PARTES r

WITHDRAWN FROM THE LIBRARIES

Of CASE WESTERN RESERVE UNIVERSE'
Light: Object and image

v
Light: Object and image

by Robert Doty

#J^"<:

bibliography by Neil L.Hart

Whitney Museum ol American Art

New York
Whitney Museum of American Art

Trustees Staff

Flora Whitney Miller, Chairman of the Board John I. H. Baur, Director

David M. Solinger, President Lloyd Goodrich, Advisory Director
Flora Miller Irving, Vice President Stephen E. Weil, Administrator
Alan H. Temple, Secretary and Treasurer John Gordon, Curator
Arthur G.Altschul Margaret McKellar, Executive Secretary
John I. H. Baur William C. Agee, Associate Curator
Henry F. du Pont Robert M. Doty. Associate Curator
Armand G. Erpf Libby Seaberg, Librarian
B. H. Friedman Eugene N. Lewis, Acting Head,
Lloyd Goodrich Education Department
W. Barklie Henry Leon Levine, Public Relations
Michael H. Irving Margaret M. Watherston, Conservator
G. Macculloch Miller
Hermon More (honorary) Amelia McCall Penders, Assistant Secretary
Roy Xeuberger
R. Althea Borden, Personnel Supervisor
Mrs. Laurance S. Rockefeller Sally J. Kuhn, Executive Secretary
Robert W. Sarnoff Friends of the Whitney Museum
Benno C. Schmidt Frank Russell, Sales & Information
Cornelius Vanderbilt Whitney Marie Appleton
Mrs. John Hay Whitney John Murray, Superintendent
John E. Martin, Head Preparator
Gertrude Vanderbilt Whitney, Founder

Exhibition Dates
Copyright 1968 by the Whitney Museum Whitney Museum of American Art, New York
of American Art, New York July 23-September 29, 1968

Photographs by Geoffrey Clements, The Memorial Art Gallery, University

John Ferrari, Nicholas Samardge of Rochester, Rochester, New York
October 25-December 8, 1968
Designed by Helen Kirkpatrick
Printed in the United States of America
Everson Museum of Art, Syracuse, New York
January 5-March 2, 1969
by Princeton Polychrome Press,
Princeton, New Jersey Root Art Center, Hamilton College,
Type composition by Huxley House, Ltd.,
Clinton, New York
New York February 23-March 22, 1969
(No. 4-11 only)

i
over. Stanley Landsman: Snooker [detail]. 1968.

Lent by Leo Castelli Gallery.


