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Dan Flavin Created Works Such as Untitled in Honor of Harold Joachim Art 101 That

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Dan Flavin
Born

Daniel Nicholas Flavin Jr.


(1933-04-01)April one, 1933

Jamaica, New York, United states of america
Died November 29, 1996(1996-11-29) (anile 63)

Riverhead, New York, US
Nationality American
Education Columbia University
Known for Installation art, Sculpture
Spouse(s) Sonja Severdija, Tracy Harris

American minimalist artist

Dan Flavin (Apr 1, 1933 – November 29, 1996) was an American minimalist artist famous for creating sculptural objects and installations from commercially available fluorescent low-cal fixtures.

Early on life and career [edit]

Daniel Nicholas Flavin Jr. was born in Jamaica, New York, of Irish Catholic descent, and was sent to Cosmic schools.[1] He studied for the priesthood at the Immaculate Formulation Preparatory Seminary in Brooklyn between 1947 and 1952 before leaving to join his twin brother, David John Flavin, and enlist in the United States Air Force.[one]

During military service in 1954–55, Flavin was trained every bit an air weather meteorological technician[ii] and studied fine art through the adult extension program of the University of Maryland in Korea.[three] Upon his return to New York in 1956, Flavin briefly attended the Hans Hofmann School of Fine Arts and studied fine art under Albert Urban. He afterward studied art history for a brusque time at the New School for Social Research, then moved on to Columbia University, where he studied painting and drawing.[4]

From 1959, Flavin was briefly employed as a mailroom clerk at the Guggenheim Museum and later every bit baby-sit and elevator operator at the Museum of Modernistic Fine art, where he met Sol LeWitt, Lucy Lippard, and Robert Ryman.[5]

Personal life [edit]

In 1961, he married his kickoff wife Sonja Severdija, an art history student at New York University and assistant part manager at the Museum of Mod Art.[6] The first wedlock concluded in divorce past 1979.[7] Flavin'due south twin blood brother, David, died in 1962.[seven]

Flavin married his 2nd wife, the creative person Tracy Harris, in a ceremony at the Guggenheim Museum, in 1992.[eight]

Flavin died in Riverhead, New York, of complications from diabetes.[9] A memorial for him was held at the Dia Centre for the Arts, on January 23, 1997. Speakers included Brydon Smith, curator of 20th-century fine art at the National Gallery of Canada, Ottawa; Fariha Friedrich, a Dia trustee; and Michael Venezia, an artist.[10]

Work [edit]

Early piece of work [edit]

Flavin's starting time works were drawings and paintings that reflected the influence of Abstract Expressionism. In 1959, he began to make assemblages and mixed media collages that included found objects from the streets, especially crushed cans.[xi] [2]

In the summertime of 1961, while working every bit a baby-sit at the American Museum of Natural History in New York, Flavin started to make sketches for sculptures that incorporated electric lights.[3] The outset works to incorporate electric low-cal were his "Icons" series: eight colored shallow, boxlike square constructions made from diverse materials such every bit forest, Formica, or Masonite. Constructed by the artist and his then-wife Sonja,[12] the Icons had fluorescent tubes with incandescent and fluorescent bulbs attached to their sides, and sometimes beveled edges. I of these icons was dedicated to Flavin'due south twin brother David, who died of polio in 1962.[13]

Mature work [edit]

1 of Flavin's final works was the lighting for a drinking glass-enclosed arcade (1996) at the Wissenschaftspark Rheinelbe (Rhine-Elbe Science Park) in Gelsenkirchen, Frg. The arcade was designed by Uwe Kiessler; it stretches 300 metres (980 ft), and connects nine buildings.[fourteen]

