Edited with text by Josef Helfenstein, Olga Osadtschy. Text by Aden Kumler, Simon Baier, Elena Degen, Jules Pelta Feldman, Aden Kumler, Daniel Kurjakovic, Han Lo, Mechtild Widrich.
Flavin’s “gaseous images” illuminate the landscape of the Kunstmuseum Basel
Legendary minimalist artist Dan Flavin (1933–96) began working with fluorescent light tubes in the early 1960s. Arranged in “situations,” he would then further develop them into series and large-scale installations. His pieces often included dedications, making reference in their titles to concrete events, such as wartime atrocities or police violence, or to other artists. The colors and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works. The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art, triggering sensual, almost spiritual experiences. Flavin liberated color from the two-dimensionality of painting. This catalog looks at Flavin’s oeuvre in a less familiar setting: the indoor and outdoor spaces of the Kunstmuseum Basel.
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FORMAT: Hbk, 8.75 x 11.25 in. / 256 pgs / 150 color. LIST PRICE: U.S. $70.00 LIST PRICE: CANADA $105 ISBN: 9783753306094 PUBLISHER: Walther König, Köln AVAILABLE: 11/19/2024 DISTRIBUTION: D.A.P. RETAILER DISC: FLAT40 PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Published by Walther König, Köln. Edited with text by Josef Helfenstein, Olga Osadtschy. Text by Aden Kumler, Simon Baier, Elena Degen, Jules Pelta Feldman, Aden Kumler, Daniel Kurjakovic, Han Lo, Mechtild Widrich.
Flavin’s “gaseous images” illuminate the landscape of the Kunstmuseum Basel
Legendary minimalist artist Dan Flavin (1933–96) began working with fluorescent light tubes in the early 1960s. Arranged in “situations,” he would then further develop them into series and large-scale installations. His pieces often included dedications, making reference in their titles to concrete events, such as wartime atrocities or police violence, or to other artists. The colors and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works. The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art, triggering sensual, almost spiritual experiences. Flavin liberated color from the two-dimensionality of painting. This catalog looks at Flavin’s oeuvre in a less familiar setting: the indoor and outdoor spaces of the Kunstmuseum Basel.