On behalf of the Whitney Museum of American
Art, I would thank the following
like to
individuals, who have given assistance in many
ways: Mrs. Eugenia Butler, Gallery 669, Los
Angeles; Mr. John Coplans, Curator,
Pasadena Art Museum; Mrs. Jill Kornblee,
Kornblee Gallery, New York; Miss Jane Morris,
Howard Wise Gallery, New York; Mr. Allon
Schoener, Visual Arts Program Director,
New York State Council on the Arts, New York;
Mrs. Nancy Singer, Nancy Singer Gallery,
St. Louis; Miss Naomi Spector, Fischbach Gallery,
New York; Mr. Gerd Stern, USCO/ Intermedia,
Garnerville, New York; Mr. John L. Taylor,
Assistant Director, Milwaukee Art Center; Mr.
John Weber, Dwan Gallery, New York; Mr.
Howard Wise, Howard Wise Gallery, New York.
Much of the initial research and all of the
bibliographical references have been prepared by
Mr. Neil L. Hart of Allegheny College and the
Museum's Independent Study Program. His aid
and enthusiasm have been invaluable.
Special assistance has been given by my
colleagues: Mr. John I. H. Baur, Mr. John Castro,
Miss Gail Korn, Mr. John Murray, and Mrs.
Libby Seaberg.
For assistance with the information column by
USCO Intermedia, we are most grateful to:
Schweber Electronics, Westbury, New York;
General Electric Company, Photolamp Division,
Acknowledgements
New York; Metromedia, New York; Rotron
Manufacturing Company, Woodstock, New York;
Mr. John Samuel Margolies; and Mr. EvanderD.
Schley.
The tour and catalogue have been made
possible through the Museum Aid Program of the
New York State Council on the Arts.
Eventually, it is the artists and their
representatives who have made the exhibition
possible and they have our deepest appreciation.
A generous grant from the Radio Corporation of
America has helped subsidize the unusual costs
of constructing certain pieces.
R.M.D.
Lenders
New York
Leo Castelli Gallery,
Dwan New York
Gallery,
Fischbach Gallery, New York
Milwaukee Art Center, Milwaukee
Nancy Singer Gallery, St. Louis
Howard Wise Gallerv, New York
introduction
The use of artificial light as a means of creating
works of art is now widely accepted practice.
The most successful practitioners of the medium
have progressed from the arrangement of the
simplest light bulbs and wires to the manipulation
of extremely sophisticated electronic
components. Their advances have been
celebrated in many exhibitions and publications.
Indeed, 'light art' has been the subject of
lengthy and comprehensive review in both the
critical and popular press, an attention
prompted by an ever more adventurous society.
Since publicity has done as much to obscure
as to clarify, it is the intention of this exhibition
to examine the new medium and its
the traditional formats of object and image.
This is a technological age, which has fostered
the greatest scientific accomplishments since
Thomas Watt founded the Industrial Revolution.
Today the younger artist is freed from traditional
attitudes about media and has become very
conscious of new developments, including
materials such as plastics, equipment such as
lasers and concepts such as space-time. The artist
is eager to assert his role and right to be an
explorer,and regards experimentation with new
He is committed to the
materials as a virtue.
immediate environment, the physical world, the
concept that any object or material, no matter
how base, is suitable for his purposes. This
attitude is now part of a tradition in which
Marcel Duchamp, the Italian Futurist
and the German Bauhaus may be cited as
outstanding examples. In fact, it has become such
a routine practice that the painter Larry Rivers
could remark, "Michelangelo saw marble around
him and worked with it, I use electricity. What's
1
the difference?"
Natural light has always been one of the
primary concerns of the artist, both painter and
sculptor. To name but a few of the major
developments in art that involved awareness of
light there were the Renaissance idea of
"chiaroscuro" or modelling in light and dark
tones, the interaction of light on surface and form
in Baroque art, and the portrayal of light and
relation to atmosphere by the Impressionists. There are
many instances in which the artist portrayed
artificial light, especially during the twentieth
century in the work of the Italian Futurists and
the American painter Joseph Stella. More
recently, the sculptor-painters George Segal,
Tom Wesselman, and James Rosenquist have
employed actual artificial lights in their
constructions to intensify the sense of reality.
But even before the advent of Pop Art and its
emphasis on the real object, individual attempts
had been made to represent the quintessence of
light. In 1928, Isamu Noguchi made a study for
a neon tube sculpture appropriately entitled
Power House. The sculptor Chryssa was inspired
by the light of her native Greece and later the
monumental signs of Times Square. She worked
movement, from a series of reliefs, with surfaces and
projections designed to manipulate the play of
light, to the fabrication of sign-like forms in neon
tubes. During the 1960's several artists, working
independently but practically simultaneously,
made artificial light an integral part of their work
by simply regarding it in precisely the same
manner in which they had regarded their paint,
canvas, found object or whatever material they
used. Putting light itself into the substance of the
art object was as natural an act as reaching for a
brush or a tool on the bench. "Electric light is
just another instrument," Dan Flavin wrote.
"I have no desire to contrive fantasies
mediumistically-sociologically over it or
2
it." Chryssa refuses to be categorized as a "light
Her main concern continues to be the
artist."
creation of art objects without the dominance of
any medium. Douglas Wheeler, a resident of
Venice, California, uses light tubes within a
traditional picture-frame format to create an image
of dimensionless space. But he maintains, "I
continue to think of myself as a painter." 3
Dan Flavin is an exponent of Minimal Art, those
works which are also referred to as "object-type
art," and encourages the association of his art
with an ideology rather than a medium. For
many artists working with light the medium is
not the message, it is the means.
Attempts format for light as
to create a viable
an aesthetic experience have an extensive
history and to a great extent are the result of a
theoretical approach to light as a medium in
itself. Machines producing shirting abstract
patterns of colored light have been the subject
of experimentation in both Europe and America
since the eighteenth century. The most notable
success in this direction has been achieved by
theAmerican Thomas Wilfred, who perfected
machines he named "Lumia." The position of the
'light art' theoreticians has been summarized by
Professor Gyorgy Kepes, who wrote, "only by
accepting light as artistically autonomous, as a
world of art in itself, as plastic stuff to be molded,
shaped, and formed as freely as the clay in which
sculptors model could artists hope to find the
looked-for correspondence between their new
beyond of it
scale of experience and their artistic expression
'"*
But light is not autonomous. Natural
light, yes, but the artist must work with artificial
light and is restricted in his freedom for shaping
it by the mechanical device in which it is
contained or released. The use of artificial light
could not emerge as a fully independent medium
without imitating existing styles of image or
object making. An original aesthetic occurred
only when a point of time was reached in which
materials and certain attitudes toward the art
object were compatible.
In varying degrees, the artists who work with
light are captivated by its physical qualities as
energy. Douglas Wheeler refers to the light within
his paintings as a "fluctuating miasma," 5 and
Dan Flavin writes, "regard the light and you are
fascinated inhibited from grasping its limits at
each end." 6 The active, vibrant quality of light
is an essential attraction for both artist and
spectator. Equally desirable is the inherent power
to cause change. Dan Flavin and Stephen
Antonakos use light to nullify space while
Boyd Mefferd and Howard Jones apply control
mechanisms to alter the presence of the work
itself. But passion for technology contains a trap.
Too often the artist who becomes involved with
the complexities of mechanical and electronic
devices emerges as an inventor or gadgeteer, and
his goal, the creation of an esthetically significant
work, is lost. Much 'art' has been justified
recently in the name of technology. Overawed by
technique, the artist too often forgets his
intentions and becomes a victim of his own tools
and materials. But some regard technology as
no more than means to an end. Flavin accepted
the apparently undesirable industrial stigma of
the fluorescent lamp fixture; Preston McClanahan
perceived that he could realize his intentions
for light by using plexiglas as a transmitter; and
Stephen Antonakos saw that neon tubing was
an object as well as a drawing in space. Their
comprehension of the medium was matched by
their acumen for its substance.
The charismatic nature of light is forcing a
change in the specific relationship between the
spectator and the work, as well as in the artist's
concern for that relationship. The active quality
allows the work to literally force itself upon the
spectator, involve him, cloak him in its own
substance. The passive nature of megalith and
menhir is being replaced by the action of actinic
rays.The group called USCO is now a vanguard
in themovement to break down categories,
media, space, form, and by using projection
devices, film, stroboscopes, create a totally new
environment for sensory reaction. The insatiable
desire for action on the part of artist and
spectator alike has made artificial light one of
the most salient mediums in art today.
"Artists who now make light paintings and
electronic sculptures are forcing new materials
toconform with the old esthetic framework." 7
Boyd Mefferd's statement is both fact and
challenge. Much of the significant work in the
medium has been done by those artists who
applied artificial light to the problems of creating
an object or image. This exhibition is intended
to emphasize that fact. Whether or not the
involvement of artist and technology will breed
a new format, a new esthetic framework, remains
a question and the challenge. Artificial light, and
its allied technical fields, is the fastest growing
area in the arts today. Discoveries in theoretical
and applied science seem to be limitless, and the
artist will try to use whatever information and
materials the scientist can produce. Certainly, the
search for media is now a journey that will
never end.
Stephen Antonakos: Red Neon from Wall to Floor. 1966. Lent by Fischbach Gallery.

