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Although Flavin’s earliest fluorescent works were installed on the walls like paintings, early on he began to explore the full space of the room, exploiting the overlooked margins. In 1964, at Flavin’s first solo exhibition at the Green Gallery in New York, for instance, the artist hung a primary picture at the edge of the gallery wall, adjacent to a doorway. In occupying the edge, where wall meets empty space, Flavin abandoned the conventional space of art and allowed the art object to address the interior in a new way. With an ironic twist, Flavin constructed the fluorescent lights as a rectangle surrounding a void, mimicking the shape of a picture frame and mocking the rigid traditions of art. (continue) |
