#danflavin

[mossysparkles]

…and now for a few photos from the real world, Dan Flavin at Dia Beacon. #diabeacon @diabeaconny #beaconny #danflavin #flavin #neon #neonlights #neonlight #sculpture #art #green #greencolor #light #dark #basement #largeart #museum #museums (at Dia:Beacon) https://www.instagram.com/p/CpeCheAoO2h/?igshid=NGJjMDIxMWI=

[artslicepod]

✨✨We are back and hella bright - - - - - Art Slice Museum Laboratories Division of Color Theory and Color Studies presents . . . FLUORESCENT YELLOW…LISTEN WHERE EVER PODCASTS ARE FOUND✨✨ ✅Thank you to everyone who submitted their color associations! ✅ Join us as we discuss FLUORESCENT YELLOW’s history that all started in a DayGlo lab and its far reaching effect on everything from military warfare, fashion, subversive pop culture, music and art history. We also dig into your associations listeners - which ranged from danger/caution, eeriness, youth, and nightlife - with FLUORESCENT YELLOW through data compiled by the Art Slice Pantrémon from clinical participants.  ✿ ✿ ✿ ✿ ✿ ✿ ✿ ✿ ✿ IMAGES: 02. The Beatles’ Sargeant Pepper’s Lonely Hearts Club Band printed in fluorescent ink, 1967. One of Andy Warhol’s Flower prints featuring fluorescent ink. 03. Factory Record’s Hacienda Club - with Ben Kelly’s designed interior 04. Dana Schutz, Surgery, 2004. Oil on canvas. 05. Packaging design from Peter Saville 06. Ugo Rondinone, Seven Magic Mountains, 2016. Las Vegas, NV. Locally sourced limestone boulders. Each totem is 30-35’ tall. 07. Jean-Michel Basquiat's, Untitled (1981) seen under UV light 08. Dan Flavin 09. Laura Grisi, 1967. Neon, plexiglass, aluminium, sliding panel. 10. Peter Halley, Day-Glo acrylic and Roll-a-Tex on canvas. . . . . . #fluorescentyellow #colortheory #lauragrisi #sargeantpepper #andywarhol #peterhalley #petersaville #danaschutz #ugorondinone #basquiat #danflavin https://www.instagram.com/p/Cft6q7WrNN6/?igshid=NGJjMDIxMWI=

[bm-contemporary-art]

[Untitled], Dan Flavin, 1973, Brooklyn Museum: Contemporary Art

Size: Sheet: 12 x 9 in. (30.5 x 22.9 cm) Medium: Color lithograph and serigraph

https://www.brooklynmuseum.org/opencollection/objects/103136

[artbookdap]

From 'Object Lessons: Case Studies in Minimal Art—The @guggenheim @panzacollection Initiative:' Video Stills from Lawrence Weiner’s 1970 “TO THE SEA / ON THE SEA / FROM THE SEA / AT THE SEA / BORDERING THE SEA,” made with Gerry Schum, founder and director of the Fernsehgalerie (Television Gallery) in Berlin and Hanover.⁠⁠ ⁠⁠ “Weiner produced a video presentation of as his contribution to Schum’s second television exhibition, ‘Identifications,’ which was broadcast on West German television on November 30, 1970. The 36-minute program featured short films and videos by 20 American and European artists, including Joseph Beuys, Daniel Buren, Gilbert & George, Mario Merz and Richard Serra. In Weiner’s 50-second black-and-white video, which was shot by Schum on the Dutch coast, each phrase appears in white letters on a black background and is followed by footage of the artist executing a corresponding action: he walks toward the sea (TO THE SEA); he places a log on the sea (ON THE SEA); he picks up the floating log and brings it back to the beach (FROM THE SEA); he stands on the beach with the log (AT THE SEA); finally, he walks away from the camera along the sea (BORDERING THE SEA). The soundtrack consists of only the sound of breaking waves.”⁠⁠ ⁠⁠ Read more via linkinbio.⁠⁠ ⁠⁠ Edited with text by Francesca Esmay, Ted Mann, Jeffrey Weiss. Preface by Nancy Spector, Lena Stringari. Text by Martha Buskirk, Virginia Rutledge.⁠⁠ ⁠⁠ #objectlessons #lawrenceweiner #gerryschum #televisiongallery #Fernsehgalerie #tothesea #identifications #danflavin #donaldjudd #robertmorris #minimalart #minimalism #conceptualart #conceptualism #panzacollection @jeffreyweiss000 @nespector @stringarilena @juddfoundation https://www.instagram.com/p/CRKTD9NMh94/?utm_medium=tumblr

