Monday, May 17, 2010

dan flavin

untitled (to my dear bitch, airily)


  1. Do have to say, I like this better than his earlier work, "The Diagonal" -

  2. Do you think that's so because his earlier work was more about the minimalist mantra, like "what is most affect/effect I can produce with the least amount of material possible", and the later work was more about creating a total affect or atmosphere (more to the effect of Turrell and Eliasson)? Dare I say that you like it more because it was more "sculptural" than "spatial" (maybe better put: more about the object than the space/atmosphere)?

    I was at Gehry's AGO yesterday and they had Rafael Lozano Hemmer’s Homographies and an early Flavin (don't remember the name; I think it had three bulbs, in a spear-like formation, and angled), juxtaposed in separate rooms (or I can guess that's how they were arranged... it's a very crowded gallery... there was also a Laib Milkstone around too, for your information/interest).

    Please let me know if this is bullshit.

  3. I like the more spatial oriented design where affect/effect is produced - shown in "untitled (to my dear bitch, airily)". "The Diagonal" was a bit about 'pause/shock' value in 1963 - before Koons's Hover Convertible (1981), but after DuChamp's Fountain in (1917). Flavin's diagonal is a bit too late to have real shock value, but I appreciate this image of his later effort to explore atmosphere.

    As for Hemmer’s Homographies, there couldn't be an sculptor who explores the 'pause/shock' value better. The Homographies are based off movement of the viewer (as are most of his work) and it takes what looks to be banal office lights, and causes them to move. As in a lot of his work, the scene must be beautiful when there is only one view not really paying attention.

    PS- Liab's Milkstones were sculptural, but his Pollen really explores space and senses. Another prime example of great conceptual art installations that makes the view pause, and contemplate what's going on.