Summary of Dan Flavin
Few artists can boast having explored a single medium, and an unusual one at that, as tenaciously and consistently as Dan Flavin with his signature fluorescent light tubes. Classified within the Minimalist framework, Flavin saw himself as vehemently "Maximalist." That is, in using readymade objects in the style of Dadaist Marcel Duchamp, he exploited the possibilities of the most banal and in some ways ugly material: harsh fluorescent lights - surely the stuff of futuristic anti-aestheticism. Flavin began incorporating electric lights into his works in the early 1960s with his breakthrough Icons series. Having hit upon his chosen medium, he abandoned painting altogether, focusing on light works for the remainder of his career, where he produced installations and sculptural pieces made exclusively of fluorescent light fixtures and tubes that came in a limited range of colors and sizes. Working with prefabricated rather than hand-crafted materials allowed Flavin to focus on the light itself and the way in which it transformed ("sculpted") the exhibition space. A clear progression in scale and ambition marks Flavin's site-specific light installations, sculptural and architectural environments commissioned by a wide-range of artistic and religious institutions for the rest of his career.
- Dan Flavin emphatically denied that his sculptural light installations had any kind of transcendent, symbolic, or sublime dimension, stating: "It is what it is and it ain't nothing else," and that his works are simply fluorescent light responding to a specific architectural setting. Despite Flavin's insistence on this, it is possible to view individual pieces in terms of implied narratives. Potential associations with the concept of light - from religious conversion to intellectual epiphanies - are rife in Flavin's work, whether or not such interpretations are encouraged by the artist himself.
- Flavin's light "propositions," which he did not consider sculptures, are made up of standardized, commercially available materials, much like the readymades by Marcel Duchamp that Flavin admired. Further, the materials Flavin used are perishable, their limited lifecycles anything but timeless. In this way, the artist emphasized the ephemeral nature of his works, positioning his art outside the realm of connoisseurship, where art objects are valued as much for their material qualities as for their conceptual meaning.
- The tendency to privilege pre-fabricated industrial materials and simple, geometric forms together with the emphasis placed on the physical space occupied by the artwork and the viewer's interaction with it aligns Flavin's work with that of other Minimalist artists. His emphasis on light and its effects, however, align him as strongly with Op art, whose practitioners explored variations in color and shape based on differences in light. But, in some regards, Flavin went much further than the Op art painters by taking the fundamental concepts of the style and translating them into sculpture that demonstrated in three dimensions what the paintings could only aspire to communicate. The optical effects painters achieved could only fool the eye by alluding to movement, whereas Flavin's light waves demonstrated how the two-dimensional illusionism was achieved - light was color, color was light, and the interaction of either created the illusion of dynamism as they played against, or in harmony with, one another and in their environment.
Biography of Dan Flavin
Daniel Flavin grew up in a modest Queens neighborhood, raised by Catholic parents. Both he and his twin brother, David, went to parochial school and attended church services regularly. Serving as an acolyte, Daniel was impressed by the ceremony, the dramatic costumes of the celebrants, the music, and the lighting of high funeral mass. The brothers entered the high school of the Immaculate Conception Preparatory Seminary together in 1947, although Daniel's feelings about religion remained ambivalent.