Last night the Saint Louis Art Museum presented a lecture with Tiffany Bell, co-curator of Dan Flavin A Retrospective which just closed in Chicago. Her talk was entitled “Fluorescent Light as Art” and I thought I would post a few of the interesting points she raised.

Flavin used fluorescent lights in his art work, not neon. I never knew this, but neon lights are typically used for individualized purposes, such as specific signage, whereas fluorescent lights are used in more everyday situations, such as overhead lighting.

Tiffany Bell is currently working on Flavin’s Catalogue Raisonnee. Some of the interesting challenges she noted were the fact that his works are easy to copy, the lights are commercially available only as long as the companies who create them are still in business, and that his works are ephemeral. About this ephemeral quality, Flavin compared his exhibitions to being like a traveling minstrel who presents his song and then disappears.

Another interesting challenge of Flavin’s work is authenticity. He first treated the lights as sculptures and would sign the bulbs. However, this was problematic when the lights burned out and had to be replaced. He quickly stopped doing that and would instead sell the works with a drawing and installation details. After that he started creating certificates of authenticity–first statements on gallery stationary, and then more formal certificates which included detailed descriptions and a seal. Unfortunately, some thought owning a certificate meant they could recreate his works at will, which Flavin opposed. If someone lost or discarded the purchased fixtures but still had his certificate, Flavin would not recreate the work. He would also not reissue lost certificates. This was to promote the care of his art work.

Another interesting aspect she spoke about was editions and dates for his work. She mentioned how he carried a notebook with him to make drawings and would date these. The art work then may not be actually created for many years, but he would date it based on that original drawing and conception.

Flavin had 10 colors of storebought lights that he used: pink, yellow, blue, green, red, ultraviolet, and four different whites. He learned how to mix the lights to create different colors and effects.

Here’s a picture of the Flavin in our exhibition, paired with Roni Horn’s Untitled (Yes).

I am very excited to announce, right here on the blog, and before the official press release goes out:

September 24th, at 2pm, Richard Serra and Guggenheim curator, Carmen Gimenez, will give a public discussion about Serra’s work and the installation at the Pulitzer, Brancusi and Serra in Dialogue. Gimenez curated last year’s Brancusi exhibition at the Guggenheim New York and Tate Modern, as well as Serra’s installation this summer at the Guggenheim Bilbao.

The talk takes place on Saturday, September 24th, and will be held at the Contemporary. Afterwards, there will be a reception in our connecting courtyard.

So now you’re frantically thinking, “How do I get tickets?? How much will something as incredible as this cost??” Excellent questions. First of all, the event is FREE. I know! It’s true! Seating to the event will be ticketed, however, and there are 200 available so act quick. If you aren’t able to score one of these, non-ticketed standing room will also be available. Register for tickets on the Contemporary’s website or call 314-535-0770 ext. 215.

I mean, really, can you imagine a better Saturday afternoon? I don’t think so!