Born 1926, in southern Greece. Educated in the
United States as a commercial illustrator and
practiced that profession for twelve years.
Became aware of collage technique upon seeing
an exhibition of work by the Italian artist Alberto
Burri. Began working exclusively with
constructions made from fabrics or found objects
in 1954. and brought the work to a conclusion in
1964. with the series called Pillows a
transformation of the familiar object to an
unfamiliar condition. Light materials appeared in
several constructions, such as the word 'dream'
made from neon tubing, and in 1962. he made two
works with neon the principal material. Attracted
to the color and flexibility of neon, as well as to
its inherent potential for change. States
unequivocally that he is a sculptor. All works
based on formal arrangements of straight and
curved lines, which become a foundation for light
as a vibrant, pervasive image of color.
Exhibitions
One-man: University of Maine. Orono. Maine.
1958: Avant-Garde Gallery. Xew York. 1958;
Byron Gallery. New York. 1964: Miami Museum
of Modern Art. Miami. Florida. 1964: Schramm
Galleries. Ft. Lauderdale. Florida. 1964: Fischbach
Gallery. Xew York. 1967. 1968. Group: Artist
Gallery. Xew York. 1957. 1958: Miami Museum of
Modern Miami. Florida. 1958: "Xew Forms
Art.
Xew Media. I," "Xew Forms Xew Media, II."
Martha Jackson Gallery. Xew York. 1960: Allan
Stone Gallery. Xew York. 1961, 1962: Byron
Gallery. Xew York. 1963: All Fur Art." Allan
Stone Gallery. Xew York. 1964: "Around Travel,"
PVI Gallery. Xew York. 1964: "100 American
Stephen Antonakos
Drawings." Byron Gallery. Xew York. 1964: "100
Artists." Xew York. 1965: "65 Self
PYI Gallery.
Portraits." Visual Arts Gallery. Xew York. 1965:
"The Xew American Realism." Worcester Art
Museum. Worcester. Massachusetts. 1965:
"Contemporary Erotica," Van Bovenkamp
Gallery. Xew York. 1965: "Xew Acquisitions."
Finch College Museum. Xew York. 1965: "Faculty
Exhibition." Brooklyn Museum Art School.
Brooklyn. Xew York. 1965: "Annual Exhibition
of Sculpture and Prints." Whitney Museum of
American Art. Xew York. 1966: "Art in Process."
Finch College Museum. Xew York. 1966:
"Contemporary American Sculpture: Selection
[," Whitney Museum of American Art. Xew York.
1966: "Current Trends in American Art."
Westmoreland County Museum. Greensburg,
Pennsylvania. 1966: "Faculty Exhibition."
Brooklyn Museum Art School. Brooklyn. Xew
York. 1966: "Flint Invitational." Flint Institute of
Arts. Flint. Michigan. 1966: "Kunst Licht Kunst."
Stedelijk van Abbemuseum. Eindhoven. The
Netherlands. 1966: Philbrook Art Institute. Tulsa,
Oklahoma. 1966: "Sound Light Silence: Art That
Performs." Nelson Gallery-Atkins Museum.
Kansas City. Missouri. 1966: "American Sculpture
of the Sixties," Los Angeles County Museum of
Art. Los Angeles. & Philadelphia Museum of Art.
Philadelphia. 1967: "the 1967 Pittsburgh
International," Carnegie Institute. Pittsburgh.
1967: "Focus on Light." The New Jersey State
Museum. Trenton. Xew Jersey. 1967: "Light and
Motion." Worcester Art Museum. \Yorcester,
Massachusetts. 1967: "Light /Motion/Space."
Walker Art Center, Minneapolis, & Milwaukee
Art Center. Milwaukee, 1967: "'Sculpture
inEnvironment." New York City Parks
Department, 1967; "The Visual Assault," Georgia
Museum of Art, University of Georgia. Athens,
Georgia, 1967; "The Magic Theatre," Nelson
Gallery-Atkins Museum, Kansas City,
Missouri, 1968.

Bibliography
Art News, 63:53, May 1964.
Arts Magazine, 41:61, April 1967.
Baker, Elizabeth C, "The Light Brigade," Art
News, 66:52-55, 63-66, March 1967.
Minneapolis, Walker Art Center,
Light/Motion 'Space. 1967. In cooperation with
Howard Wise Gallery, New York. Introduction by
Willoughby Sharp.
"New Talent USA," Art in America, 54:29,
July 1966.
Shulman, Leon, Light and Motion, Worcester Art
Museum, Worcester, Massachusetts, 1968.
Spear, Athena Tacha, "Sculptured Light," Art
International, 11:29-49, Christmas 1967.

Public Collections
The Aldrich Museum of Contemporary Art,
Ridgefield, Connecticut; Finch College Museum,
New York; Miami Museum of Modern Art,
Miami, Florida; The University of Maine, Orono,
Maine; Milwaukee Art Center, Milwaukee;
Whitney Museum of American Art, New York.

