Robert Irwin, South South West (2014-2015), via Pace Gallery
Currently on view at Pace Gallery’s W. 25th Street location is a set of new, “site-conditioned” works by Light and Space pioneer Robert Irwin, continuing the artist’s ongoing experimentation with the perceptual capacities of fluorescent lighting, and the complementary reactions of color, shadow and spacing. (more…)
Robert Irwin, #3 x 6’D Four Fold (2013-14)
Galerie Thomas Zander in Cologne is currently presenting seven new works by California Light and Space pioneer Robert Irwin, which use direct and generated light as the source medium to deliver a subtle yet striking aura inside the gallery space. As is common in Irwin’s practice, the artist specially designed the pieces on view to work in tandem with the architecture of the gallery, making the harmony of their glowing light with the space surrounding them all the more vivid and charged. Each work contains vertical fluorescent tubes in varying colors, effectively deconstructing the borders of art making and its dimensions in terms of suggesting unconventional layers in the frame of an artwork. (more…)
Robert Irwin, Who’s Afraid of Red, Yellow & Blue³ III, all images courtesy Pace London
Currently, Pace London‘s 6 Burlington Gardens location is presenting the gallery’s first exhibition of works by American artist Robert Irwin. The new work springs from the artist’s pioneering practice during the West Coast’s monumental Light and Space movement. Born in 1928, Irwin has been exploring the concepts of perception and space for over sixty years. Beginning as a painter, he was a foundational member of the Light and Space movement in the 1960s, helping to develop a concept of art as a response to specific life experiences in equal measure with the work’s surrounding environmental conditions.
Robert Irwin, Black Rectangle – Scrim Veil – Natural Light (1977), via The Whitney
The immediate effect upon entering Robert Irwin’s full-room installation at The Whitney Museum is one of disorientation. A single black runs along the outskirts of the room, interrupted by the enormous window at one end of the space. Through the middle of the room runs an even larger black line, seemingly suspended in mid-air. The eye swims around this phenomenon, unsure of the depth of the room, or the origin of the line until one notices the large veil bisecting the room, leaving about 6 feet of clearance for viewers to walk under.
Robert Irwin sets up his installation at the Whitney in 1977, via New York Times (more…)
