Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK)
Established	2001
Location	Vienna, Austria
Website	http://www.mumok.at

MUMOK is the abbreviation of "MUseum MOderner Kunst" (English: Museum of Modern Art) Foundation Ludwig Vienna. It is located in the Museumsquartier in Vienna, Austria.

The museum has a collection of 7,000 modern and contemporary art works, including major works from Andy Warhol, Pablo Picasso, Joseph Beuys, Nam June Paik, Wolf Vostell, Gerhard Richter, Jasper Johns and Roy Lichtenstein. Over 230 art works were given to the museum by the German industrialist and art collector Peter Ludwig and his wife Irene in 1981.

The MUMOK regularly organizes special exhibitions and is known for its large collection of art related to Viennese Actionism.

External links[link]

• MUMOK website
• Österreichische Ludwig-Stiftung für Kunst und Wissenschaft website

Coordinates: 48°12′13.4″N 16°21′26.8″E / 48.203722°N 16.357444°E / 48.203722; 16.357444

Valerie Fahnestock Steele (born 1955) is a fashion historian, curator, and director of the Museum at the Fashion Institute of Technology, New York. She was appointed director of the museum in 2003.^[1]

Selected works[link]

• Gothic: Dark Glamour, Yale University Press, 2008, ISBN 00300136943 / 9780300136944 / 0-300-13694-3.
• Encyclopedia of clothing and fashion (editor in chief), Charles Scribner's Sons, 2005, ISBN 0-684-31451-7.
• Fashion, Italian style, Yale University Press, 2003, ISBN 0-300-10014-0.
• The Fan: Fashion and Femininity Unfolded, Rizzoli International Publications, 2002, ISBN 0-8478-2446-2.
• The Red Dress, Rizzoli International Publications, 2001, ISBN 0-8478-2392-X.
• The Corset: a cultural history, Yale University Press, 2001, ISBN 0-300-09071-4.
• Shoes: a lexicon of style, Rizzoli International Publications , 1999, ISBN 0-8478-2166-8.
• China chic : East meets West (with John S. Major), Yale University Press , 1999, ISBN 0-300-07930-3.
• Bags: a lexicon of style (with Laird Borrelli), Scriptum Publishers, 1999, ISBN 1-902686-04-7.
• Fifty years of fashion: new look to now, Yale University Press, 1997, ISBN 0-300-07132-9.
• Fetish: fashion, sex, and power, Oxford University Press, 1996, ISBN 0-19-509044-6.
• Women of fashion: twentieth-century designers, Rizzoli International Publications, 1991, ISBN 0-8478-1394-0.
• Men and women: dressing the part (editor, with Claudia Brush Kidwell), Smithsonian, 1989, ISBN 0-87474-559-4.
• Paris fashion: a cultural history, Oxford University Press, 1988, ISBN 0-19-504465-7.
• Fashion and eroticism: ideals of feminine beauty from the Victorian era to the Jazz Age, Oxford University Press, 1985, ISBN 0-19-503530-5.

References[link]

External links[link]

• Valerie Steele Fashion Web Site

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Jeff Wall
Jeff Wall on 28 November, 2007 at the Centre Georges Pompidou.
Birth name	Jeffrey Wall
Born	(1946-09-29) September 29, 1946 (age 65) Vancouver, British Columbia, Canada
Nationality	Canadian
Field	Photography, Photoconceptualism
Training	University of British Columbia, Vancouver Courtauld Institute of Art, London
Movement	Vancouver School
Works	Picture for Women (1979) Mimic (1982) A Sudden Gust of Wind (after Hokusai) (1993)
Awards	Hasselblad Award (2002)

Jeffrey "Jeff" Wall, OC, RSA (born September 29, 1946) is a Canadian artist best known for his large-scale back-lit cibachrome photographs and art history writing. Wall has been a key figure in Vancouver's art scene since the early-1970s. Early in his career, he helped define the Vancouver School and he has published essays on the work of his colleagues and fellow Vancouverites Rodney Graham, Ken Lum and Ian Wallace. His photographic tableaux often take Vancouver's mixture of natural beauty, urban decay and postmodern and industrial featurelessness as their backdrop.

Career[link]

Wall received his MA from the University of British Columbia in 1970, with a thesis titled, Berlin Dada and the Notion of Context. That same year, Wall stopped making art. With his wife, Jeannette, a native of England whom he had met as a student in Vancouver, and their two young sons, he moved to London^[1][2][3] Wall was assistant professor at the Nova Scotia College of Art and Design (1974–75), associate professor at Simon Fraser University (1976–87), taught for many years at the University of British Columbia and lectured at European Graduate School^[4] . He has published essays on Dan Graham, Rodney Graham, Roy Arden, Ken Lum, Stephan Balkenhol, On Kawara, and other contemporary artists.^[5]

Artistic practice[link]

Wall experimented with conceptual art while an undergraduate student at UBC.^[2] Wall then made no art until 1977, when he produced his first backlit phototransparencies.^[6] Many of these pictures are staged and refer to the history of art and philosophical problems of representation. The photographs' compositions often allude to historical artists like Diego Velázquez, Hokusai, and Édouard Manet,^[7] or to writers such as Franz Kafka, Yukio Mishima, and Ralph Ellison.^[8]

Presenting his first gallery exhibition in 1978 as an “installation” rather than as a photography show, Wall placed The Destroyed Room in the storefront window of the Nova Gallery, enclosing it in a plasterboard wall.