Born 1933, in New York City.
Claims no formal
which began as a
training for an artistic career,
child. Exhibited assemblages and watercolors at
the Judson Gallery, 1961, but "was tired of my
three year old romance with art as tragic
practice." Began a series of "icons," incandescent
1
and fluorescent lamps juxtaposed with bland,
painted square surfaces; showed two at The Green
Gallery in 1963. That same year, moved toward
completion of an electric light art by isolating a
fluorescent tube and found that "the radiant tube
and the shadow cast by its pan seemed ironic
enough to hold on alone. There was no need to
compose this lamp in place; it implanted itself
directly, dynamically, dramatically in my
workroom wall a buoyant and relentless gaseous
image which, through betrayed its
brilliance,
physical presence into approximate invisibility." 2
Expanded his conception to include "the entire
interior spatial container" and "the volume of air
space." Groups or strips of fluorescent lamps
form the object which, because it is a vehicle for
artificial light, has the omnipotence to transform
both itself and its environs. Shuns traditional
associative values; respects the neutrality of
industrial materials; refers to his work as
"proposals" and "indoor routines."
Exhibitions
One-man: Judson Gallery. New York, 1961; The
Green Gallery, New York, 1964; Kaymar Gallery,
Dan Flavin
New York, 1964; Ohio State University,
Columbus, Ohio, 1965; Galerie Rudolf Zwirner,
Cologne, Germany, 1966; Nicholas Wilder
Gallery, Los Angeles, 1966; Kornblee Gallery,
New York, 1967; Galleria Heiner Friedrich,
Munich, Germany, 1968; Galleria Sperone, Turin,
Italy, 1968; "Pink and Gold," Museum of
Contemporary Art, Chicago, 1968. Group: "New
Forms New Media I," "New Forms New Media
II,"Martha Jackson Gallery, New York, 1960;
"New Work," The Green Gallery, New York,
1963; "Black, White and Grey," Wadsworth
Atheneum, Hartford, Connecticut, 1964;
"Eleven Artists," Kaymar Gallery, New York,
1964; "New Work," The Green Gallery,New
York, 1964; "Current Art," The Institute of
Contemporary Art, Philadelphia, 1965;
"First Annual Arp to Artschwager," Noah
Goldowsky Gallery, New York, 1966;
"Flavin/Judd/Morris/Williams," The Green
Gallery, New York, 1965; "The Box Show," Byron
Gallery, New York, 1965; "The Drawing Society
New York Regional Exhibition," The Gallery of
Modern Art, New York, 1965; "Art in Process,"
Finch College Museum of Art, New York, 1966;
"Art Turned On," The Institute of Contemporary
Art. Boston, 1966; "Dan Flavin and Larry Zox,"
Kornblee Gallery, New York, 1966;
"Diagrams/Dan Flavin/Donald Judd,"
Dan Flavin: An Artificial Barrier of Blue.
Red & Blue Fluorescein Light {to Flavin Starbuck Judd). 1908.
(As installed in the Gemeentemuseum, Tho Hague. Tin- work shown in the exhibition will be a variant of this routine
Center Gallery, Washington. D.C.. 1966; "Electric "Minimal Art." Haags Gemeentemuseum. The
Art." Galerie Ileana Sonnabend, Paris, 1966: Hague. 1968: "Plus By Minus." Albright-Knox
"Four Artists." Kornblee Gallery. New York, Art Gallery. Buffalo. Xew York. 1968.
1966: "Kunst Licht Kunst," Stedelijk van
Bibliography
Abbemuseum, Eindhoven, The Netherlands.
Baker. Elizabeth C. "The Light Brigade." Art
1966: "Primary Structures." The Jewish Museum.
Xews. 66:52-55. 63-66. March 1967.
New York, 1966; "Scale Models /Drawings."
Dwan Gallery. Xew York. 1966: "Sculptors Bochner. Mel. "Less is Less [for Dan Flavin)."
Drawings. Los Angeles /Xew York." University Art and Artists. 1 :25-26. December 1966.
of California at Irvine. 1966: "American "Serial Art (Systems: Solipsism)." Arts
Sculpture of the Sixties." Los Angeles County Magazine. 41 :39-43. Summer 1967.
Museum of Art. Los Angeles. & Philadelphia Chicago, The Museum of Contemporary Art. Pink
Museum of Art. Philadelphia. 1967: "Art in and Gold. 1967. Introduction by Dan Graham.
Series." Finch College Museum of Art. Xew York,
Cologne. Galerie Rudolf Zwirner.
1967: "Contemporary Drawings." Xew York
Leuchtstoffrohren von Dan Flavin. 1966.
University Loeb Student Center. Xew York, 1967;
"Contemporary Watercolors." Virginia Museum "Dan Flavin." (in "Reviews and Previews"). Art
of Fine Arts. Richmond. 1967; "Focus on Light,"
News, 63:13. January 1965.
The Xew Jersey State Museum, Trenton. 1967; "Dan Flavin." (in "Reviews and Previews"). Art
"Kompas 3. Schilderkunst Xa 1945 Uit. Xew News, 65:14. February 1967.
York," Stedelijk van Abbemuseum, Eindhoven, "Dan Flavin." (in "Reviews and Previews: New
The Xetherlands. 1967: "Language to be Looked Xames This Month"). Art News, 63:14. March
at and/or Things to be Read." Dwan Gallery, 1964.
Xew York. 1967: "Opening Exhibition: Normal Flavin, Dan. in "The Artists Say." Art Voices.
Art." The Lannis Museum of Xormal Art, 4:72. Summer 1965.
Xew York. 1967: "Preview." Irving Blum Gallery,
"Flavin Speech." Blockprints. 15:no. 18.
Los Angeles. 1967; "Recent Acquisitions,"
Providence. Rhode Island School of Design.
Whitney Museum of American Art. Xew York,
March 21. 1966.
1967: "San Marino Biennale," San Marino,
Italy. 1967: "Selected Xew York City Artists,"
". . . in daylight or cool white." Artforum.
Ithaca College Museum of Art, Ithaca. Xew York, 4:20-24. December 1965.

1967: "Documenta IV." Kassel, Germany. 1968;

"Language II." Dwan Gallery. Xew York, 1968;
 on an American Artist's Education . Mellow, James R., "New York Letter," Art
Artforum. 6:28-32, March 1968. International, 12:73-76, February 1968.

"Several Quotations for Don Judd . .

.
," in "On All Sides," Time, 91:56-59, May 3, 1968.
Whitney Museum of American Art, New York, Piene,Nan R., "Light Art," Art in America,
Don Judd: text by William C. Agee, 1968. 55:24-47, May-June 1967.
"Some Other Comments," Artforum, 6:20-25, "Portfolio: 4 Sculptors," Perspecta: The Yale
December 1967. Architectural Journal. No. 11:44-53, 1967.
"Some Remarks ," Artforum, 5:27-29,
. .
.
Rose, Barbara, "A. B.C. Art," Art in America,
December 1966. 53:56-69, October-November, 1965.
Grossberg, Jacob, "Dan Flavin," (in "In the Rose, Barbara and Sandler, Irving H., "Sensibility
Galleries"], Arts Magazine, 39:54, January, 1965. of the Sixties," Art in America, 55:44-57,
The Hague, Haags Gemeentemuseum, Minimal January-February 1967.
Art, 1968. Spear, Athena Tacha, "Sculptured Light," Art
Halstead, Whitney, "Chicago," Artforum, 6:66-67, Internationa], 11:29-49, Christmas 1967.
April 1968. Trini, Tomasso, "Un diario segreto di quadri
Judd, Don, "Black, White, and Gray," Arts celebri: la collezionePanza di Buimo," Domus,
Magazine, 38:36-38, March 1964. No. 458:52, January 1968.
"Dan Flavin," in "In the Galleries," Arts "Mostre a Milano," Domus, No. 446:33,
Magazine, 38:31, April 1964. January 1967.
Kozloff, Max. "Further Adventures of American Turin, Galleria Sperone, Dan Flavin: lampade
Sculpture," Arts Magazine, 39:24-31, February fluorescenti gialle, 1968.
1965.
Public Collections
Lippard, Lucy R., "Homage to the Square," Art in
The Fogg Art Museum, Harvard University,
America, 55:50-57, July-August 1967.
Cambridge, Massachusetts; The Museum of
Lippard, Lucy R. and Chandler, John, "The Modern Art, New York (promised gift of Philip C.
Dematerialization of Art," Art International, Johnson); Pasadena Art Museum, Pasadena;
12:31-36, February 1968. Stedelijk van Abbemuseum, Eindhoven,
The Netherlands; Whitney Museum of
American Art, New York.
 Howard Jones

