In making light his primary medium, Dan Flavin (1933-1996) established himself as one of the most innovative and significant artists of the minimalist movement. A new generation encountered Flavin's work through the critically acclaimed exhibition Dan Flavin: A Retrospective, which opened in October 2004 at the National Gallery of Art, Washington. Dan Flavin: New Light includes essays that respond to this exhibition and to the renewed interest in Flavin's work and its place in 20th-century art.
This monograph is published on the occasion of Dan Flavin: Series and Progressions, the first exhibition of the artist's work at David Zwirner since the gallery announced its representation of the Estate of Dan Flavin. This publication will examine Flavin's use of progressions and serial structures, ideas that were central to the artist's practice throughout his career.
Text on bottom (not shown here) includes: Dan Flavin : A Retrospective. This exhibition was organized by the Dia Art Foundation, New York, in association with the National Gallery of Art, Washington, D.C. Size: 24" x 36"
Since the 1960s, Dan Graham's heterogeneous practice has touched on such disparate subjects as tract housing, the Shakers, punk music, and architectural theory; he has made videos, architectural models, closed-circuit installations, and glass pavilions. Graham, who came of age during the emergence of earth art, minimalism, and conceptualism, has situated his work on the borders between these different strains of contemporary practice.
Through various writings and a survey of his projects, this book presents a body of work situated on the edge between suburban architectural cliches, "high" architecture, and "low" corporate architecture.
Since the '60s, Dan Graham has been making radical work in print, video, performance, and architectural installation. In the late '70s he began designing his pavilions, structures in steel and semi-reflective glass that comment on local architecture and offer rich social moments for people to reflect on the world around them.
Dan Graham's body of art and theory--which dates from shortly after he moved to New York in 1964--has become a key part of the Conceptual art canon. He is a highly influential figure in the field of Contemporary art, both as a practitioner and as a well-respected critic and theorist.