Wall distinguishes between unstaged "documentary" pictures, like Still Creek, Vancouver, winter 2003,^[9] and "cinematographic" pictures, produced using a combination of actors, sets, and special effects, such as A Sudden Gust of Wind (after Hokusai), 1993. The large colour-print format that Wall favours requires a camera that is ill-suited to capturing fleeting moments, yet he wanted to explore the documentary style of street photography practiced by a number of photographers, such as Robert Frank or Garry Winogrand. Wall’s solution was to restage such moments, preserving a sense of immediacy by using non-professional actors in real settings. He calls these constructed images ‘cinematographic photographs’.^[10]Mimic^[11] (1982) typifies Wall's cinematographic style. A 198 x 226 cm. colour transparency, it shows a white couple and an Asian man walking towards the camera. The sidewalk, flanked by parked cars and residential and light-industrial buildings, suggests a North American industrial suburb. The woman is wearing red shorts and a white top displaying her midriff; her bearded, unkempt boyfriend wears a denim vest. The Asian man is casual but well-dressed in comparison, in a collared shirt and slacks. As the couple overtake the man, the boyfriend makes an ambiguous but apparently obscene and racist gesture, holding his upraised middle finger close to the corner of his eye, "slanting" his eye in mockery of the Asian man's eyes. Referencing the formal composition of the famous 1877 Gustave Caillebotte painting Paris Street; Rainy Day^[12], the picture resembles a candid shot that captures the moment and its implicit social tensions, but is actually a recreation of an exchange witnessed by the artist.

First shown at documenta 11, After “Invisible Man” by Ralph Ellison, the Preface (1999–2001) represents a well-known scene from Ellison’s classic novel. The novel's eloquent prologue is short on specifics, except one: the 1,369 lightbulbs that cover the ceiling of the underground lair. Starting with this fantastic detail, Wall scrupulously imagined in his Vancouver studio the concrete form of Ellison's metaphorical space. Wall’s version shows us the cellar room, “warm and full of light,” in which Ellison’s narrator lives, complete with its 1,369 lightbulbs.^[13]

Wall's work advances an argument for the necessity of pictorial art.^[8] Some of Wall's photographs are complicated productions involving cast, sets, crews and digital postproduction. They have been characterized as one-frame cinematic productions. Susan Sontag ended her last book, Regarding the Pain of Others (2003), with a long, laudatory discussion of one of them, Dead Troops Talk (A Vision After an Ambush of a Red Army Patrol near Moqor, Afghanistan, Winter 1986) (1992), calling Wall's monumental Goya-influenced depiction of a made-up event "exemplary in its thoughtfulness and power." In this image, Russian soldiers are shown sporting wounds that would not look out of place in a slasher flick, with dismembered limbs and cavities in their heads; a foot is even shown having been blasted off its owner and lodged behind a rock.^[14] As carefully constructed as a film or epic painting, the work was shot in a large temporary studio, involving performers and costume, special effects and make-up professionals. The figures were photographed separately or in small groups and the final image was assembled as a digital montage.^[15]

Jeff Wall A Sudden Gust of Wind (after Hokusai), 1993

Jeff Wall A Sudden Gust of Wind (after Hokusai), 1993

Katsushika Hokusai Yejiri Station, Province of Suruga, ca. 1832

While Wall is known for large-scale photographs of contemporary everyday genre scenes populated with figures, in the early 1990s he became interested in still lifes.^[16] Based on Yejiri Station, Province of Suruga (ca. 1832) a woodprint by Katsushika Hokusai, A Sudden Gust of Wind recreates the depicted 19th century Japanese scene in contemporary British Columbia, utilizing actors and took over a year to produce 100 photographs in order "to achieve a seamless montage that gives the illusion of capturing a real moment in time."^[17]

Since the early 1990s, he has used digital technology to create montages of different individual negatives, blending them into what appears as a single unified photograph.^[18] His signature works are large transparencies mounted on light boxes; he says he conceived this format when he saw back-lit advertisements at bus stops during a trip between Spain and London. In 1995, Wall began making traditional silver gelatin black and white photographs, and this has become an increasingly significant part of his practice since that time.^[18] Examples of these later work were exhibited at Kassel's documenta X.

Other media[link]

Sonic Youth's compilation album The Destroyed Room: B-sides and Rarities uses Jeff Wall's 1978 photograph The Destroyed Room. The cover image of Iggy Pop's 1999 album Avenue B is a portrait photograph of Iggy by Wall.

Exhibitions[link]

Wall's early group exhibitions include 1969 shows at the Seattle Art Museum, Washington, and Vancouver Art Gallery, and New Multiple Art at the Whitechapel Gallery, London in 1970. His first one-man show was held at Nova Gallery, Vancouver in 1978.^[19]

Solo shows include ICA, London (1984), Irish Museum of Modern Art, Dublin, Ireland (1993), Whitechapel Gallery, London (2001), Kunstmuseum Wolfsburg, Wolfsburg, Germany (2001), Hasselblad Center, Göteborg, Sweden (2002), Astrup Fearnley Museum, Oslo, Norway (2004) and retrospectives at Schaulager, Basel (2005), Tate Modern (2005) and MoMA, New York (2007), Art Institute of Chicago (2007), SFMoMA, San Francisco (2008), Tamayo Museum, Mexico City and Vancouver Art Gallery, Vancouver (2008), and Staatliche Kunstsammlungen, Dresden (2010). "Jeff Wall: Exposure", a special exhibition commissioned by the Deutsche Guggenheim in 2007, presented the artist's newer large scale black and white works in conjuction with earlier black & white and color works. Wall was also included in documentas 10 and 11.^[20]