Born 1922, in Ilion, New York. Studied painting

at Syracuse University and attended various
other institutions. Worked at a variety of
occupations connected with art and the theatre
and taught at several universities. Service as a
fighter pilot during World W ar II and a trip to the
Near East in 1962 induced him to speculate on
the relevance of time to human experience. Soon
his paintings became divided into zones of light
and dark, with silhouettes of human beings
partially obscured by an indeterminate light.
The role of light as a life force was emphasized
by adding actual light, that is, light bulbs, to the
surface of the paintings. Developed patterns of
bulbs, used in conjunction with painted human
silhouettes, as an expression of time
consciousness. Recent work, time columns and
sound pieces, continue to exploit the relation of
art and life for "light and sound, like life and
thought, are actively involved with time, change
and interval." 3
Exhibitions
One-man: H. Balaban Carp Gallery, St. Louis,
Missouri, 1963; Xelson Gallery-Atkins Museum,
Kansas City, Missouri, 1965; Royal Marks
Gallery, New York, 1966: Howard Wise Gallery,
New York, 1968. Group: 23rd Contemporary
American Oil Painting Exhibition, Corcoran
Gallery of Art, Washington, D.C., 1953; "The
 .

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Howard [ones: sketch loi Time Columns Thf Sound o/ Light. 19li8. (The work itself is in the exhibition.)
Box Show," Byron Gallery, New York, 1965; Minneapolis, Walker Art Center,
"Art Turned On,'" Institute of Contemporary Art, Light/Motion/Space, 1967. In cooperation with
Boston. 1966: -Highlights 65/66." The Aldrich Howard Wise Gallery. Introduction by
Museum of Contemporary Art, Ridgefield. Willoughby Sharp.
Connecticut, 1966; "Sound Light Silence: Piene, Xan R., "Light Art." Art in America,
Art that Performs." Nelson Gallery- 55:24-47, May-June 1967.
Atkins Museum. Kansas City, Missouri, 1966:
Pincus-Witten, Robert, "Xew York: Howard
"Lights in Orbit," Howard Wise Gallery,
Jones," Artforum, 6:61. May 1968.
Xew York. 1967: "Light/Motion/Space," Walker
"Recent Acquisitions," BuJJetin of the City Art
Art Center, Minneapolis, & Milwaukee Art Center,
Milwaukee, 1967; "Light & Movement." Flint
Museum of St. Louis, 1 :4. March 1964.

Institute of Art, 1967; "Visual Assaults," Georgia
Museum of Art, University of Georgia, Athens,
Georgia. 1967: "Festival of Lights," Howard Wise
Gallery, Xew York. 1967: "The Magic Theatre."
Xelson Gallery-Atkins Museum, Kansas City,
Missouri. 1968: "Options." Milwaukee Art
Center, Milwaukee, 1968.
Bibliography
Aldrich, Larry,"Xew Talent USA," Art in
America, 54:30-31. July-August 1967.
Shulman. Leon, Light and Motion, Worcester.
Massachusetts, Worcester Art Museum, 1967.
Public Collections
Albrecht Museum, St. Joseph. Missouri;
The Aldrich Museum of Contemporary Art,
Ridgefield, Connecticut; City Art Museum,
St. Louis: Florida State University, Tallahassee;
Xelson Gallery-Atkins Museum. Kansas City,
Missouri: Walker Art Center. Minneapolis;
Washington University, St. Louis.

Art News, 65:17. April 1966.

Coe. Ralph T.. "Post Pop Possibilities: Howard
Jones." Art Internationa], 10:36-49, January 1966.
Howard Jones Light Paintings,
Kansas City. Missouri. Xelson Gallery-Atkins
Museum, 1965.
Stanley Landsman: Thes is and Ariadne. 1968
Whitney Museum of Amei an Art. Gift of
The Howard and jean Lipman Foundation, Inc

_1

Born 1930, in New York City. Painted and
sketched as a child, studied at the University of
New Mexico and Adelphi University, where he
also taught. Joined the Xew York art world and
exhibited his paintings at various galleries.
Progressed from the abstract expressionist
tradition by reducing his colors to black and
white and switching from canvas to plexiglas and
mirror glass. Delighted in the effect of the extra
dimension provided by the mirror in a two-
dimensional piece. Experimented with the
materials plastic and chromium-coated glass and
the idea that the spectator could be provided with
a larger space than he actually saw. Realized
that he had contend with a three-dimensional
to
object. Built small geometric shapes of mirror
glass and discovered that by adding a light source
to the interior the physical boundaries of the
piece were dispelled. Objects became containers
for a light source, reflective surfaces, and images
of infinity. Recently involved with planning and
executing chambers for isolating the spectator in
space because "we know there is a fourth
dimension, how do we get to it now?" 4
Exhibitions
One-man: Richard Feigen Gallery, Los Angeles,
1965; Leo Castelli Gallery. Xew York, 1966.
Group: March Gallery. Xew York, 1956; Area
Gallery, New York, 1957: Allan Stone Gallery,
Xew York, 1960, 1961: "Sound Light Silence,"
Stanley Landsman
Xelson Gallery-Atkins Museum. Kansas City.
Missouri. 1966: "Best of '66." The Aldrich
Museum of Contemporary Art. Ridgefield.
Connecticut. 1967: "Light," Xelson Gallery-
Atkins Museum. Kansas City. Missouri, 1967;
"Light and Movement," Iris Clert Gallery. Paris,
1967; The Museum of Modern Art. Xew York,
1967; "Five Works in Light and Movement,"
Four Seasons, New York, 1968; "The Magic
Theatre," Xelson Gallery-Atkins Museum,
Kansas City, Missouri, 1968; "Light Sculpture,"
Cleveland Museum of Art, Cleveland, 1968;
"Options," Milwaukee Art Center. Milwaukee,
1968.
Bibliography
Coe, Ralph T.. "Light Reflections," in Light:
Works by Landsman, Mefferd, Ross, Xelson
Gallery-Atkins Museum, Kansas City. Missouri,
1967.
Public Collections
The Aldrich Museum Contemporary Art.
of
Des Moines Art Center,
Ridgefield. Connecticut;
Des Moines; Milwaukee Art Center, Milwaukee:
The Museum of Modern Art, Xew York; Nelson
Gallery-Atkins Museum, Kansas City, Missouri;
Whitney Museum of American Art, New York.
Preston McClanahan: model for light project. 1968. (The work itself is in the exhibition.

