Serpentine Gallery, London,
through 23 September 2001.
For example, Flavin liked to refer to the texts of the l4th century monk-philosopher William of Ockham, (‘no more entities should be referred to than are necessary’, said William.) In ‘The Nominal Three’ (l963–64) Flavin dedicates the series of one, two and three equally spaced-out, vertical light tubes, to the monk. There have been subsequent dedications; to Henry Matisse, to a Mrs Reppin (her survival), to Flavin Starbuck Judd, to Piet Mondrian who lacked green, to Jan and Ron Greenberg, and others. Looking back now at the Serpentine over 30 years of ‘proposals’, and more, one is reminded not so much now of the originality of the medium, as of its historical quality of resonance. The fluorescent light tube is also obsolescent by its very nature – but never, one trusts, actually obsolete – obsolescent in the way it dies out flickering, like a candle in the wind.
By night too, Flavin’s work should be independent of its location, defining its own limits. And yet, the best examples seem always to complement the room corridor, or entire building that they illuminate so positively, yet so fleetingly, in the end. In Giuseppe Panza’s collection at Varese (Villa Litta), Flavin’s ‘Varese Corridor’ was memorable, 1974, illuminating a long, vaulted corridor from horizontal strips fixed midpoint: a perfect complement to his friend Don Judd’s own sublime ‘Varese Window’, looking out to the pine foliage. At the Serpentine Gallery, by contrast, the long, trellis-like array of regular tubular squares, ‘untitled (to you Heiner with admiration and affection)’, l973, perfectly complements the long gallery there, with its floor-to-ceiling, astragal framed windows. Looking in from Hyde Park (always a two-way bonus at the Serpentine) one is also dramatically aware of ‘greens crossing greens (to Piet Mondrian who lacked green)’, 1966. Here, Flavin assumed the mantle of revising modernism, punning the primary coloured inherited dogma of early moderns, introducing green, as of nature. Likewise too, from inside the gallery, the leafy tree canopies of the park seem mysteriously to be washed in an enigmatic pink; landscape turned synthetic by conversion. So do worlds unite – and Dan Flavin stands the undoubted master of the big proposal.
The Serpentine Gallery, in 2001, has had its best year ever it seems. One can now step outside to the cool splendour of Daniel Libeskind’s café-pavilion. Here too – in parenthesis – the denial of ‘postmodernism’ as having any lasting relevance other than as a diverting interval can be found. Both Flavin and Libeskind will stand in history as modern masters, of a modernism that is constantly revising, and evolving from the 20th century through the 21st. Could Tate Modern not now acquire the ‘temporary’ Libeskind pavilion, and locate it permanently in the Turbine Hall? That truly would be a meeting point; a superb antechapel to the cathedral of art. Why? Why not? Well, it is only a ‘proposal’.
The Sculpture of William Turnbull – book review
William Turnbull remains an important survivor of the British generation of sculptors whose early career was, for the most part, interrupted by war service. In his case, this episode helped to broaden his human and cultural experience. As an RAF flying boat pilot he served mainly on Catalinas, in several countries. Turnbull's early artistic training was at Dundee, where he grew up, and later at the Slade.
The portrait sculpture of Celia Scott
To open a door and enter a room where there are foregathered a dozen individuals, chiefly architects - James Stirling, Richard Meier, Michael Graves, Peter Eisenman, Sandy Wilson, Ed Jones, MJ Long, Alan Colquhoun, John Miller and Colin Rowe - would be to realise, from the temporary hush, that one has stumbled into a hall of fame. It is a rare event to come upon a sculptor like Celia Scott - first, an architect by training, but also trained at art school - whose work is of an exceptionally high order in sculpting heads.
An essay on sculpture. Studio International, 1969, Volume 177, No 907: 12-13
The emergence of a kind of sculpture in the last few years that is distinguished from previous sculpture by two main characteristics – that it stands on the ground rather than on a base, and is made of easily available “industrial” rather than expensive conventional materials – raises certain questions about the nature and aims of sculpture, and its relation to reality.
The Arthur M Sackler Museum of Art and Archaeology, Peking University, China
Arthur M Sackler Museum of Art and Archaeology at Peking University – From the time of his first visit to China in 1976, Dr Arthur M Sackler had expressed a deep interest in helping the archaeologists and art historians of that country in their efforts to conserve the rich heritage of their ancient culture.
MVRDV KM3: Proposals for Chinese Cities
MVRDV KM3: Proposals for Chinese Cities – if you think that you will be stepping into a familiar exhibition space, think again. Once inside, you feel like Gulliver travelling in the land of Lilliput, with representations of city skyscrapers as tall as you are. The city itself has been brought into the 4.2 m high, 1,000 sq m1 exhibition space of the Shanghai Gallery of Art, as a 1:50 scale model.