For his retrospective at the Palais des Beaux Arts, Brussels in 2011, Wall chose some 130 works by his favorite artists, from 1900s photographer Eugène Atget to film excerpts (Fassbinder, Bergman, the Dardenne brothers) to pieces by contemporaries Thomas Struth and David Claerbout. They were shown alongside 25 of his own pictures.^[21]

Recognition[link]

In 2002, Wall was awarded the Hasselblad Award. In 2006, he was made a Fellow of the Royal Society of Canada.^[22] Jeff Wall was named an Officer of the Order of Canada in December 2007.^[23] In March 2008, Wall was awarded the Audain Prize for Lifetime Achievement, British Columbia's annual award for the visual arts.^[24]

Wall's Dead Troops Talk (A Vision after an Ambush of a Red Army Patrol, near Moqor, Afghanistan, Winter 1986) (1992) was sold for over $3.6 million at Christie's, New York, in 2012; this set a world auction record for the artist.^[25]

Influence[link]

Wall's huge images and studied compositions are regarded as influential on the Düsseldorf group led by Andreas Gursky, Thomas Struth, Thomas Ruff, and Candida Höfer. (Gursky has cited Wall as “a great model for me.”)^[1]

References[link]

Notes[link]

1. ^ ^{a b} ArtBył poiebajym anglikiem i jebaną kurwą] expert T.J. Clark.
2. ^ ^{a b} Newman, "Towards the Reinvigoration of the 'Western Tableau': Some Notes on Jeff Wall and Duchamp", p. 83
3. ^ Hochdörfer Jeff Wall: Photographs
4. ^ "Jeff Wall Profile. European Graduate School. Biography and bibliography.". Saas-Fee,Switzerland: European Graduate School. http://www.egs.edu/faculty/jeff-wall/biography/. Retrieved 2011-04-08. 
5. ^ Wall, Jeff (2007). Jeff Wall: Selected Essays and Interviews. New York: Museum of Modern Art.
6. ^ Newman, "Towards the Reinvigoration of the 'Western Tableau': Some Notes on Jeff Wall and Duchamp", p. 85
7. ^ Merritt, Naomi Manet's Mirror and Jeff Wall's Picture for Women: Reflection or Refraction?, Emaj, issue 4, 2009, http://www.melbourneartjournal.unimelb.edu.au/E-MAJ/default.htm
8. ^ ^{a b} Newman, "Towards the Reinvigoration of the 'Western Tableau': Some Notes on Jeff Wall and Duchamp", pp. 83-4
9. ^ Tate Modern, Jeff Wall: Photographs 1978-2004. Retrieve June 24, 2011.
10. ^ Jeff Wall: Photographs 1978-2004, 21 October 2005 – 8 January 2006 Tate Modern, London.
11. ^ http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/section1/img4.shtm
12. ^ JEFF WALL, June 29 – September 23, 2007 Art Institute of Chicago.
13. ^ Jeff Wall, January 11, 2003 - April 13, 2003 Hammer Museum, Los Angeles.
14. ^ Jeff Wall, Dead Troops Talk (A Vision after an Ambush of a Red Army Patrol, near Moqor, Afghanistan, Winter 1986) (1992) Christie's New York, Post-War and Contemporary Art Evening Sale, 8 May 2012.
15. ^ Jeff Wall: Photographs 1978-2004, 21 October 2005 – 8 January 2006 Tate Modern, London.
16. ^ Jeff Wall, Diagonal Composition (1993) Christie's Sale, 14 November 2002, New York.
17. ^ Tate Modern, Jeff Wall: Photographs 1978-2004. Retrieved June 24, 2011.
18. ^ ^{a b} Jeff Wall, October 25, 2008 to January 25, 2009 Vancouver Art Gallery, Vancouver.
19. ^ Jeff Wall Tate Collection.
20. ^ Jeff Wall White Cube, London.
21. ^ Brigid Grauman (May 27, 2011), Jeff Wall's 'Crooked Path' Wall Street Journal.
22. ^ Royal Society of Canada, New Fellows 2006
23. ^ Order of Canada 2007
24. ^ Wall Awarded Audain Prize for Lifetime Achievement
25. ^ Jeff Wall, Dead Troops Talk (A Vision after an Ambush of a Red Army Patrol, near Moqor, Afghanistan, Winter 1986) (1992) Christie's New York, Post-War and Contemporary Art Evening Sale, 8 May 2012.

Bibliography[link]

• Hochdörfer, Achim, ed. Jeff Wall: Photographs. Cologne: Walther König, 2003. ISBN 3-88375-698-9
• Merritt, Naomi. ‘Manet’s Mirror and Jeff Wall’s Picture for Women: Reflection or Refraction?’, Emaj (Electronic Melbourne Art Journal), Issue 4, 2009, http://www.melbourneartjournal.unimelb.edu.au/E-MAJ/
• Newman, Michael. "Towards the Reinvigoration of the 'Western Tableau': Some Notes on Jeff Wall and Duchamp." Oxford Art Journal 30.1 (2007): 81-100.
• Wall, Jeff. Jeff Wall: Selected Essays and Interviews. New York: Museum of Modern Art, 2007. ISBN 0-87070-708-6

Further reading[link]