Born 1933, in Charleston, West Virginia. Youth
spent developing an interest in art with formal
training begun in 1952 at the Art Academy
Cincinnati. Became a graphic designer and
painter. Moved to New York in 1958 and worked
for the American Museum of Natural History
where he was exposed to exhibition devices such
as light and film while helping to create displays,
especially a visual demonstration of the age of
the earth. An obsession with the concept of time
was added passionate love of music; "music
to a
exists in time, so does light. It's a starting point."
Did frontal plane pieces incorporating light bulbs
in a box-like structure. Bulky and awkward,
these works were soon followed by more
sophisticated geometric shapes made of plexiglas,
a material which he had seen used at the
American Museum of Natural History to transmit
light. Subtle and reserved, his use of edge-lit
plexiglas becomes an extremely successful blend
of substance and energy. Now working toward
development of an immaterial structure because
"I have the obligation of making dreams visible,
the source of dreams is everything that has ever
made a strong impression, primarily light."
Exhibitions
One-man: Contemporary Arts Center, Cincinnati,
Ohio, 1967. Group: "Art Turned On," Institute
of Contemporary Art, Boston, 1965; "The Box
Show," Byron Gallery, New York, 1965;
"Current Art," Institute of Contemporary Art,
University of Pennsylvania, Philadelphia, 1965;
"Kunst Licht Kunst," Stedelijk van Abbemuseum,
Preston McClanahan
Eindhoven, The Netherlands, 1966; "Light in Art,"
Contemporary Arts Museum, Houston, Texas,
of 1966; "The Object Transformed," The Museum
of Modern Art, New York, 1966; "Four Young
Artists," Howard Wise Gallery, New York, 1967;
"Light/Motion/Space," Walker Art Center,
Minneapolis, & Milwaukee Art Center,
Milwaukee, 1967; "Sculpture in Environment,"
New York City Parks Department, 1967;
"Subterrania," Environment at Black Gate,
New York, 1967; "Light Sculpture," Cleveland
5 Museum of Art, Cleveland, 1968; "Air Art,"
Arts Council, YM/YWHA, Philadelphia, 1968.
Bibliography
Haught, James A., "Pete McClanahan's Language
of Light," Charleston (W. Va.) Gazette,
March 17, 1968.
Leonard, William Albers, Preston McClanahan,
Cincinnati, The Contemporary Arts Center, 1967.
Minneapolis, Walker Art Center, Light / Motion /
Space, 1967. In cooperation with Howard Wise
Gallery, New York. Introduction by Willoughby
Sharp.
6 Spear, Athena Tacha, "Sculptured Light,"
Art International, 11:29-49 Christmas 1967.
"Techniques: Luminal Music," Time, 89:78,
April 28, 1967.
Public Collections
Walker Art Center, Minneapolis.
Boyd Mefferd: EJectro-Spectrai Groups Numbers 1 & 2. 1967.
Lent by the Milwaukee Art Center and Nancy Singer Gallery.
 Boyd Mefferd

Born 1941, in St. Louis, Missouri. Studied at Art Center, Milwaukee, 1967; "Light," Nelson
Brown University and the Rhode Island School Gallery-Atkins Museum, Kansas City, Missouri,
of Design. Taught atWisconsin State University 1967; "Light and Motion," Worcester Art
and the University of South Dakota. First used Museum, Worcester, Massachusetts, 1967;
artificial light for its realistic effect while studying Howard Wise Gallery,
"Festival of Lights,"
painting, and immediately proceeded to New York, 1967; "The Magic Theatre," Nelson
production of a vehicle for light itself. Rejected Gallery-Atkins Museum, Kansas City, Missouri,
first attempt, a lightbulb grid, and constructed a 1968; "Options," Milwaukee Art Center,
series of cubes using formica, plastic sheets and Milwaukee, 1968.
light. Went on to build large, rectangular boxes Bibliography
housing complex electronic components.
Coe, Ralph T., "Light Reflections," in Light:
Exceptionally alert to technology, its implications,
advantages and challenges, and believes that it
Works by Landsman, Mefferd, and Ross,"
Kansas City, Missouri, Nelson Gallery-Atkins
contains the potential for a new esthetic system.
Works primarily with colored light which he Museum, 1967.

manipulates by electronic switching to achieve "Time/Color Electronic

effects of motion and the consequent visualization
of time by interval and continuum. Regards light
as a means to a psychological end: "I believe that
ultimately a purely time dimensional approach
to abstract composition is just as capable of
communication as the abstract two and three
dimensional work we have now." 7
Exhibitions
Compositions: Boyd Mefferd," in Boyd Mefferd:
Light in Motion, Dallas, Dallas Museum of Fine
Arts, 1968.
Mefferd, Boyd, "Notes," in Boyd Mefferd:
Electronics, Nashville, Tennessee Fine Arts
Center, 1967.
Spear, Athena Tacha, "Sculptured Light," Art
Internationa], 11:29-49, Christmas 1967.

