Dan Flavin: The Complete Lights, 1961–1996
Edited by Michael Govan and Tiffany Bell. Text by Brydon E. Smith
Dan Flavin: The Complete Lights, 1961-1996 is the only publication to document the artist’s entire career, and includes essays by Tiffany Bell, Michael Govan, and Brydon E. Smith. This richly illustrated publication features a complete catalogue of over 750 of the artist’s light works, each of which includes a color reproduction and/or a graphic diagram and comprehensive information including title, date, medium, dimensions, edition, exhibition history, bibliography, and contextual information. The book also includes Flavin’s seminal text “‘. . . in daylight or cool white.’ an autobiographical sketch,” originally published in Artforum in 1965, and two interviews with the artist, as well as an extensive chronology, comprehensive bibliography, and detailed exhibition history.
In addition, the volume is augmented by the catalogue for the first comprehensive, posthumous retrospective of the artist’s work organized by the Dia Art Foundation in association with the Estate of Dan Flavin and the National Gallery of Art, Washington, D.C., where it was first on view in 2004. The exhibition traveled from 2005 to 2007 to the Modern Art Museum of Fort Worth, Fort Worth; Museum of Contemporary Art, Chicago; Hayward Gallery, London; Musée d’Art Moderne de la Ville de Paris, Paris; Pinakothek der Moderne, Munich; and the Los Angeles County Museum of Art, Los Angeles.
Publisher: Yale University Press / Dia Art Foundation
Artists: Dan Flavin
Contributors: Tiffany Bell, Michael Govan, Brydon E. Smith
Publication Date: 2004
Dimensions: 9 3/4 x 11 3/4 in (24.8 x 29.8 cm)
Reproductions: 515 color, 65 b&w, 658 color diagrams
Retail: $200 US & Canada
From 1963, when he conceived the diagonal of May 25, 1963 (to Constantin Brancusi), a single gold, fluorescent lamp that is installed on a diagonal on the wall—a work which marks the artist’s first use of fluorescent light alone, until his death in 1996, Dan Flavin (1933-1996) produced a singularly consistent and prodigious body of work that utilized commercially-available fluorescent lamps to create installations, or “situations” as he preferred to call them, of light and color. Through the construction of light, Flavin was able to literally establish and redefine space.