Schätzpreis: 200.000 $ - 300.000 $
Zuschlagspreis: 322.000 $
Dan Flavin untitled (for Leo Castelli at his gallery’s 30th anniversary) 3 red, pink, yellow, blue and green fluorescent light 47 1/4 x 47 1/4 in. (120.1 x 120.1 cm.) Executed in 1989, this work is from an edition of 5 of which only 1 was fabricated and is accompanied by a certificate of authenticity signed by the artist.
Provenance Galerie Nächst St. Stephan, Vienna Galerie Laage-Salomon, Paris (acquired in 1989) Private Collection, Switzerland (acquired from the above in 1995) Christie's, London, June 27, 2012, lot 70 Acquired at the above sale by the present owner Exhibited Baden-Baden, Staatliche Kunsthalle Baden-Baden, Neue Anwendungen fluoreszierenden Lichts mit Diagrammen, Zeichnungen und Drucken von Dan Flavin, 1989, no. 11, pp. 85-87 (illustrated) Berlin, Galerie Bastian, DAN FLAVIN, September 5, 2015 - January 31, 2016 Literature Renate Puvogel, "Dan Flavin und Donald Judd in der Kunsthalle Baden-Baden," Parkett, no. 22, 1989, p. 19 (illustrated) Rolf Gunter Dienst, "Dan Flavin: Staatliche Kunsthalle, Baden-Baden," Das Kunstwerk, no. 2, June 1989, p. 95 Christian W. Thomsen, "Part 8: Light-Architecture-Media," A + U, no. 310, July 1996, p. 120 (illustrated) David Batchelor, Minimalism, Cambridge University Press: London, 1997, p. 52 (illustrated) Michael Govan, Tiffany Bell, Dan Flavin: The Complete Lights 1961-1996, New York, 2004, no. 512, p. 368 (illustrated) Catalogue Essay The light is an industrial object, and familiar…it is a means to new art.” -- Donald Judd, 1964 The present lot, untitled (for Leo Castelli at His Gallery’s 30th Anniversary) 3 continues Dan Flavin’s tradition of creating works dedicated to his friends, colleagues and famous influential figures such as Henri Matisse, Donald Judd and Frank Stella. The present lot pays homage to the great New York gallerist, Leo Castelli. This series, conceived in 1987, was executed in 1989 and is the third model of Flavin’s tribute to Castelli. Earlier versions can be found in the National Gallery of Canada and on permanent loan to the Solomon R. Guggenheim Foundation, New York. The two latter works are comprised of the same cross-section design, but they are comprised of 5 vertical lights and 5 horizontal lights, whereas the present lot is 6 by 6, making it a desirable example. While employed as a security guard at the American Museum of Natural History in New York, Flavin observed the power of strategically placed electric lighting used to guide viewers through a darkened room. He began to contemplate the idea of electrical lighting as his defining artistic medium and chose common industrial florescent tubing knowing “that the actual space of a room could be broken down and played with by planting illusions of real light (electric light) at crucial junctures in the room's composition." Flavin’s fluorescent light pieces appeared publicly in 1964 and sought to make a break with the gestural and impassioned world of abstract expressionism and embark on a new artistic exploration into minimalism. After the Green Gallery closed in 1965, both of New York’s founding Minimalist artists, Donald Judd and Flavin, joined Leo Castelli Gallery, a pre-eminent dealer in American avant-garde art. An advocate of Minimalism and Conceptualism, Castelli promoted the work of such pioneering artists as Joseph Kosuth, Donald Judd, Richard Serra and Flavin. In choosing artists, Castelli had a natural gift, explaining, “You have to have a good eye, but also a good ear. There's no other way if you want to make a good choice. You hear things, feel vibrations, gauge reactions. You spot movements emerging, and you try to pick the best practitioners.'' And Castelli did, particularly in Dan Flavin, who admired Castelli for his unwavering artistic support. Attributing Castelli and other influencers to his work, Flavin pays them eternal homage with “a lamp that burns to death like any other of its kind. In time the whole electrical system will pass into inactive history. My lamps will no longer be operative; but it must be remembered that they once gave light.” Read More Artist Bio Dan Flavin American • 1933 - 1996 Dan Flavin employed commercially-sold fluorescent light tubes in order to produce what he liked to call "situations" or installations. His minimalist approach transcended simplicity through his use
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