A
Appropriation Art
A
Arte Povera
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Classic In The Contemporary
H
Hip-Hop
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Minimal Art
Mono-Ha
Monochrome
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Numbers
S
Shadow
O
Optical Art
P
Performance
Provocation
S
Suffering
Skull
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Video Art


Elmgreen&dragset
A
Adel Abdessemed
Eija-Liisa Ahtila
Shusaku Arakawa
B
Marcel Bascoulard
Hicham Berrada
Alighiero Boetti
Troy Brauntuch
Marcel Broodthaers
James Lee Byars
C
Maurizio Cattelan
David Claerbout
Bruce Conner
John Coplans
D
Peter Fischli David Weiss
Peter Dreher
Marlene Dumas
E
Latifa Echakhch
F
Urs Fischer
Dan Flavin
Llyn Foulkes
Latoya Ruby Frazier
G
Vidya Gastaldon
Theaster Gates
General Idea
Gilbert & George
Robert Gober
Dominique Gonzalez-Foerster
Felix Gonzalez-Torres
Loris Gréaud
Mark Grotjahn
H
David Hammons
Damien Hirst
Roni Horn
Pierre Huyghe
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Robert Irwin
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Arthur Jafa
Ann Veronica Janssens
K
Edward Kienholz
Jeff Koons
Kurt Kranz
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Bertrand Lavier
Julio Leparc
Sherrie Levine
Sol Lewitt
Urs Lüthi
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Piero Manzoni
Julie Mehretu
Mario Merz
Antoni Muntadas
Takashi Murakami
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Bruce Nauman
Paulo Nazareth
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Albert Oehlen
Roman Opalka
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Philippe Parreno
Giuseppe Penone
Sigmar Polke
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Carol Rama
Charles Ray
Martial Raysse
Lili Reynaud-Dewar
Bridget Riley
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Anri Sala
Thomas Schütte
Cindy Sherman
Alina Szapocznikow
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Claire Tabouret
Diana Thater
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Lee Ufan
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Danh Vo
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Franz West
Doug Wheeler
Robert Whitman
Cerith Wyn Evans
palazzograssi
teens
artists
themes
info
italian
Dan
Flavin

opera tag

>Monument for V. Tatlin

theme tag

In neon we trust!

When we find ourselves looking at neon tubes in a museum, they often belong to a work by Dan Flavin. Flavin used this material for the first time in 1963 for his work ‘Diagonal of May 25’. From then on, neon reappears in almost all of his works. Flavin is fascinated by industrially produced objects; but what interests him most is light and its capacity to redefine everything around it. Light makes the tube invisible, turning the solid object into a spiritual vision. Material or immaterial? Physical or evanescent? Finite or infinite? These are the paradoxes that make Dan Flavin’s work both mysterious and fascinating.


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In neon we trust!

When we find ourselves looking at neon tubes in a museum, they often belong to a work by Dan Flavin. Flavin used this material for the first time in 1963 for his work ‘Diagonal of May 25’. From then on, neon reappears in almost all of his works. Flavin is fascinated by industrially produced objects; but what interests him most is light and its capacity to redefine everything around it. Light makes the tube invisible, turning the solid object into a spiritual vision. Material or immaterial? Physical or evanescent? Finite or infinite? These are the paradoxes that make Dan Flavin’s work both mysterious and fascinating.


Condividi





ethical code