The Diagonal of Personal Ecstasy (the Diagonal of May 25, 1963), a yellowish fluorescent placed on a wall at a 45-degree angle from the floor and completed in 1963, was Flavin'southward first mature work; it is defended to Constantin Brâncuși and marks the beginning of Flavin'southward exclusive use of commercially bachelor fluorescent light as a medium. A piffling later on, The Nominal Three (to William of Ockham) (1963) consists of six vertical fluorescent tubes on a wall, one to the left, two in the eye, three on the right, all emitting white light.[fifteen] He confined himself to a express palette (red, blue, green, pink, yellowish, ultraviolet, and four dissimilar whites[sixteen]) and form (straight ii-, 4-, six-, and eight-foot tubes, and, beginning in 1972, circles).[17] In the decades that followed, he connected to employ fluorescent structures to explore color, light and sculptural space, in works that filled gallery interiors. He started to reject studio production in favor of site-specific "situations" or "proposals" (every bit the artist preferred to allocate his work).[xviii] These structures bandage both lite and an eerily colored shade, while taking a diversity of forms, including "corner pieces", "barriers," and "corridors". Near of Flavin's works were untitled, followed by a dedication in parenthesis to friends, artists, critics and others: the most famous of these include his Monuments to V. Tatlin, a homage to the Russian constructivist sculptor Vladimir Tatlin, a series of a total of fifty pyramidal wall pieces[7] which he continued to piece of work on between 1964 and 1990.

Flavin realized his first full installation piece, greens crossing greens (to Piet Mondrian who lacked green), for an exhibition at the Van Abbemuseum, Eindhoven, Netherlands, in 1966.[xix] In 1968 the Heiner Friedrich Gallery in Munich exhibited the light installation "2 primary serial and i secondary", presented in three exhibition rooms, which Flavin adult especially for the gallery. The collector Karl Ströher purchased the installation in the aforementioned year. Peter Iden, founding director of the Museum für Moderne Kunst Frankfurt caused the installation together with 86 other works from the former Ströher Collection for the Frankfurt Museum. After a first presentation in 1989,[20] [21] information technology was shown in various exhibitions at the museum between 1999 and 2002.[22] Flavin himself examined the installation in Frankfurt in February 1993 and then adapted his installation concept for the museum.[23]

Flavin's "corridors", for example, control and impede the movement of the viewer through gallery space. They have various forms: some are bisected by two dorsum-to-dorsum rows of abutted fixtures, a divider that may be approached from either side just not penetrated (the colour of the lamps differs from one side to the other). The first such corridor, untitled (to Jan and Ron Greenberg), was synthetic for a 1973 solo exhibition at the St. Louis Art Museum, and is dedicated to a local gallerist and his married woman. It is green and yellow; a gap (the width of a single "missing" fixture) reveals the cast glow of the color from beyond the dissever. In subsequent barred corridors, Flavin would innovate regular spacing between the individual fixtures, thereby increasing the visibility of the light and allowing the colors to mix.[19]

Past 1968, Flavin had adult his sculptures into room-size environments of low-cal. That year, he outlined an entire gallery in ultraviolet light at Documenta 4 in Kassel, Deutschland. In 1992, Flavin's original conception for a 1971 piece was fully realized in a site-specific installation that filled the Solomon R. Guggenheim Museum's entire rotunda on the occasion of the museum's reopening.[24]

Flavin generally conceived his sculptures in editions of iii or v, but would look to create individual works until they had been sold to avert unnecessary production and storage costs. Until the betoken of sale, his sculptures existed as drawings or exhibition copies. As a result, the artist left behind more than 1,000 unrealized sculptures when he died in 1996.[25]

Permanent installations [edit]