One-man: Tennessee Fine Arts Center, Nashville, Public Collections

Tennessee, 1967; Dallas Museum of Fine Arts, Milwaukee Art Center, Milwaukee; Nelson
Dallas, 1968; Walker Art Center, Minneapolis, Gallery-Atkins Museum, Kansas City, Missouri;
1968. Group: "Sound Light Silence," Nelson Walker Art Center, Minneapolis.
Gallery-Atkins Museum, Kansas City, Missouri,
1966; "Lights in Orbit," Howard Wise Gallery,
New York, 1967; "Light/Motion/Space,"
Walker Art Center, Minneapolis & Milwaukee
 60

i3 u* eflc

^Lvi ^ (j*-*t ^ ^^n -

'
/^vu^vA^ L Ucf ^*mAU
USCO Intermedia: sket( li For Imagimotion. 1968. (The work itsHf is in the exhibition.]

Founded 1964, at Garnerville, New York. The
US Company represents a merger of talents,
painter, poet and engineer, and media, light,
motion, sound and object. Devoted to producing
situations of intense sensory and psychic
stimulus. Unites the cults of mysticism and
technology as a basis for introspection and
communication. Presentations based on the
theory that "illumination is a way, yoga,
discipline, search, discovery, the making
thing in light. Light on the mirror, light
through the window, reflection, projection or
whatever method we find to fulfill our desires or
to reveal the inner vision." 8
Exhibitions and Performances
One-man: "Who R U," San Francisco Museum
of Art, San Francisco, 1963 University of
;
California at Los Angeles, 1963; "V.A.L.,"
University of British Columbia, Vancouver,
British Columbia, 1964; "V.A.L.," University of
Oregon, Eugene, Oregon, 1964; "Immaculate
Heart Mosaic," Hollywood, California, 1964;
"V.A.L.," University of Rochester, Rochester,
New York, 1964; California College of Arts and
Crafts,Oakland, California, 1964; "V.A.L.,"
Carleton College, Carleton, Minnesota, 1964;
"V.A.L.," University of Wisconsin, Madison,
Wisconsin, 1964; "Yield," "We R All One,"
Brandeis University, Waltham, Massachusetts,
1965; Woodstock Artists Association,
Woodstock, New York, 1965; Rutgers University,
New Brunswick, New Jersey, 1965; "Hubbub,"
Massachusetts Institute of Technology,
Cambridge, 1965; "We R All One," Berkeley,
California, 1966; "We R All One: a Be-in,"
Riverside Museum, New York, 1966;
"Environment II," The Architectural League
usco
New York, 1967. Group: "Kunst Licht Kunst,"
Stedelijk van Abbemuseum, Eindhoven, The
Netherlands, 1966; "The Projected Image,"
Institute of Contemporary Art, Boston, 1967;
"Shiva Sakti, Sine Pulse," Riverside Museum,
New York, 1967; "Lights in Orbit," Howard Wise
Gallery, New York, 1967; "Light/Motion/Space,"
Walker Art Center, Minneapolis, & Milwaukee
Art Center, Milwaukee, 1967; "Light and
of each Movement," Flint Institute of Art, Flint,
Michigan, 1967; "Festival of Lights," Howard
Wise Gallery, New York, 1967; "Fanflashtic,"
Intermedia '68, New York State Council on the
Arts and The National Council on the Arts,
New York and tour, 1968.
Bibliography
Feigelson, Naomi, "We Are All One, Who R U,"
Cheetah, 1:30-35, 74-76, May 1968.
Houston, Jean, and others, Psychedelic Art,
New York, Grove Press, Inc., 1968.
Kostelanetz, Richard, "Scene and Not Herd
USCO," Harper's Bazaar, No. 3073:52, 71, 75, 84,
December 1967.
Kostelanetz, Richard, The Theatre Mixed
of
Means, New York, The Dial Press, Inc., 1968.
Lester, Elenore, "Intermedia: Tune in, Turn On
And Walk Out?" The New York Times Magazine,
30-31, 66-76, May 12, 1968.
Tulane Drama Review, 11, Fall 1966.
Public Collections
Immaculate Heart College, Los Angeles;
Oakland Art Museum, Oakland, California;
San Francisco Museum of Art, San Francisco.
of
 catalogue oi the Exhibition

All dimensions are in inches. Height precedes 8 Stanley Landsman. Hyman. 1968. Wood, glass,
width and depth. Numbers 11, 13-15, are shown in electric circuitry. 84 x 24 x 24. Lent by Leo
New York only. Castelli Gallery.
9 Stanley Landsman. Pinocchio. 1968. Wood, glass,
1 Stephen Antonakos. Red Neon From Wall to
electric circuitry. 74 x 25 x 24. Lent by Leo
Floor. 1966.Programmed neon, steel. 120 x 144 x
Castelli Gallery.
168. Lent by Fischbach Gallery.

2 Dan Flavin. Untitled. 1968. Green fluorescent 10 Stanley Landsman. Snooker. 1968. Wood, glass,
electric circuitry. 72 x 10 x 10. Lent by Leo
lamps, steel. 150 x 480 x 426. Lent by
Castelli Gallery.
Dwan Gallery.
11 Stanley Landsman. South of Whittenberg. 1968.
3 Howard Jones. Time Columns The Sound of
Light. 1968. Aluminum, electronic components. Wood, glass, electric circuitry. 74 x 24 x 24. Lent

120 x 10 x 10 (five units). Lent by

by Leo Castelli Gallery.
Howard Wise Gallery. 12 Stanley Landsman. Theseus and Ariadne. 1968.

4 Stanley Landsman. Albuquerque. 1968. Wood, Wood, glass, electric circuitry. 7bVi x 54Vi x 24.

glass, electric circuitry. 78 x 40 x 24. Lent by Leo

Whitney Museum of American Art. Gift of The
Castelli Gallery.
Howard and Jean Lipman Foundation, Inc.
13 Preston McClanahan. Untitled. 1968. Plexiglas,
5 Stanley Landsman. Barmecide. 1968. Wood, glass,
electro-mechanical components. 66 x 144 x 2. Lent
electric circuitry. 74 x 24 x 18. Lent by Leo
Castelli Gallery.
by Howard Wise Gallery.