• Burnett, Craig. "Jeff Wall". London: Tate Publishing, 2005. ISBN 978-1-85437-611-4
• Campany, David. "'A Theoretical Diagram in an Empty Classroom': Jeff Wall's Picture for Women." Oxford Art Journal 30.1 (2007): 7-25.
• Crow, Thomas. "Profane illuminations: Social History and the Art of Jeff Wall." ArtForum Vol. 31 No. 6 (Feb. 1993): 62-69.
• de Duve, Thierry, Arielle Pélenc and Boris Groïs. Jeff Wall. London: Phaidon Press, 1996. ISBN 0-7148-3349-5
• Lubow, Arthur. "The Luminist." The New York Times (February 25, 2007).
• Lütticken, Sven. "The Story of Art According to Jeff Wall." Secret Publicity: Essays on Contemporary Art. Rotterdam: NAi Publishers, 2005. 69-82. ISBN 90-5662-467-9
• Martin, Stewart. "Wall’s Tableau Mort." Oxford Art Journal 30.1 (2007): 117-33.
• Merritt, Naomi. ‘Manet’s Mirror and Jeff Wall’s Picture for Women: Reflection or Refraction?’, Emaj (Electronic Melbourne Art Journal), Issue 4, 2009, http://www.melbourneartjournal.unimelb.edu.au/E-MAJ/
• Stallabrass, Julian. "Museum Photography and Museum Prose" New Left Review 65, Sept-Oct 2010, pp. 93–125.
• Vasudevan, Alexander. "'The Photographer of Modern Life': Jeff Wall's Photographic Materialism." Cultural Geographies Vol. 14, No. 4 (2007): 563-588.
• Whyte, Murray. "Jeff Wall: The Visible Man." Canadian Art (May 11, 2006).

External links[link]

• Jeff Wall resources and exhibition at Tate
• Jeff Wall Profile at European Graduate School. Biography and bibliography.
• Time article mentioning Jeff Wall
• Jeff Wall Exhibition in MoMA
• Jeff Wall Exhibition - Art Institute of Chicago June 29–September 23, 2007
• Jeff Wall - SFMOMA Exhibition

Dan Flavin (April 1, 1933, Jamaica, New York – November 29, 1996, Riverhead, New York) was an American minimalist artist famous for creating sculptural objects and installations from commercially available fluorescent light fixtures.

Early life and career[link]

Daniel Nicholas Flavin Jr. was born in New York of Irish Catholic descent and sent to Catholic schools.^[1] He studied for the priesthood at the Immaculate Conception Preparatory Seminary in Brooklyn between 1947 and 1952 before leaving to join his fraternal twin brother, David John Flavin, and enlist United States Air Force.^[2] During military service in 1954–55, Flavin was trained as a air weather meteorological technician^[3] and studied art through the adult extension program of the University of Maryland in Korea.^[4] Upon his return to New York in 1956, Flavin briefly attended the Hans Hofmann School of Fine Arts and studied art under Albert Urban. He later studied art history for a short time at the New School for Social Research, then moved on to Columbia University, where he studied painting and drawing.^[5]

From 1959, Flavin was shortly employed as a mailroom clerk at the Guggenheim Museum and later as guard and elevator operator at the Museum of Modern Art, where he met Sol LeWitt, Lucy Lippard, and Robert Ryman.^[6] Two years later, he married his first wife Sonja Severdija, an art history student at New York University and assistant office manager at the Museum of Modern Art.^[7]

Flavin married his second wife, the artist Tracy Harris, in a ceremony at the Guggenheim Museum, in 1992.^[8]

Flavin died in Riverhead, New York. His estate is represented by David Zwirner, New York.

Work[link]

Early work[link]

Flavin’s first works were drawings and paintings that reflected the influence of Abstract Expressionism. In 1959, he began to make assemblages and mixed media collages that included found objects from the streets, especially crushed cans.^[9][10]

In the summer of 1961, while working as a guard at the American Museum of Natural History in New York, Flavin started to make sketches for sculptures that incorporated electric lights.^[11] The first works to incorporate electric light were his "Icons" series: eight colored shallow, boxlike square constructions made from various materials such as wood, Formica, or Masonite. Constructed by the artist and his then-wife Sonja, the Icons had fluorescent tubes with incandescent and fluorescent bulbs attached to their sides, and sometimes beveled edges. One of these icons was dedicated to Flavin's twin brother David, who died of polio in 1962.^[12] "

Mature work[link]

One of Flavin's last works was the lighting for a glass-enclosed arcade (1996) at the Wissenschaftspark Rheinelbe (Rhine-Elbe Science Park) in Gelsenkirchen, Germany. The arcade was designed by Uwe Kiessler; it stretches 300 metres (980 ft), and connects nine buildings.^[13]

The "Diagonal of Personal Ecstasy (the Diagonal of May 25, 1963)," a yellow fluorescent placed on a wall at a 45-degree angle from the floor and completed in 1963, was Flavin's first mature work; it is dedicated to Constantin Brâncuşi and marks the beginning of Flavin's exclusive use of commercially available fluorescent light as a medium. He confined himself to a limited palette (red, blue, green, pink, yellow, ultraviolet, and four different whites^[14]) and form (straight two-, four-, six-, and eight-foot tubes, and, beginning in 1972, circles).^[15] In the decades that followed, he continued to use fluorescent structures to explore color, light and sculptural space, in works that filled gallery interiors. He started to reject studio production in favor of site-specific “situations” or “proposals” (as the artist preferred to classify his work).^[16] These structures cast both light and an eerily-colored shade, while taking a variety of forms, including "corner pieces", "barriers," and "corridors." Most of Flavin's works were untitled, followed by a dedication in parenthesis to friends, artists, critics and others: the most famous of these include his "Monuments to V. Tatlin," an homage to the Russian constructivist sculptor Vladimir Tatlin, a series of a total of fifty pieces which he continued to work on between 1964 and 1990.

