Dan Flavin (1933-1996)

Research using journals


This week’s research of using journals for finding articles about Dan Flavin and Tony Oursler proved quite difficult.


First I looked at photos of their work on the Internet, and then I went through countless number copies of art journals and magazines for finding some information. After hours of fruitless research in the library, I had to realise that this was clearly not the most effective way to complete this particular exercise. Strategy had to change and I decided to use e-resources for finding references, which then could be used for locating the referred hardcopy periodicals kept in the library for full articles.

After a short while into my research, I started looking for Dan Flavin related writings only, because I became interested in his work when I saw his installations.


Dan Flavin used commercially available fluorescent lights, fixed straight or in different angles on the walls.  Most of the lights are mounted flat however some turned outwards from the wall facing into the gallery space. The vibrancy of these tubes, the projection of colours onto the wall and floor and the ambience of the room remind me of churches with stained windows. I felt that the light is the statement in Dan Flavin’s creations and its effect on the surrounding is as secondary element. The viewers’ presence and their silhouette are crucial part of each piece, and visiting his exhibitions in person must be not only a visual but overwhelming experience. The symmetry in which these strip lights are placed and the spread of colours that surrounds and envelopes the viewer gives a secure feeling. The electric glow, filling the space with energy is inviting and captivating.


Eventually I found an article in the Artforum International, written by Jeffrey Kastner on the occasion of Flavin’s site specific installation in the David Zwirner Gallery. As I was wondering about his affection to standard, readymade fluorescent lights and what might have been his intention with their exclusive use, this article, partly with his own words, provided me with an aspect of his work.


“Flavin’s work is actually as much about the lights as it is about the light; about what he himself called “a clearly, openly, plainly delivered….’get-in-get-out’ situation,” conspicuously lacking “overwhelming spirituality” and purposefully refusing to extend any “invitation to meditate, to contemplate.””


However, the way I feel, and as the article finishing lines describe “a clear invitation to pause and contemplate, and produced the sort of overwhelming sensory experience that will no doubt be later remembered, rightly or wrongly, as awe.”


Looking at his work I understand that we take light for granted but when only the light and its source are visible in an empty space, we come to notice its significance in our life.

Alternating Pink and "Gold" (1967) via David Zwirner

Untitled (to Helga and Carlo with respect and affection)

(1974) via David Zwirner

Kastner, J "Dan Flavin: DAVID ZWIRNER." Artforum International 48.6 (Feb 2010) p.196