6 Stanley Landsman. Bubastis. 1968. Wood, glass,

14 Boyd Mefferd. Electro-Spectral Group Number 1.
electric circuitry. 74 x 36 x 18. Lent by Leo
1967. Plexiglas, wood, incandescent lamps,
electronic circuitry. 84 x 12 x 12 (two units). Lent
Castelli Gallery.
by the Milwaukee Art Center.
7 Stanley Landsman. Cawther-1-2-4. 1968. Wood,
glass, electric circuitry. 42 x 12V^ x 12Vi (one
15 Boyd Mefferd. Electro-Spectra] Group Number 2.
unit), 42 x 24!/i x 12 Vi (two units), 42 x 24 Vi x
wood, incandescent lamps,
1967. Plexiglas,
electronic circuitry. 84 x 12 x 12 (two units). Lent
24^2 (four units). Lent by Leo Castelli Gallery.
by Nancy Singer Gallery.
16 USCO/Intermedia. Imagimotion. 1968. Stainless
steel, projection components. 150 x 24 (diameter).
Lent by USCO Intermedia.
 General References

Baker, Elizabeth C, "The Light Brigade," Art News, Minneapolis, Walker Art Center,
66:52-55. 63-66, March 1967. Light/ Motion/Space, 1967. In cooperation with

Bann, Stephen, and others. Four Essays on Kinetic Howard Wise Gallery, New York. Introduction by
Art, St. Albans. England, Motion Books, 1966. Willoughby Sharp.
Coe, Ralph T., Light: Works by Landsman, Mefferd, Moholy-Nagy, Laszlo, "Light, a New Medium of
and Ross, Kansas City, Missouri. Nelson Gallery- Expression," Architectural Forum, 70:398, May 1939.
Atkins Museum, 1967. The New Vision, W. W. Norton Company, Inc.,

Sound Light Silence: Art That Performs, New York, 1938.

Kansas City. Missouri. Nelson Gallery Atkins Vision in Motion, Chicago, Paul Theobald. 1947.
Museum, 1966. New York, Howard Wise Gallery, Lights In Orhit,
Davis, Douglas M., 'Art and Technology: The New 1967.
Combine," Art in America, 56:29-45, Jan. -Feb. 1968. New York, The Artists' Club, (exhibition held at the
Eindhoven, The Netherlands, Stedelijk van George Washington Hotel], Luminism, 1967.
Abbemuseum, Kunst Licht Kunst, 1966. Introduction Exhibition and catalogue by Willoughby Sharp.
by Frank Popper. Piene, Nan R., "Light Art," Art in America, 55:24-47,
Flint. Michigan, Flint Institute of Arts. May- June 1967.
Light and Movement, 1967. Piene. Otto, "Proliferation of the Sun: on Art, Fine
Grigson. "Wall into Window: the Physics and
G., Arts, Present Art, Kinetic Art, Light, Light Art, Scale,
Metaphysics of Light," Architectural Review, Now and Then," Arts Magazine, 41:24-31, Summer
103:233-235, June 1948. 1967.
Hahn. O.. "Light and Movement," Arts Magazine, Popper, Frank, Lumiere et Mouvement, Paris,
42:46-47, Sept. 1967. Musee dArt Moderne, 1967.
Hinckle, Warren, "The Social History of the "Luminous Trend in Kinetic Art," Studio
Hippies." Ramparts, 5:5-26, March 1967. International, 173-72-77, February 1967.
"Instant Interiors," Progressive Architecture, "Movement and Light in Today's Art," Arts and
48:176-181, June 1967. Architecture, 81:24-25, April 1964.
Kepes. Gyorgy. "Creating with Light." Art in Reichardt, J.,
"Moholy-Nagy and Light Art as an Art
America, 46:80-83, Winter 1960. of the Future," Studio International, 174:184,
Light as a Creative Medium, Cambridge, November 1967.
Massachusetts, Carpenter Center for the Visual Arts, Renan, Sheldon, An Introduction to the American
Harvard University, 1965. Underground Film, New York, E. P. Dutton & Co.,
"Light and Design," Design Quarterly, Inc.. 1967.

Minneapolis. Walker Art Center, 1967. Rosenberg, Harold, "Lights! Lights!" The New
"Light and Form," Arts and Architecture, Yorker, 43:189-192, October 21, 1967.
77:12-13, May 1960. Shulman. Leon. Light and Motion, Worcester,
"Proposal for Collaboration: Creative Use of Massachusetts, Worcester Art Museum. 1967.
Light," Architectural Record, 137:150-155, May 1965. Spear, Athena Tacha. "Sculptured Light," Art
Latimer, C, and others, "Light/Sound Workshop," International, 11:29-49. Christmas 1967.
Studio international, 173:200-201, April 1967. Waldman, Diane, Chryssa: Selected Works 1955-1967,
Lippard. Lucy R., "Notes on a Total Light," in Focus New York, The Pace Gallery, 1968.
on Light, Trenton, The New Jersey State Museum,
1967.
Notes to the Introduction
1. Quoted by Douglas M. Davis, "Art & Technology-

The Now Combine," Art In America, 50:29, January-

February 1968.
2. Dan Flavin, "Some Remarks. ..," Artforum, 5:27,
December 1966.
3. Because their work was so appropriate to this

exhibition, both Douglas Wheeler and James Turrell, of

Santa Monica, California, were invited to participate.
However, both later withdrew upon their own volition.
The statement by Mr. Wheeler was made in conversation
with the author, 1968.
4.Gyorgy Kepes, "Modulation of Light," in Light As a
Creative .Medium. Cambridge, Massachusetts, Carpenter
Center for the Visual Arts. Harvard University, 1965,
page 26.
5. Conversation with the author, 1968.
6. Dan Flavin, ". in daylight
. . or cool white," Artforum,
4:24, December 1965.
7.Boyd Mefferd, "Notes," in Boyd Mefferd: Electronics,
Nashville. Tennessee Fine Arts Center, 1967, page 11.

Notes to the Biographies

1. Dan Flavin, ". in daylight
. . or cool white," Artforum,
4:22, December 1965.

2. Ibid, 4:24.

3. Letter to the author, 1968. *j

4. Conversation with the author, 1968.

5. Ibid.

6.Eindhoven, The Netherlands, Stedelijk van

Abbemuseum, Kunst Licht Kunst, 1967, no page number.
7.Boyd Mefferd, "Notes," in Boyd Mefferd: Electronics,
Nashville, Tennessee Fine Arts Center, 1967, pages 6, 9.
8.Eindhoven, The Netherlands, Stedelijk van
Abbemuseum, Kunst Licht Kunst, 1967, no page number
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