Frank Lloyd’s blog

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Posts Tagged ‘Light and Space

Continuing Interests

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FBL245 copyThe artists in our current show, Translucence, were all active in the 1960s. Their work is linked by their shared interest in transparency, light, reflection and the awareness of visual perception. Although they are frequently united under the label of Light and Space, and strongly associated with the late 1960s and early 1970s, it’s important to note how these artists’ work has evolved.

Our current show presents historical and contemporary examples of artwork. For instance, Larry Bell’s well-known form, the glass cube, is presented alongside work from his most recent series, the “Light Knots.” Working in diverse materials, Bell achieves complex visual effects through his use of thin film deposition – resulting in objects that absorb, transmit, and reflect light, thus calling into question the nature of the physical and visual spaces they inhabit.

Sensuous color characterizes Craig Kauffman’s practice, and FKN125 copyplastic allowed him to expand on and enhance this sensibility. Suspended from the ceiling, Kauffman’s Untitled Loop from 1969 radiates luminous color, casting reflections on the surrounding walls. His more recent wall reliefs pulse with layers of iridescent paint, applied in thin layers to achieve a glowing, atmospheric quality.

FHP003 copyHelen Pashgian’s work, like that of many of her contemporaries, used the new possibilities offered by industrial mediums to manipulate and explore visual and physical phenomena. Her practice constitutes an ongoing investigation into the interaction between light, color, and three-dimensional form. Like her historical spheres, Pashgian’s recent pieces explore the perceptual relationship between color and structure, blurring the borders between these principles. As the viewer moves around her work, colors and shapes advance and recede within each piece, creating an effect of instability.

Written by Frank Lloyd

September 11, 2013 at 12:49 am

Turrell and Bell

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James Turrell’s retrospective exhibition opens next week at LACMA. There will be simultaneous installations at the Guggenheim and the Museum of Fine Arts, Houston, and I just read a superb article published by the LA Times, written by Jori Finkel, about Turrell.  All of the recent press about James Turrell’s three upcoming museum exhibitions, complemented by his concurrent solo show at the Kayne Griffin Corcoran Gallery, has me thinking about Light and Space artists. The term “Light and Space” is usually used to refer works made by a certain group of West Coast artists. I’m in agreement with Dawna Schuld, who wrote in 2011 that “while it is a useful and historically established label, “Light and Space” is also misleading in describing this art, because it overlooks the essential integrative ingredient, which is perception.”[1]

The Aquarium_1962-1963Perceptual phenomena—especially visual phenomena—are the central focus of many Los Angeles artists’ work, rather than the material processes they use to achieve their goals. For example, I sometimes see writers link Larry Bell’s work in glass to the hot-rod car culture of Southern California. However, the obsession with perfect, gleaming surfaces relates only superficially to Larry’s interests. He never drove a hot-rod or participated in car culture, and was involved in the folk music movement of the late 50s, hardly a “slick” scene. But Larry was there at the leading edge of artists’ investigations into visual perception.

Some of the most interesting origins of the movement are Leaning Room_1986-1987_Installation at MOCA Temporary Contemporary_1experiments that Turrell and Robert Irwin participated in with the late Edward Wortz, who was then working at Garrett AiResearch in aerospace perceptual psychology. As cited in Lawrence Weschler’s book Seeing is Forgetting the Name of the Thing One Sees, there was also a conference of architects and experts that was held in Venice in 1970, titled “The National Symposium on Habitability”. Larry Bell created two different rooms in his Market Street studio, which explored the concept of habitability. The first of these spaces was described by Wortz as “so oppressive that it was never used. People would just go in, turn around, and leave.”[2] He constructed the second room with walls which were “angled in such a way as to render the space extremely reverberant, so that people kept having to scoot their chairs closer and closer in order to hear one another.”[3] Bell also designed and installed the “Blue Room” (pictured on the right), which has been re-created for MOCA and for his survey show in Nîmes.

FBL069Stephanie Hanor did a great job describing the relationship between process and perception, writing in her 2011 essay that, “While the Los Angeles artists acknowledged the impact of location, their primary interests were the nature of perception and of the relationship between observer and observed, the subject and the object; their use of new industrial materials and processes was in service of investigating this dynamic.”[4]

Larry’s work, like that of other artists who are often placed in the Light and Space movement, focuses on awareness of human perception. Whether he was creating the illusion of volume in paintings, constructing experimental environments, or using metallic particles to interfere with the passage of light through glass, Larry’s work defies our expectations. By asking viewers to reconsider what they’re looking at, his art creates a perceptual experience that allows us to see the work, and the world, in new ways.

[1] Schuld, Dawna. “Practically Nothing: Light, Space, and the Pragmatics of Phenomenology.” In Phenomenal: California Light, Space, Surface. (Berkeley and Los Angeles: University of California Press, 2011), 109.

[2] Weschler, Lawrence, quoting Edward Wortz. Seeing is Forgetting the Name of the Thing One Sees. (Berkeley and Los Angeles: University of California Press, 1982), 132-133.

[3] Ibid.

[4] Hanor, Stephanie. “The Material of Immateriality.” In Phenomenal: California Light, Space, Surface. (Berkeley and Los Angeles: University of California Press, 2011), 128.

Written by Frank Lloyd

May 18, 2013 at 12:48 am