From 1975, Flavin installed permanent works in Europe and the United States, including "Untitled. In memory of Urs Graf" at the Kunstmuseum Basel (conceived 1972, realized 1975);[26] the Kröller-Müller Museum, Otterlo, Netherlands (1977); Hudson River Museum, Yonkers, New York (1979); U.s. Courthouse, Anchorage, Alaska (1979–89); the Staatliche Kunsthalle Baden-Baden, Federal republic of germany (1989); the entrance hall of the MetroTech Center (with Skidmore, Owings & Merrill), Brooklyn, New York (1992); seven lampposts outside the Städtische Galerie im Lenbachhaus, Munich (1994); Hypovereinsbank, Munich (1995); Institut Arbeit und Technik/Wissenschaftspark, Gelsenkirchen, Deutschland (1996); and the Union Banking company of Switzerland, Bern (1996). Additional sites for Flavin'due south architectural "interventions" were the Grand Cardinal Station in New York (1976), Hamburger Bahnhof in Berlin (1996), and the Chinati Foundation in Marfa, Texas (2000). His large-calibration work in colored fluorescent light for six buildings at the Chinati Foundation was initiated in the early 1980s, although the final plans were not completed until 1996.[27] His last artwork was a site-specific work at Santa Maria Annunciata in Chiesa Rossa, Milan. The 1930s church was designed by Giovanni Muzio. The pattern for the piece was completed two days before Flavin'southward death on November 29, 1996. Its installation was completed i year later with the assistance of the Dia Center for the Arts and Fondazione Prada.[28]

The Menil Collection in Houston, Texas states that in 1990 Dominique de Menil approached Flavin to create a permanent, site-specific installation at Richmond Hall. Two days earlier his death in November 1996 Flavin completed the design for the space. The artist's studio completed the piece of work.[29]

Dia Bridgehampton, a museum in Bridgehampton, New York opened in 1983 every bit the Dan Flavin Art Institute. It is run by the Dia Art Foundation and houses ix fluorescent light works by Flavin on permanent display in a gallery designed for them.[xxx]

Cartoon [edit]

Living in Wainscott and Garrison, Flavin often drew the surrounding landscape, whether it was the Hudson Valley or the waters off Long Island. He besides created small portraits and kept almost 20 volumes of journals. Flavin collected drawings too, including works by Hudson River School artists like John Frederick Kensett, Jasper Francis Cropsey, and Sanford Robinson Gifford, along with examples of works on newspaper by early-19th-century Japanese artists like Hokusai and 20th-century European masters like Piet Mondrian and George Grosz. Flavin also exchanged works with Minimalist colleagues similar Donald Judd and Sol LeWitt.[31]

Exhibitions [edit]

Flavin's first one-person exhibition using simply fluorescent calorie-free opened at the Dark-green Gallery in 1964.[ citation needed ] Two years later, his first European evidence opened at Rudolf Zwirner'south gallery in Cologne, Frg.[ citation needed ] Favin's get-go major museum exhibition was held in 1967 at the Museum Of Contemporary Art, Chicago, where Jan van der Marck served equally managing director.[32] The beginning major retrospective of Flavin'southward piece of work was organized by the National Gallery of Canada, Ottawa in 1969.[ citation needed ] In 1973, the Saint Louis Fine art Museum presented concurrent exhibitions of his works on paper and fluorescent sculptures. Amidst Flavin's many significant ane-person exhibitions in Europe were shows at the Kunstmuseum Basel and Kunsthalle Basel (1975), the Staatliche Kunsthalle, Baden-Baden (1989), and the Städel, Frankfurt (1993).[ citation needed ]

His outset solo exhibition in Latin America was held at Fundación Proa, Buenos Aires, in 1998, organized with the Dia Art Foundation (Dan Flavin. 1933-96).

In 2006, Dia Art Foundation, along with the National Gallery of Art, organised a comprehensive exhibition named Dan Flavin: A Retrospective. [33] It brought together more than l of Flavin's artworks.[34]

Dan Flavin: A Retrospective (2004 – 2007) [edit]

In the late 1970s, he began a partnership with the Dia Art Foundation that resulted in the making of several permanent site-specific installations and led most recently to the organization of the traveling exhibition, Dan Flavin: A Retrospective (2004–2007).[35] Flavin's retrospective exhibition traveled to the Museum of Contemporary Fine art, Chicago; the National Gallery of Art, Washington, D.C.; the Museum of Modern Fine art, Fort Worth, Texas; Hayward Gallery, London; Musée d'Art Moderne de la Ville de Paris, Paris; Bayerische Staatsgemäldesammlungen, Pinakothek der Moderne, Munich; and the Los Angeles County Museum of Art, Los Angeles.[36] [37] This exhibition was the first comprehensive retrospective devoted to his minimalist work. The exhibition included almost 45 low-cal works, including his "icons" serial. The MCA's presentation included the re-creation of the alternating pinkish and "gold" room from the original MCA exhibition in 1967, Flavin's kickoff solo museum exhibition.[38]