Flavin realized his first full installation piece, greens crossing greens (to Piet Mondrian who lacked green), for an exhibition at the Van Abbemuseum, Eindhoven, Netherlands, in 1966.^[17] Flavin's "corridors", for example, control and impede the movement of the viewer through gallery space. They take various forms: some are bisected by two back-to-back rows of abutted fixtures, a divider that may be approached from either side but not penetrated (the color of the lamps differs from one side to the other). The first such corridor, untitled (to Jan and Ron Greenberg), was constructed for a 1973 solo exhibition at the St. Louis Art Museum, and is dedicated to a local gallerist and his wife. It is green and yellow; a gap (the width of a single "missing" fixture) reveals the cast glow of the color from beyond the divide. In subsequent barred corridors, Flavin would introduce regular spacing between the individual fixtures, thereby increasing the visibility of the light and allowing the colors to mix.^[18]

By 1968, Flavin had developed his sculptures into room-size environments of light. That year, he outlined an entire gallery in ultraviolet light at Documenta 4 in Kassel, Germany. In 1992, Flavin’s original conception for a 1971 piece was fully realized in a site-specific installation that filled the Solomon R. Guggenheim Museum's entire rotunda on the occasion of the museum’s reopening.

Permanent installations[link]

From 1975, Flavin installed permanent works in Europe and the United States, including the Rijksmuseum Kröller-Müller Museum, Otterlo, Netherlands (1977); Hudson River Museum, Yonkers, New York (1979); United States Courthouse, Anchorage, Alaska (1979-89); the Staatliche Kunsthalle Baden-Baden, Germany (1989); the lobby of the MetroTech Center (with Skidmore Owings & Merrill), Brooklyn, New York (1992); seven lampposts outside the Städtische Galerie im Lenbachhaus, Munich (1994); Hypovereinsbank, Munich (1995); Institut Arbeit und Technik/Wissenschaftspark, Gelsenkirchen, Germany (1996); and the Union Bank of Switzerland, Bern (1996). Additional sites for Flavin's architectural “interventions” became the Grand Central Station in New York (1976), Hamburger Bahnhof in Berlin (1996), and the Chinati Foundation in Marfa, Texas (2000). His large-scale work in colored fluorescent light for six buildings at the Chinati Foundation was initiated in the early 1980s, although the final plans were not completed until 1996.^[19] His last artwork was a site-specific work at Santa Maria Annunciata in Chiesa Rossa, Milan, Italy. The 1930s church was designed by Giovanni Muzio. The design for the piece was completed two days before Flavin's death on November 29, 1996. Its installation was completed one year later with the assistance of the Dia Center for the Arts and Fondazione Prada.^[20]

The Menil Collection in Houston, Texas states that in 1990 Dominique de Menil approached Flavin to create a permanent, site-specific installation at Richmond Hall. Just two days before his death in November 1996 Flavin completed the design for the space. The artist’s studio completed the work.^[21]

Drawing[link]

Living in Wainscott and Garrison, Flavin often drew the surrounding landscape, whether it was the Hudson Valley or the waters off Long Island. He also made small portraits and kept about 20 volumes of journals. Flavin collected drawings too, including works by Hudson River School artists like John Frederick Kensett, Jasper Francis Cropsey, and Sanford Robinson Gifford, along with examples of works on paper by early-19th-century Japanese artists like Hokusai and 20th-century European masters like Piet Mondrian and George Grosz. Flavin also exchanged works with Minimalist colleagues like Donald Judd and Sol LeWitt.^[22]

Exhibitions[link]

Flavin's first one-person exhibition using only fluorescent light opened at the Green Gallery in 1964. Two years later, his first European show opened at Rudolf Zwirner's gallery in Cologne, Germany. The first major retrospective of Flavin’s work was organized by the National Gallery of Canada, Ottawa in 1969. In 1973 the Saint Louis Art Museum presented concurrent exhibitions of his works on paper and fluorescent sculptures. Among Flavin’s many significant one-person exhibitions in Europe were shows at the Kunstmuseum Basel and Kunsthalle Basel (1975), the Staatliche Kunsthalle, Baden-Baden (1989), and the Städel, Frankfurt (1993).

In the late 1970s, he began a partnership with the Dia Art Foundation that resulted in the making of several permanent site-specific installations and led most recently to the organization of the traveling exhibition, Dan Flavin: A Retrospective (2004–2007).^[23] Flavin’s retrospective exhibition traveled to the Museum of Contemporary Art, Chicago; the National Gallery of Art, Washington, D.C.; the Museum of Modern Art, Fort Worth, Texas; Hayward Gallery, London; Musée d'Art Moderne de la Ville de Paris, Paris; Bayerische Staatsgemäldesammlungen, Pinakothek der Moderne, Munich; and the Los Angeles County Museum of Art, Los Angeles.^[24][25] This exhibition was the first comprehensive retrospective devoted to his minimalist work. The exhibition included nearly 45 light works, including his "icons" series. The MCA's presentation included the re-creation of the alternating pink and "gold" room from the original MCA exhibition in 1967, Flavin's first solo museum exhibition.^[26]

His first solo exhibition in Latin America was held at Fundación Proa, Buenos Aires, in 1998, organized with the Dia Art Foundation (Dan Flavin. 1933-96).

