Dan Flavin (1933 – 1996) Came, Like Tony Smith, Who Was the Subject Of

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Dan Flavin (1933 – 1996) came, like Tony Smith, who was the subject of a retrospective at the Kunsthalle Dan Flavin Bielefeld in autumn 2012 celebrating his one hundredth birthday, from the tradition of abstract Drawing expressionism. However, he is really known for his sculptures made of fluorescent lights, which he began 16 12 12 making in 1963. Instead of using color for painting, 03 03 13 Flavin employed it as an intangible material for his work. His light installations, made of white and colored neon tubes, can be seen in the most important Press-Preview: museums in the world. For the first time in a long Thu, 13 12 12 / 11.30 h while drawings from Flavin’s estate are now available Opening: for an extensive exhibition, attesting to his roots in Sun, 16 12 12 / 11.30 h painting. From an early study of a Rembrandt drawing, to abstract expressionist images and writing, to Isabelle Dervaux, who curated construction drawings for his installations, the the exhibition in New York,will drawings also include practically unknown sketches of be present. landscapes, sailboats, and caricature-like portrait sketches. Flavin’s works are supplemented by a variety of drawings by other artists (including Hans Arp, Piet Mondrian, and Donald Judd) from Flavin’s collection. There are also drawings from the Hudson River School, which Flavin acquired for the Dia Art Foundation, raising awareness of the artist’s close ties to a tradition that goes back to the nineteenth century. This is the first monographic exhibition of drawings by Dan Flavin since 1974; it was prepared by the Morgan Library & Museum in New York, where it was on display the last month. This exhibition of rare drawings, sketches, and notes is accompanied by some of Flavin’s light sculptures, which illuminate the architecture of the Kunsthalle building by Philip Johnson. For instance, «untitled (for Philip Johnson)», from 1964, or «for Donald Judd, colorist» (1987) refer to the 1960s avant-garde that conquered the world from New York. The show will be accompanied by a catalog titled «Dan Flavin: Zeichnen»; the catalogue for the exhibition in New York, Morgan Library & Museum, and the Kunsthalle Bielefeld. Edited by Isabelle Dervaux and Friedrich Meschede. Museum price: 28,90 €; retail edition: 39.90 €. Funding for the exhibition comes from the Stiftung der Sparkasse Bielefeld. The installation of the light sculptures is made possible by the Staff Stiftung Lemgo. Further Information: Christiane Heuwinkel Kunsthalle Bielefeld Curator of communication 0049 (0)521 329995017 [email protected] .

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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.
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Download Press Release
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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.
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Moderne Kunst
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Dan Flavin / Donald Judd
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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
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Dan Flavin, Untitled
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DONALD JUDD Born 1928 in Excelsior Springs, Missouri
This document was updated January 6, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. DONALD JUDD Born 1928 in Excelsior Springs, Missouri. Died 1994 in New York City. SOLO EXHIBITIONS 1957 Don Judd, Panoras Gallery, New York, NY, June 24 – July 6, 1957. 1963–1964 Don Judd, Green Gallery, New York, NY, December 17, 1963 – January 11, 1964. 1966 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, February 5 – March 2, 1966. Donald Judd Visiting Artist, Hopkins Center Art Galleries, Dartmouth College, Hanover, NH, July 16 – August 9, 1966. 1968 Don Judd, The Whitney Museum of American Art, New York, NY, February 26 – March 24, 1968 [catalogue]. Don Judd, Irving Blum Gallery, Los Angeles, CA, May 7 – June 1, 1968. 1969 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, January 4 – 25, 1969. Don Judd: Structures, Galerie Ileana Sonnabend, Paris, France, May 6 – 29, 1969. New Works, Galerie Bischofberger, Zürich, Switzerland, May – June 1969. Don Judd, Galerie Rudolf Zwirner, Cologne, Germany, June 4 – 30, 1969. Donald Judd, Irving Blum Gallery, Los Angeles, CA, September 16 – November 1, 1969. 1970 Don Judd, Stedelijk Van Abbemuseum, Eindhoven, The Netherlands, January 16 – March 1, 1970; traveled to Folkwang Museum, Essen, Germany, April 11 – May 10, 1970; Kunstverein Hannover, Germany, June 20 – August 2, 1970; and Whitechapel Art Gallery, London, United Kingdom, September 29 – November 1, 1970 [catalogue]. Don Judd, The Helman Gallery, St. Louis, MO, April 3 – 29, 1970. Don Judd, Leo Castelli Gallery, 4 East 77th Street, and 108th Street Warehouse, New York, NY, April 11 – May 9, 1970.
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