Recognition [edit]

In 1964, Flavin received an award from the William and Norma Copley Foundation, Chicago, with a recommendation from Marcel Duchamp.[39] In 1973, he was named Albert Dorne Visiting Professor at the University of Bridgeport, Connecticut, and in 1976, he was given the Skowhegan Medal of Sculpture from Skowhegan Schoolhouse of Painting and Sculpture, Maine.

In 1983, the Dia Eye for the Arts opened the Dan Flavin Art Institute in Bridgehampton, New York, a permanent exhibition of his works, designed by the artist in a converted firehouse[xl] which had served as an African-American church building from 1924 through the mid-'70s.[41] Flavin worked closely with builder Richard Gluckman and Jim Schaeufele, Dia's director of operations, on the renovation and blueprint.[41] Here, Flavin'due south works are exhibited in "rooms without windows or bearing an indirect relationship to its outside surroundings".[42] The permanent brandish consists of nine all-fluorescent pieces, six in colour and three dedicated to Schaeufele in three shades of white, as well every bit a drawing for an icon, not in the temporary exhibition, defended to his fraternal twin brother, David John.[41]

In the 2011 motion picture Belfry Heist, Flavin's estate sent an expert to oversee the construction of a Flavin calorie-free installation that was recreated on the fix.[43]

In 2017, Gallerist Vito Schnabel announced a collaboration with Flavin's estate. Schnabel joined the artist'due south son, Stephen Flavin, to present Flavin's light sculptures aslope works past European ceramicists admired and collected by Flavin.[44]

Books about Flavin [edit]

In 2004, Ridinghouse and Thames & Hudson published It Is What Information technology Is: Dan Flavin Since 1964, which contains key essays on Flavin and reviews of his exhibitions. It contains the writing of critics and historians such as Donald Judd, Dore Ashton, Rosalind Krauss, Lawrence Alloway, Germano Celant, The netherlands Cotter.[45]

In 2010, artists Cindy Hinant and Nicolas Guagnini created the volume FLAV, with primary archival texts and correspondence by and almost Dan Flavin.[46] [47]

Art market [edit]

Each of the more than 750 lite sculptures that Dan Flavin designed - usually in editions of three or 5 - were listed on alphabetize cards and filed away. When one sold, the buyer received a certificate containing a diagram of the work, its title and the artist's signature and stamp. If someone showed upwards with a certificate and a damaged fixture, Flavin would replace it.[48]

In 2004, Flavin'due south work Untitled ("monument" for V. Tatlin) (1964–1965) was sold for $735,500 at Christie's, New York.

Meet as well [edit]

  • Santa Maria Annunciata in Chiesa Rossa in Milan, Italian republic, Flavin's final piece of work.

References [edit]