Recognition[link]

In 1964, Flavin received an award from the William and Norma Copley Foundation, Chicago, with a recommendation from Marcel Duchamp.^[27] In 1973, he was named Albert Dorne Visiting Professor at the University of Bridgeport, Connecticut, and in 1976, he was given the Skowhegan Medal of Sculpture from Skowhegan School of Painting and Sculpture, Maine. In 1983, the Dia Center for the Arts opened the Dan Flavin Art Institute in Bridgehampton, New York, a permanent exhibition of his works, designed by the artist in a converted firehouse.^[28]

Art market[link]

When financial assistance for projects sponsored by the Dia Art Foundation were suspended in 1986, Flavin began, with the encouragement of the Leo Castelli Gallery, affiliations with a number of American and European galleries, including the Margo Leavin Gallery, Los Angeles; the Donald Young Gallery, Chicago; the Texas Gallery, Houston; Annemarie Verna Galerie, Zürich; and Galerie Nikki Diana Marquardt, Paris. In 1991, he also began a brief affiliation with the Pace Gallery, New York.^[29] In his later years, he was represented primarily by the Green Gallery, Kornblee Gallery, Dwan Gallery, John Weber Gallery, Leo Castelli Gallery, and PaceWildenstein. Since 2010, Dan Flavin's estate has been represented by David Zwirner.

In 2004, Flavin's work Untitled ("monument" for V. Tatlin) (1964–1965) was sold for $735,500 at Christie's, New York.

Collections[link]

[edit] Sculptures in collections^[30][31]

United States[link]

Arizona

• untitled (in memory of "Sandy" Calder) V 1/5, 1977, Private Collector, Scottsdale

California

• untitled (to Marianne), 1970, San Diego Museum of Contemporary Art, La Jolla
• monument for V Tatlin, 1969, Museum of Contemporary Art, Los Angeles
• untitled (to Robert, Joe, and Michael), 1975–82, Museum of Contemporary Art, Los Angeles
• untitled (to Charles Cowles), 1963, Museum of Contemporary Art, Los Angeles
• Mrs. Reppin's survival, 1966, Norton Simon Museum, Pasadena
• untitled 1/3, 1969, Norton Simon Museum, Pasadena

Colorado

• untitled (for A. C.), 1992, Denver Art Museum, Denver

District of Columbia

• untitled, 1980, Administered by United States General Services Administration, Art-in-Architecture Program, Washington
• "monument" for V. Tatlin 1/5, 1968, National Gallery of Art, Washington
• "monument" for V. Tatlin 4/5, 1969–70, National Gallery of Art, Washington
• untitled (to Barnett Newman to commemorate his simple problem, red, yellow, and blue) 4/5, 1969–70, National Gallery of Art, Washington

Illinois

• untitled (monument for V. Tatlin), 1970, Private Collector, Chicago
• the alternate diagonals of March 2, 1964 (to Don Judd), 1964, Private Collector, Chicago

Iowa

• untitled (for Ellen), Des Moines Art Center, Des Moines

Massachusetts

• Barbara Roses, 1962–1965, Smith College, Smith College Museum of Art, Northampton

Michigan

• "monument" for V. Tatlin, 1969, Detroit Institute of Arts, Detroit

Minnesota

• untitled, 1963, Walker Art Center, Minneapolis
• untitled, 1966, Walker Art Center, Minneapolis
• "monument" for V. Tatlin 3/5, 1969, Walker Art Center, Minneapolis

Nebraska

• untitled, 1964, University of Nebraska-Lincoln, Sheldon Memorial Art Gallery and Sculpture Garden, Lincoln

New Hampshire

• untitled (To Elita and her baby, Cintra), 1970, Dartmouth College, Hood Museum of Art, Hanover

New York

• gold, pink and red, red 2/3, 1964, Dia Art Foundation, Beacon
• monument 4 for those who have been killed in ambush (to P.K. who reminded me about death) 2/3, 1966, Dia Art Foundation, Beacon
• the diagonal of May 25, 1963 (to Constantin Brâncuşi) 3/3, 1963, Dia Art Foundation, Beacon first entirely fluorescent work
• the nominal three (to William of Ockham) 2/3, 1963, Dia Art Foundation, Beacon
• untitled (to a man, George McGovern) 2 2/3, 1972, Dia Art Foundation, Beacon
• untitled (to the real Dan Hill) 1b 1/5, 1978, Dia Art Foundation, Beacon
• untitled, 1996, Dia Art Foundation, Beacon
• red out of a corner (to Annina) 3/3, 1963, Dan Flavin Art Institute, Bridgehampton
• untitled 2/3, 1976, Dan Flavin Art Institute, Bridgehampton
• untitled (to Robert, Joe and Michael) 2/3, 1975–81, Dan Flavin Art Institute, Bridgehampton
• untitled (to Jan and Ron Greenberg) 2/3, 1972–73, Dan Flavin Art Institute, Bridgehampton
• untitled (in honor of Harold Joachim) 3 1/3, 1977, Dan Flavin Art Institute, Bridgehampton
• untitled (to Katharina and Christoph), [from the series to European couples] 1/5, 1971, Dan Flavin Art Institute, Bridgehampton
• untitled (to Jim Schaeufele) 1 1/3, 1972, Dan Flavin Art Institute, Bridgehampton
• untitled (to Jim Schaeufele) 2 1/3, 1972, Dan Flavin Art Institute, Bridgehampton
• untitled (to Jim Schaeufele) 3 1/3, 1972, Dan Flavin Art Institute, Bridgehampton
• "monument" for V. Tatlin, 1964, Museum of Modern Art, New York
• pink out of a corner - to Jasper Johns, 1963, Museum of Modern Art, New York
• untitled (to the "Innovator" of Wheeling Peachblow) 2/3, 1968, Museum of Modern Art, New York
• untitled, 1968, Museum of Modern Art, New York
• three fluorescent tubes, 1963, Private Collector, New York
• icon V (Coran's Broadway flesh), 1962, Private Collector, New York
• icon VIII (to Blind Melon Jefferson), 1962, Private Collector, New York
• "monument" for V. Tatlin 1/5, 1964, Private Collector, New York
• "monument" for V. Tatlin 4/5, 1964, Private Collector, New York
• untitled (to Henri Matisse) 3/3, 1964, Private Collector, New York
• untitled (for Ad Reinhardt) 1b 1/5, 1990, Private Collector, New York
• greens crossing greens (to Piet Mondrian who lacked green), 1966, Solomon R. Guggenheim Museum, New York
• the nominal three (to William of Ockham), 1963, Solomon R. Guggenheim Museum, New York
• untitled (to Tracy, to celebrate the love of a lifetime), 1992, Solomon R. Guggenheim Museum, New York
• untitled (to Ward Jackson, and old friend and colleague who, during the Fall of 1957 when I finally returned to New York from Washington and joined him to work together in this museum, kindly communicated), 1971, Solomon R. Guggenheim Museum, New York
• untitled (for Robert, with fond regards), 1977, Whitney Museum of American Art, New York
• untitled, 1966, Whitney Museum of American Art, New York
• untitled, 1966, Whitney Museum of American Art, New York

