Español | English
Facebook  Twitter  Instagram
Dan Flavin / Donald Judd
Exhibition view
Exhibition view
Dan Flavin. Untitled (to Véronique), 1987 Height: 96 in / 244 cm Red, yellow, blue and green fluorescent light
Dan Flavin. Untitled (to Annemarie and Gianfranco) 4, 1989 Height: 96 in / 244 cm. Pink, yellow and green fluorescent light
Dan Flavin. Untitled (To Rainer 2), 1987, H: 89,8 in / 228 cm Cool white and warm white fluorescent lights
Dan Flavin. Untitled (to Charlotte), 1987, Height: 96 in / 244 cm. Pink, red, yellow, blue and green fluorescent light
Dan Flavin. Untitled (To Ksenija), 1985, Height: 96,06 in. 244 cm. 5 fluorescent lights (two green, one blue, one yellow and one pink)
Dan Flavin. <i>For the Citizens of the Republic of France on the 200th Anniversary of Their Revolution</i>, 1989, 43,5 x 55,9 cm. Colored pencil with pen and ink on graph paper.
Dan Flavin. <i>For the Citizens of the Republic of France on the 200th Anniversary of Their Revolution</i>, 1989, 43,5 x 55,9 cm. Colored pencil with pen and ink on graph paper.
Donald Judd. Untitled (MENZIKEN 91-49), 1991, 9 7/8 x 39 ¼ x 9 7/8 in 25 x 100 x 25 cm. Clear anodized aluminium and opaque yellow plexiglass
Donald Judd. Untitled (LEHNI 85-20), 1985, 30 x 60 x 30 cm 11 ¾ x 23 ¾ x 11 ¾ in. Pulver on aluminium
Donald Judd. Untitled (Bernstein 88-26), 1988, 5 ½ x 69 x 8 ½ in 14 x 175,3 x 21,6 cm Anodized aluminum
Donald Judd. Untitled (Menziken 87-46), 1987, 25,4 x 114,3 x 25,4 cm 10 x 45 x 10 in Aluminium and red Plexiglas
Dan Flavin / Donald Judd
10/09/2013 - 26/10/2013
Galería Elvira González is pleased to announce the launching of the new season with a joint exhibition of work by Dan Flavin and Donald Judd. The exhibition will include a selection of pieces dating from the 1980’s and 90’s, emphasizing the profound aesthetic affinities between the two American minimalist artists, who were not only peers and colleagues, but also close friends.

Dan Flavin and Donald Judd are regarded as two of the most important artists of the second half of the 20th century. The Galería Elvira González regularly exhibits the work of both artists, including a 2009 exhibition of Donald and a 2001 exhibition of Flavin.

Dan Flavin
(New York, 1933-1996) pioneered the use of fluorescent light as sculptural material. His work sculpts light itself, changing each time it is exhibited as it integrates itself into the architecture of different spaces. Flavin’s wide-ranging and varied personal background included studies for the priesthood in a Catholic seminary in Brooklyn and a stint in the U.S. Army Air Forces, finally culminating in his definitive decision to become an artist in the late fifties. This background was key to the development of his work, which according to the critic Fernando Huici is "based on chromatic atmospheres of intense mystical resonance and resolves, with revolutionary solutions, the religious concerns that shaped his artistic education.”

Throughout his career Flavin made over 750 light sculptures, including permanent installations integrated into the architecture of buildings and institutions such as New York’s Grand Central Station, the lobby of the MetroTech Center building in New York, the facade of the Hamburger Bahnhof Museum in Berlin, the six buildings of the Chinati Foundation in Marfa, Texas, and the  church of Santa Maria Annunciata in Chiesa Rossa, Milan.

Flavin’s work has been exhibited in galleries and museums around the world, such as the Kunstmuseum and the Kunsthalle in Basel, the Museum of Contemporary Art in Los Angeles, the Musée d'Art Moderne de la Ville de Paris, the Fundación Proa in Buenos Aires, and in the National Gallery of Canada, in Ottawa (where the first retrospective of his work was organized in 1969.

Donald Judd
(Missouri, 1928 - New York, 1994) also had a varied background - including working as an engineer during his military service, studies in philosophy and art history at Columbia University, working as a professional art critic - before establishing himself definitively as an artist.

In his work, Judd always sought independence and clarity, both for his own objects as well as for the spaces he established to exhibit them. He abandoned painting in the early sixties, and began -in particular from 1964 onward - to make a kind of industrially produced artwork that he referred to as "specific objects," rejecting the term "sculpture" as being too referential and laden with art historical significance. His passion for architectural space and how it can be inhabited led him to design furniture for his own use, and which today is still highly influential in the realm of contemporary furniture design.

In 1968 Judd purchased a five-story 19th century building in SoHo, New York, to use as his home and studio. In the following years he renovated and decorated the entire building, including the installation of work he acquired by other artists. Always seeking an ideal environment for his own work, in 1986 Judd created the Chinati Foundation in the desert location of Marfa, Texas. There, in a series of large, rehabilitated industrial spaces, Judd’s  large-scale work is on permanent display, along with work by his contemporaries, including Flavin.

Beginning in the 1960s, Judd exhibited regularly and widely at galleries in New York as well as across the U.S., Europe, and Japan. During his lifetime, major exhibitions of Judd’s work occurred at The Whitney Museum of American Art, New York (1968, 1988); The National Gallery of Canada, Ottawa (1975); Stedelijk Van Abbemuseum, Eindhoven, The Netherlands (1987); and The Saint Louis Art Museum (1991), among other museum exhibitions. More recent exhibitions have taken place at The Museum of Modern Art, Saitama, Japan (1999); Walker Art Center, Minneapolis (2001); Tate Modern, London (2004); The Pulitzer Foundation for the Arts, St. Louis, Missouri (2013-2014), among others.