[exploratoryrendez-vous]

Dan Flavin The mini-white (de-flowered abstract antidote to the Barbara Roses) 1965-1966

[moma-prints]

the diagonal of May 25, 1963, Dan Flavin, 1964, MoMA: Drawings and Prints

The Judith Rothschild Foundation Contemporary Drawings Collection Gift Size: 9 7/8 x 12 7/8" (25.1 x 32.7 cm) Medium: Colored pencil on black paper

http://www.moma.org/collection/works/95941

[societybydesign]

Coping with life through art: Minimalism

The past eight and a half months have been tumultuous to say the least — dare I say, unprecedented. I have certainly had a lot to grapple with this year, trying to navigate the pandemic, reckonings with race in America, the political landscape approaching the elections, natural disasters, and personal (so far, often failed) attempts to keep my mental health in check and sustain healthy relationships with others. That being just the tip of the iceberg, I know for a fact I am not alone in feeling weighted down by 2020.

The chaos of this year has shed a new light on one of my lesser favorite art movements/styles. As someone who loves art history, deciphering the metaphors, symbolism, and meaning behind all kinds of art, Minimalism always frustrated, and to be honest, bored me. That’s not to say I didn’t respect it as art, I just didn’t get the point of making something void of meaning. It was outwardly unrelatable. 

‘Untitled’, Donald Judd, 1980, concrete

‘Lament for the Children’, Carl Andre, 1976-1996, concrete blocks

Minimalism developed in the early 1960s as a counter-movement to Abstract Expressionism. It was a deliberate renunciation of the hyper-emotive artwork in favor of anonymity, lack of expression, and a reduction of art into its most basic shape, form, and material. Minimalist art does not try to represent anything other than itself, and when everything around you is chaotic and difficult to process, this offers more solace than I had previously appreciated.

‘The Diagonal of May 25, 1963 (to Constantin Brancusi)’, Dan Flavin, 1963, fluorescent light and metal fixtures

‘Cube Structure Based on Five Modules’, Sol LeWitt, 1975, acrylic on wood

The simple geometric shapes and perfect linework conjures feelings of control, balance, and harmony — all things that feel especially out of reach in the current moment. Minimalist art uses color and material with no underlying meaning. Often Minimalist art is sculptural, built from factory manufactured shop materials — raw and straightforward. When these works are placed in galleries, they are frequently displayed in ways that forces viewers to become more aware of the space surrounding them. To look at something made with intentional lack of emotion and narrative other than a heightened sense of awareness feels like a breath of fresh air.

‘Circles’, Sol LeWitt, 1973, lithograph

‘The Marriage of Reason and Squalor, II’, Frank Stella, 1959, enamel on canvas

It’s no new phenomenon that we experience art in relation to our own experiences and feelings, but at this point in our collective lives I feel as though Minimalism offers a refreshing escape. Whether it be visiting your local gallery (adorned with masks and strapped with sanitizer), finding archives or posts online, or creating yourself, Minimalism can provide some of the simplicity and structure that is lacking. Minimalist art does not project a feeling onto the viewer, the only thing it asks is that you are aware of the space around you, of shape and form and structure. Looking at Minimalist art is like a meditation for me, and I hope that upon reading this you can view it in a more cognizant way as well.

‘Happy Holiday’, Agnes Martin, 1999, acrylic paint and graphite on canvas

‘Untitled’, Robert Morris, 1965, reconstructed 1971, mirror glass and wood

[talesfromthehighseas-blog]

When you find out you love the same artists. "Our worlds, our futures and our pasts become singular."