North Carolina

• untitled, 1971, Mint Museum of Art, Charlotte

Ohio

• untitled (to Janie Lee) one, 1971, Columbus Museum of Art, Columbus
• untitled (Fondly to Helen), 1976, Private Collector, Cincinnati
• untitled (to Ellen Johnson, fondly), 1975, Oberlin College, Allen Memorial Art Museum, Oberlin

Oregon

• untitled (To Donna) II , 1971, Portland Art Museum
• untitled (for Robert Ryman) 2/5, 1996, Miller-Meigs Collection, Portland

Texas

• alternate diagonals of March 2, 1964 (to Don Judd) 2/3, 1964, Dallas Museum of Art, Dallas
• diagonal of May 25, 1963 (to Constantin Brâncuşi) 2/3, 1963, Fort Worth Art Museum, Fort Worth
• monument 1 for V. Tatlin, 1964, Menil Collection, Houston
• untitled (to Barbara Wood), 1970, Menil Collection, Houston
• untitled frieze, 1996, Menil Collection, Richmond Hall, Houston
• untitled foyer, 1996, Menil Collection, Richmond Hall, Houston
• untitled interior, 1996, Menil Collection, Richmond Hall, Houston
• icon III, 1962, Chinati Foundation, Marfa
• icon VI (Ireland dying)(to Louis Sullivan), 1962, Chinati Foundation, Marfa

Washington

• untitled (To Donna), 1973, Private Collector, Seattle

International[link]

Canada

• the alternate diagonals of March 2, 1964 (To Don Judd), 1964, Art Gallery of Ontario, Toronto, Ontario
• untitled corner piece, Art Gallery of Ontario, Toronto, Ontario
• "monument" for V. Tatlin, 1969–1970, National Gallery of Canada, Ottawa, Ontario
• "monument" for V. Tatlin, 1968, National Gallery of Canada, Ottawa, Ontario
• untitled (to Barnett Newman to commemorate his simple problem, red, yellow and blue), 1970, National Gallery of Canada, Ottawa, Ontario
• untitled, 1971, Winnipeg Art Gallery, Winnipeg, Manitoba

France

• "monument" for V. Tatlin, 1975, Musee National d'Art Moderne, Centre Georges-Pompidou, Paris
• untitled (To Donna) 5a, 1971, Musee National d'Art Moderne, Centre Georges-Pompidou, Paris

Switzerland

• Hallen für Neue Kunst Schaffhausen, Switzerland

United Kingdom

• "monument" to V. Tatlin, 1975, Gallery of Modern Art, Edinburgh, Scotland
• monument for V. Tatlin, 1966–1969, Tate Gallery, London
• untitled, 1969, Tate Gallery, London
• a primary picture 2/3, 1964, Hermes Trust U.K., London
• untitled (to Lucie Rie, master potter) 1c 2/5, 1990, Waddington Galleries Ltd., London
• untitled (to Lucie Rie, master potter) 1jjj 2/5, 1990, Waddington Galleries Ltd., London
• untitled (to Lucie Rie, master potter) 1o 1/5, 1990, Waddington Galleries Ltd., London

Estate Collection[link]

• icon I (the heart) (to the light of Sean McGovern which blesses everyone), 1961
• icon II (the mystery) (to John Reeves), 1961
• pink out of a corner - to Jasper Johns, 1963
• "monument" 1 for V. Tatlin, 1964, Sonja Flavin collection
• Corner Monument 4, 1966
• "monument" for V. Tatlin, 1967
• "monument" for V. Tatlin, 1967
• untitled (to Janie Lee) one, 1971
• untitled (to Emily), 1973
• untitled (to you, Heiner, with admiration and affection), 1973
• untitled (in honor of Harold Joachim) 3, 1977
• "monument" for V. Tatlin, 1981
• untitled (to Piet Mondrian), 1985
• untitled (for Donald Judd, colorist) 1, 1987
• untitled (for Donald Judd, colorist) 2, 1987
• untitled (for Donald Judd, colorist) 3, 1987
• untitled (for Donald Judd, colorist) 4, 1987
• untitled (for Donald Judd, colorist) 5, 1987
• untitled, 1989
• untitled (for Ad Reinhardt) 2b, 1990

See also[link]

• Santa Maria Annunciata in Chiesa Rossa in Milan, Italy, last Dan Flavin's artwork.

