|
Dan Flavin,
untitled (in honor of Harold Joachim) 3, 1977 |
Dan
Flavin’s artworks were made by arranging commercially available, industrial, fluorescent
light tubes: they are amongst the most sensually beautiful artworks of the
twentieth century.
Alongside
his Minimalist peers – notably Donald Judd, Carl Andre, Robert Morris and Sol
Lewitt – Flavin’s art is bracingly free of representation, illusion, expression,
symbolism and spirituality: It is what it is and it ain’t nothing else. And what
it is, is gorgeous.
In
an article about the forthcoming re-opening (14 May 2016) of the San Francisco MOMA with its newly, and hugely, expanded collection (“We expect our colleagues
in other museums to be green with envy” - Neal Benezra, director) it was interesting to read that when asked to
name her favourite works from that remarkable collection, associate curator Sarah Roberts,
cited Dan Flavin’s untitled (to Barnett Newman) two.
Thrillingly, this very piece is (apparently) currently on show in Birmingham’s
Ikon, where it is also accompanied by numbers one, three and four of that same series.
This promises to be a spectacular exhibition.
|
Dan Flavin, "monument" for V. Tatlin 1966 |
|
Dan Flavin, pink out of a corner (to Jasper Johns), 1963 |
|
Dan Flavin,
untitled (in memory of "Sandy" Calder) V, 1977 |
|
Dan Flavin,
untitled (to Barnett Newman) two, 1971 |
|
Dan Flavin,
untitled (to Don Judd, colorist) 1–5, 1987 |
|
Dan Flavin, installation view, Ikon Gallery 2016 (Photo. by Stuart Whipps) |