  1. ^ a b Paul Levy (Feb 3, 2006), A radiant Dan Flavin retrospective The Wall Street Journal.
  2. ^ a b Dan Flavin: A Retrospective, Oct three, 2004–Jan 9, 2005 Archived May 26, 2012, at the Wayback Machine National Gallery of Art, Washington, D.C.
  3. ^ a b "Guggenheim Museum Bio".
  4. ^ Daniel Marzona and Uta Grosenick. Minimal Fine art," Taschen, 2004, p14
  5. ^ "Archived copy". Archived from the original on Dec 9, 2009. Retrieved November 12, 2009. {{cite web}}: CS1 maint: archived copy every bit title (link)
  6. ^ diacenter.org Archived April 6, 2007, at the Wayback Machine accessed August 25, 2007
  7. ^ a b c Smith, Roberta (December 4, 1996). "Dan Flavin, 63, Sculptor Of Fluorescent Light, Dies". The New York Times. p. Section D, Page 25. Retrieved January 30, 2021. {{cite news}}: CS1 maint: url-status (link)
  8. ^ The New York Times, June 26, 1992. Abstruse available at nytimes.com [ permanent dead link ]
  9. ^ Smith, Roberta (December iv, 1996). "Dan Flavin, 63, Sculptor Of Fluorescent Calorie-free, Dies" – via NYTimes.com.
  10. ^ Dan Flavin Memorial The New York Times, January 23, 1997.
  11. ^ "Paula Cooper Gallery".
  12. ^ Hinant, Cindy; Guagnini, Nicolas (2010). FLAV. Cin & Nic.
  13. ^ Tiffany Bong, diacenter.org Archived Baronial 7, 2007, at the Wayback Machine accessed Baronial 25, 2007
  14. ^ Bell, Tiffany; Govan, Michael; Powell, Earl A.; Smith, Brydon; Weiss, Jeffrey (2004). Dan Flavin: the complete lights, 1961-1996. Yale University Press. p. 410. ISBN978-0-300-10633-6. For a large complex of office buildings called Wissenschaftspark Rheinelbe in Gelsenkirchen, Frg, designed by Uwe Kiessler of the architectural firm Kiessler + Partner, Flavin was commissioned to low-cal an enclosed arcade. This passageway, which has a large glass facade with sections that can be opened in warm atmospheric condition, connects nine buildings. On 3 unobstructed walls that enclose lift shafts, Flavin placed vertical structures made of 2 parallel, side by side rows of six 4-human foot (122 cm) fixtures each, all with blue lamps. Intersecting at the four-pes intervals, vi four-pes fixtures with dark-green lamps were placed horizontally to form a cross-like pattern. At the top of i large wall, near the main entrance simply after the offset elevator shaft, is a horizontal row of thirteen four-foot fixtures with dark-green lamps. They are mounted on the wall at the ceiling joint. This piece of work was installed shortly before Flavin'south death, although the building did not open officially until 1997.
  15. ^ The netherlands Cotter (December 4, 2009), Aureate Oldies All Over Chelsea The New York Times.
  16. ^ Adrian Searle (Jan 24, 2006), Strip tease The Guardian.
  17. ^ Dan Flavin: A Retrospective, October 3, 2004–January 9, 2005 Archived May eight, 2012, at the Wayback Machine National Gallery of Art, Washington, D.C.
  18. ^ Dan Flavin, untitled (to Ward Jackson, an old friend and colleague who, during the Autumn of 1957 when I finally returned to New York from Washington and joined him to work together in this museum, kindly communicated) (1971) Guggenheim Collection.
  19. ^ a b Dan Flavin, untitled (to Jan and Ron Greenberg) (1972-73) Guggenheim Drove.
  20. ^ Govan, Michael (2004). Dan Flavin : the complete lights, 1961-1996. New Haven, Conn: Yale University Press. pp. 272–275. ISBN0300106335.
  21. ^ Lauter, Rolf (1989). Museum für Moderne Kunst, Frankfurt am Main: 2. Informationsheft zur Architektur und Sammlung = Museum of Mod Art, Frankfurt am Primary : second publication on the architecture and collection. Frankfurt: Museum für Moderne Kunst. pp. 48–49.
  22. ^ Bee, Andreas (2003). Zehn Jahre Museum für Moderne Kunst Frankfurt am Main. Köln: DuMont. p. 543. ISBN3832156291.