References[link]

1. ^ Paul Levy (February 3, 2006), A radiant Dan Flavin retrospective Wall Street Journal.
2. ^ Paul Levy (February 3, 2006), A radiant Dan Flavin retrospective Wall Street Journal.
3. ^ Dan Flavin: A Retrospective, October 3, 2004–January 9, 2005 National Gallery of Art, Washington, D.C.
4. ^ http://www.guggenheim.org/new-york/collections/collection-online/show-full/bio/?artist_name=Dan%20Flavin&page=1&f=Name&cr=3
5. ^ Daniel Marzona and Uta Grosenick. Minimal Art," Taschen, 2004, p14
6. ^ http://www.davidzwirner.com/danflavin/
7. ^ diacenter.org accessed August 25, 2007
8. ^ New York Times, June 26, 1992. Abstract available at nytimes.com
9. ^ http://www.paulacoopergallery.com/exhibitions/391
10. ^ Dan Flavin: A Retrospective, October 3, 2004–January 9, 2005 National Gallery of Art, Washington, D.C.
11. ^ http://www.guggenheim.org/new-york/collections/collection-online/show-full/bio/?artist_name=Dan%20Flavin&page=1&f=Name&cr=3
12. ^ Tiffany Bell, diacenter.org accessed August 25, 2007
13. ^ Bell, Tiffany; Govan, Michael; Powell, Earl A.; Smith, Brydon; Weiss, Jeffrey (2004). Dan Flavin: the complete lights, 1961-1996. Yale University Press. p. 410. ISBN 978-0-300-10633-6. http://books.google.com/books?id=14H6gpbn4SMC&pg=PA410. "For a large complex of office buildings called Wissenschaftspark Rheinelbe in Gelsenkirchen, Germany, designed by Uwe Kiessler of the architectural firm Kiessler + Partner, Flavin was commissioned to light an enclosed arcade. This passageway, which has a large glass facade with sections that can be opened in warm weather, connects nine buildings. On three unobstructed walls that enclose elevator shafts, Flavin placed vertical structures made of two parallel, adjacent rows of six 4-foot (122 cm) fixtures each, all with blue lamps. Intersecting at the 4-foot intervals, six 4-foot fixtures with green lamps were placed horizontally to form a cross-like pattern. At the top of one large wall, near the main entrance but after the first elevator shaft, is a horizontal row of thirteen 4-foot fixtures with green lamps. They are mounted on the wall at the ceiling joint. This work was installed shortly before Flavin's death, although the building did not open officially until 1997." 
14. ^ Adrian Searle (January 24, 2006), Strip tease The Guardian.
15. ^ Dan Flavin: A Retrospective, October 3, 2004–January 9, 2005 National Gallery of Art, Washington, D.C.
16. ^ Dan Flavin, untitled (to Ward Jackson, an old friend and colleague who, during the Fall of 1957 when I finally returned to New York from Washington and joined him to work together in this museum, kindly communicated) (1971) Guggenheim Collection.
17. ^ Dan Flavin, untitled (to Jan and Ron Greenberg) (1972-73) Guggenheim Collection.
18. ^ Dan Flavin, untitled (to Jan and Ron Greenberg) (1972-73) Guggenheim Collection.
19. ^ Dan Flavin, untitled (Marfa project) (1996) Chinati Foundation, Marfa.
20. ^ "Dan Flavin", brochure, S. Maria in Chiesa Rossa, Fondazione Prada, Dia Center for the Arts, 1997. Essay by Michael Govan.
21. ^ Menil Collection at
22. ^ Carol Vogel (December 22, 2011), The Morgan Will Show Another Side of Flavin New York Times.
23. ^ THE ESTATE OF DAN FLAVIN IS NOW EXCLUSIVELY REPRESENTED BY DAVID ZWIRNER David Zwirner Gallery, September 2010.
24. ^ "Dan Flavin: Series and Progressions". NY Art Beat. http://www.nyartbeat.com/event/2009/5185. Retrieved 2011-06-13. 
25. ^ "Dan Flavin: Series and Progressions". Press Release. David Zwirner Gallery. 2009-10-09. http://www.davidzwirner.com/resources/47900/new%20pic%20Flavin2009_PR%20FINAL%20with%20Flavin%20statement.pdf. Retrieved 2011-06-13. 
26. ^ Victor M. Cassidy (2005). "No Trespassing: The Art of Dan Flavin". Artnet. http://www.artnet.com/magazineus/reviews/cassidy/cassidy8-4-05.asp. Retrieved 2011-08-04. 
27. ^ Dan Flavin David Zwirner Gallery, New York.
28. ^ http://www.diacenter.org/sites/main/danflavinartinstitute
29. ^ Dan Flavin David Zwirner Gallery, New York.
30. ^ Govan and Bell, Dan Flavin: A Retrospective, Yale University Press, 2004
31. ^ diacenter.org accessed June 6, 2008

Bibliography[link]

Govan, Michael and Bell, Tiffany. "Dan Flavin: The Complete Lights, 1961-1996." Yale University Press, New Haven, CT. 2004.

External links[link]

• The Estate of Dan Flavin at David Zwirner
• Series and Progressions at David Zwirner
• Dan Flavin: A Retrospective, The National Gallery of Art
• The Dan Flavin Art Institute
• Dan Flavin at Dia:Beacon
• Villa & Panza Collection: Dan Flavin - Varese Corridor
• Museum of Modern Art, Dan Flavin Images
• Guggenheim Museum, Dan Flavin
• S. Maria Annunciata in Chiesa Rossa, Dan Flavin's last artwork