Dan Flavin Untitled (To Pat and Bob Rohm) 1973 red, yellow, and green fluorescent light 96 x 24 in. (243.8 x 61 cm) This work is number two from an edition of five, and is accompanied by a certificate of authenticity signed by the artist.
Provenance John Weber Gallery, New York Gagosian Gallery, New York Private collection, Texas Exhibited New York, John Weber Gallery, More Circular Flourescent Light, etc. from Dan Flavin February 17 – March 7, 1973 (another example exhibited) Karlsruhe, Museum für neue Kunst, Minimal Art aus den Sammlungen FER, Froehlich und Siegfried Weishaupt, March 17 – April 29, 2001 (another example exhibited) Literature A. Götz, ed. Minimal Art aus den Sammlungen FER, Froehlich und Siegfried Weishaupt, Germany, Museum für neue Kunst, 2001, p. 109 (another example illustrated) M. Govan and T. Bell, Dan Flavin The Complete Lights, 1961 – 1996, New Haven and London, 2004, no. 325, p. 317 (diagram illustrated) Catalogue Essay While the tube itself has an actual length...its shadow cast from the supporting pan has but illusively dissolving ends. This waning cannot really be measured without resisting consummate visual effects. Realizing this, I knew that the actual space of a room could be disrupted and played with by careful, thorough composition of the illuminating equipment. Dan Flavin (Taken from a lecture given at the Brooklyn Museum School of Art, New York 18 December 1964, published in Artforum, December 1965). Ethereal yet industrial, both weightless and solid, Dan Flavin’s myriad combinations of fluorescent light and architectural structure have been a mainstay of Minimalism’s most awe-inspiring creations. Flavin’s three full decades of experimentation and revelry in this genre yielded nothing less than a complete revolution of the rules of luminescence and interior space. The present lot, Flavin’s Untitled (to Pat and Bob Rohm), 1973, displays his powers ten years into his most famous medium and showcases one of his most celebrated forms: the corner piece. As an art student at both the Hans Hoffman School for Fine Arts and Columbia University, Flavin was exposed to a deluge of influence from the reigning art movement of the 1950s: Abstract Expressionism. He was further inundated with Expressionism’s cultural tour de force as he undertook employment at the Museum of Modern Art in the late 1950s, soon embarking upon his own sculptural pursuits that bore clear marks of Expressionism’s impact upon his own artistic technique. Finally, after several years of experimentation, Flavin revealed what critics now cite as his first fully realized piece, 1963’s Diagonal of Personal Ecstacy (The Diagonal of May 25, 1963). Consisting of a single yellow fluorescent bulb mounted diagonally, this work also demonstrated Flavin’s characteristic dedication for each piece. Indeed, though most of his art is untitled, each piece is usually identified by its dedicatee. Throughout the 1960s and 1970s and beyond, Flavin continued, on scales both tiny and immense, to test the limits of redefining space using colored fluorescent light fixtures. Simultaneously, he managed to upset the boundaries that we commonly use to define art and architecture themselves; his work “consciously blurred the distinction between art and architecture, seizing architecture as part of art’s sculptural vocabulary, incorporating corners, walls, doorways and windows, creating a category that was a melting pot of painting, sculpture and design.” (M. Kimmelman, “To Be Enlightened, You Pull the Switch”, The New York Times, October 1, 2004). In the same vein, Flavin’s art became a representation of American ideals on several levels—in its incessant leveling of artistic frontiers, its inherent themes of joy and light, and in its Romantic drive to change the mundane into the extraordinary. Flavin’s most exciting pieces from this industrious and daring period developed as luminous plays on the space for which they were designed. The present lot is a prime example of this transformational magic. As one of his famed “corner pieces”, Untitled (to Pat and Bob Rohm), 1973, brings a wealth of color into the often disregarded space of a room corner. Towering eight feet in height, Flavin’s fluoresce
Dan Flavin Untitled (To Pat and Bob Rohm) 1973 red, yellow, and green fluorescent light 96 x 24 in. (243.8 x 61 cm) This work is number two from an edition of five, and is accompanied by a certificate of authenticity signed by the artist.
Provenance John Weber Gallery, New York Gagosian Gallery, New York Private collection, Texas Exhibited New York, John Weber Gallery, More Circular Flourescent Light, etc. from Dan Flavin February 17 – March 7, 1973 (another example exhibited) Karlsruhe, Museum für neue Kunst, Minimal Art aus den Sammlungen FER, Froehlich und Siegfried Weishaupt, March 17 – April 29, 2001 (another example exhibited) Literature A. Götz, ed. Minimal Art aus den Sammlungen FER, Froehlich und Siegfried Weishaupt, Germany, Museum für neue Kunst, 2001, p. 109 (another example illustrated) M. Govan and T. Bell, Dan Flavin The Complete Lights, 1961 – 1996, New Haven and London, 2004, no. 325, p. 317 (diagram illustrated) Catalogue Essay While the tube itself has an actual length...its shadow cast from the supporting pan has but illusively dissolving ends. This waning cannot really be measured without resisting consummate visual effects. Realizing this, I knew that the actual space of a room could be disrupted and played with by careful, thorough composition of the illuminating equipment. Dan Flavin (Taken from a lecture given at the Brooklyn Museum School of Art, New York 18 December 1964, published in Artforum, December 1965). Ethereal yet industrial, both weightless and solid, Dan Flavin’s myriad combinations of fluorescent light and architectural structure have been a mainstay of Minimalism’s most awe-inspiring creations. Flavin’s three full decades of experimentation and revelry in this genre yielded nothing less than a complete revolution of the rules of luminescence and interior space. The present lot, Flavin’s Untitled (to Pat and Bob Rohm), 1973, displays his powers ten years into his most famous medium and showcases one of his most celebrated forms: the corner piece. As an art student at both the Hans Hoffman School for Fine Arts and Columbia University, Flavin was exposed to a deluge of influence from the reigning art movement of the 1950s: Abstract Expressionism. He was further inundated with Expressionism’s cultural tour de force as he undertook employment at the Museum of Modern Art in the late 1950s, soon embarking upon his own sculptural pursuits that bore clear marks of Expressionism’s impact upon his own artistic technique. Finally, after several years of experimentation, Flavin revealed what critics now cite as his first fully realized piece, 1963’s Diagonal of Personal Ecstacy (The Diagonal of May 25, 1963). Consisting of a single yellow fluorescent bulb mounted diagonally, this work also demonstrated Flavin’s characteristic dedication for each piece. Indeed, though most of his art is untitled, each piece is usually identified by its dedicatee. Throughout the 1960s and 1970s and beyond, Flavin continued, on scales both tiny and immense, to test the limits of redefining space using colored fluorescent light fixtures. Simultaneously, he managed to upset the boundaries that we commonly use to define art and architecture themselves; his work “consciously blurred the distinction between art and architecture, seizing architecture as part of art’s sculptural vocabulary, incorporating corners, walls, doorways and windows, creating a category that was a melting pot of painting, sculpture and design.” (M. Kimmelman, “To Be Enlightened, You Pull the Switch”, The New York Times, October 1, 2004). In the same vein, Flavin’s art became a representation of American ideals on several levels—in its incessant leveling of artistic frontiers, its inherent themes of joy and light, and in its Romantic drive to change the mundane into the extraordinary. Flavin’s most exciting pieces from this industrious and daring period developed as luminous plays on the space for which they were designed. The present lot is a prime example of this transformational magic. As one of his famed “corner pieces”, Untitled (to Pat and Bob Rohm), 1973, brings a wealth of color into the often disregarded space of a room corner. Towering eight feet in height, Flavin’s fluoresce
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