  23. ^ In a alphabetic character to Rolf Lauter from Steve Morse, Dan Flavin LTD Studio from March four, 1993
  24. ^ "Dan Flavin".
  25. ^ Julia Halperin (June six, 2013), Flavins will meet the light of day Archived June 9, 2013, at the Wayback Motorcar The Art Paper.
  26. ^ ""Piet Mondrian – Barnett Newman – Dan Flavin", Kunstmuseum Basel, 2013". Archived from the original on Baronial 19, 2014. Retrieved August 17, 2014.
  27. ^ Dan Flavin, untitled (Marfa project) (1996) Chinati Foundation, Marfa.
  28. ^ "Dan Flavin", brochure, S. Maria in Chiesa Rossa, Fondazione Prada, Dia Center for the Arts, 1997. Essay by Michael Govan.
  29. ^ "Menil Drove at". Archived from the original on April 13, 2010.
  30. ^ Dia Bridgehampton. Dia Fine art Foundation. Retrieved July 19, 2020.
  31. ^ Carol Vogel (December 22, 2011), The Morgan Will Show Another Side of Flavin The New York Times.
  32. ^ Glueck, Grace (March 12, 1967). "Art Notes; No Niggling Flowers, Please". Times Machine. The New York Times. p. 139. Retrieved January 30, 2021. {{cite spider web}}: CS1 maint: url-condition (link)
  33. ^ "Dan Flavin: A Retrospective". diaart.com. 2006. Retrieved Jan 6, 2021.
  34. ^ "About". artsy.
  35. ^ THE Manor OF DAN FLAVIN IS NOW EXCLUSIVELY REPRESENTED BY DAVID ZWIRNER Archived June 17, 2011, at the Wayback Auto David Zwirner Gallery, September 2010.
  36. ^ "Dan Flavin: Series and Progressions". NY Art Beat . Retrieved June 13, 2011.
  37. ^ "Dan Flavin: Series and Progressions" (PDF). Press Release. David Zwirner Gallery. October nine, 2009. Retrieved June xiii, 2011. [ permanent dead link ]
  38. ^ Victor Grand. Cassidy (2005). "No Trespassing: The Art of Dan Flavin". Artnet . Retrieved August 4, 2011.
  39. ^ Dan Flavin David Zwirner Gallery, New York.
  40. ^ "Visit Our Locations & Sites | Visit | Dia". www.diaart.org.
  41. ^ a b c Jane L. Levere (August 13, 2015), Dan Flavin's 'Icon' Constructions on Brandish in Bridgehampton The New York Times.
  42. ^ Lindquist, Greg (June 2012). "Dan Flavin's Altering Light". The Brooklyn Rail.
  43. ^ Patricia Cohen (April 24, 2012), Art Is Long; Copyrights Can Fifty-fifty Exist Longer The New York Times.
  44. ^ Eileen Kinsella, (November one, 2017) In an Unlikely Pairing, Vito Schnabel Announces a Collaboration With the Dan Flavin Manor Artnet.
  45. ^ "It Is What Information technology Is". Ridinghouse. Retrieved Baronial 5, 2012.
  46. ^ Flavin, Dan (December 1965). "...in daylight or cool white': an autobiographical sketch". No. iv. Artforum.
  47. ^ Hinant, Cindy; Guagnini, Nicolas (2010). FLAV. New York: Cin & Nic. Retrieved December 26, 2014.
  48. ^ Greg Allen (January 2, 2005), The Dark Side of Success The New York Times.

Bibliography [edit]

  • It Is What It Is: Dan Flavin Since 1964, edited by Karsten Schubert and Paula Feldman. Ridinghouse in association with Thames & Hudson. 2004.
  • Dan Flavin: The Complete Lights, 1961-1996 past Michael Govan and Tiffany Bell. Yale University Press, New Haven, CT. 2004.
  • Dan Flavin: Lights, edited by Rainer Fuchs. Hatje Cantz Verlag, Ostfildern 2012. English ISBN 978-3-7757-3523-0.

External links [edit]

  • The Estate of Dan Flavin at David Zwirner
  • Survey of works at David Zwirner
  • Dan Flavin: A Retrospective, The National Gallery of Art
  • The Dan Flavin Fine art Plant
  • Dan Flavin at Dia:Beacon
  • Villa & Panza Collection: Dan Flavin - Varese Corridor
  • Museum of Modern Art, Dan Flavin Images
  • Museum für Moderne Kunst, Sammlung
  • Guggenheim Museum, Dan Flavin
  • Southward. Maria Annunciata in Chiesa Rossa, Dan Flavin's terminal artwork
  • Dan Flavin at DASMAXIMUM KunstGegenwart

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Source: https://en.wikipedia.org/wiki/Dan_Flavin

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