of De Stijl artists is a major source of reference for this kind of work.
[Show full text]
MODERN ART and IDEAS 8 1962–1974 a Guide for Educators
MODERN ART AND IDEAS 8 1962–1974 A Guide for Educators Department of Education at The Museum of Modern Art MINIMALISM AND CONCEPTUALISM Artists included in this guide: John Baldessari, Joseph Beuys, Daniel Buren, Dan Flavin, Eva Hesse, Donald Judd, Yves Klein, Joseph Kosuth, Yayoi Kusama, Sol LeWitt, Gordon Matta-Clark, Robert Morris, Richard Serra, and Robert Smithson. TABLE OF CONTENTS 1. A NOTE TO EDUCATORS 2. USING THE EDUCATOR GUIDE 3. SETTING THE SCENE 7. LESSONS Lesson One: Serial Forms/Material Difference Lesson Two: Language Arts Lesson Three: Constructing Space Lesson Four: Public Interventions Lesson Five: Performance into Art 34. FOR FURTHER CONSIDERATION 36. GLOSSARY 39. SELECTED BIBLIOGRAPHY AND RESOURCES 44. MoMA SCHOOL PROGRAMS No part of these materials may be reproduced or published in any form without prior written consent of The Museum of Modern Art. Design © 2007 The Museum of Modern Art, New York A NOTE TO EDUCATORS This is the eighth volume in the Modern Art and Ideas series for educators, which explores 1 the history of modern art through The Museum of Modern Art’s rich collection. While tra- A ditional art-historical categories are the organizing principle of the series, these parameters N O are used primarily as a means of exploring artistic developments and movements in con- T E junction with their social and historical contexts, with attention to the contributions of spe- T O cific artists. E D U C A This guide is informed by issues that arise from the selected works in a variety of mediums T O (painting, sculpture, collage, printmaking, photography, and, significantly, works that tran- R S scend the traditional division of mediums), but its organization and lesson topics are cre- ated with the school curriculum in mind, with particular application to social studies, visual art, history, and language arts.
[Show full text]