Kornblee Gallery, New York; Galerie Konrad Fischer, Cologne
New York, Kornblee Gallery, Evans, Flavin, Frazier, Levinson, February 5 - 24, 1966; Berlin, Reinhard Onnasch Galerie, Dan Flavin, March 22 - April 27, 1985; Barcelona, Museu d’Art Contemporani; Serralves, Museu d’Arte Contemporanea, November 2001 - February 2002, The Onnasch Collection: Aspects of Contemporary Art (another example exhibited)
A. Hoene, “In the Galleries: Group Show”, Arts Magazine, Vol. 40, no. 6, April
1966, p.55 (illustrated); L. R. Lippard, “New York Letter: Off Colour”, Art International 10, no. 4, April 20, 1966, p. 74 (illustrated); M. Bochner, “Less Is Less (for Dan Flavin)”, Art and Artist’s 1, no. 9, December 1966, p.24 (illustrated in black and white); M. Bochner, “Serial Art, Systems: Solipsism”, Arts Magazine 41, no. 8, Summer, 1967, p.41 (illustrated); National Gallery of Canada, ed., Flourescent light, etc, from Dan Flavin, Ottawa, 1969, p. 249 (illustrated in black and white); R. Krauss, ‘Sense and Sensibility: Reflection on Post-60’s Sculpture’, Artforum 12, no. 3, November 1973, p. 51 (illustrated); D. Honisch, Aspekte der 60er Jahre: aus der Sammlung Reinhard Onnasch, Berlin, 1978, p. 120 (illustrated); B. Kerber, Bestände Onnasch, Bremen, 1992, p. 149 (illustrated); Onnasch: Aspects of Contemporary Art/Aspectos da Arte Contemporânea, 2001, p. 163 (another version exhibited); Fundação de Serralves, ed. The Onnasch Collection: Aspects of Contemporary Art, Porto, 2001, p. 163 (illustrated);
T. Bell and M. Govan, Dan Flavin The Complete Lights 1961 - 1996, New York, 2004, no. 104, p. 249 (illustrated)
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 of neon colors and thoughtful compositions. With straight-edged light beams, Flavin would often create dynamic arrangements reminiscent of Fred Sandback's work with yarn.
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