Modern Frames

At the Hepworth gallery in Wakefield I was interested to look at the frames that artists used. These were often clearly not professionally framed, and it seemed that they were sometimes made from recycled frames. Roger Fry's "Boats in Harbour" 1915 has a series of frames including a 1/2" gilded frame, a lower 1" inner frame and then a 2" white frame. A simple tenon joint on the back frame gives depth to a mitre on the front frame. Mondrian's "Composition C (No 111)" has a piece of 1/2" wood, butt-jointed around a canvas 1" deep, producing a "stepped" profile. John Wells' "Island Counterpoint" 1956 also has this "double frame", with the inner frame having both mitre and butt joints in the same frame. When searching for these paintings online, you can only see the painting, not the frame. I understand this in some ways, but for me the part of the essence of the paintings is the quality and experience of the frame. I am using these framing systems in my work to give feelings of Arte Povera, heirloom and timelessness.

Terry Smith, One and Three Ideas: Conceptualism Before, During, and After Conceptual Art / Journal / e-flux

Terry Smith, One and Three Ideas: Conceptualism Before, During, and After Conceptual Art / Journal / e-flux:

"I think that we are getting close to the core of conceptualism worthy of the name, and to the basis of its appeal to serious young artists today: it is something to do with rigor, without cause, and with implacable commitment in the face of meaninglessness."

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Richard Kalina p.8 "What distinguishes Sonnier´s true free standing work is its exploration of stance: no small matter for sculpture. Moving off the base and into the viewer´s physical and emotional space has been a concern of advanced sculpture for most of the twentieth-century and beyond. This un-basing of sculpture is not as simple as merely removing the pedestal and setting the work on the floor. Just as the base is a historically loaded entity, the sculpture´s equivalent of painting´s frame, sculpture "in the room" has its own set of precedents and traps. Freestanding sculpture must literally balance itself, and in doing so, it tends to evoke either the architectural and the built, or living forms, animal or human. Stance is thus simultaneously metaphorical and actual."


Keith Sonnier

ISBN 10: 3893223878 / 3-89322-387-8
ISBN 13: 9783893223879
Publisher: Distributed Art Pub Inc
Publication Date: 1993
Binding: Hardcover

p31 Sonnier "I think the best contemporary art is fragile in form or ideology. It needs an elaborate support system like the white space of a museum or the gallery. it seems as though art almost needs a special psychological housing for it to obtain its function. Different people get different ideas from it."

Keith Sonnier: Sculpture Light Space

Keith Sonnier
Keith Sonnier: Sculpture Light Space
Susanne Ehrenfried, Wolfgang Jean Stock, Konrad Bitterli, Keith Sonnier, Wolfgang Häusler, Conrad Lienhardt (Editor), Wolfgang Hausler (Editor)
Publisher: Hatje Cantz Publishers
ISBN: 3775791248 DDC: 709 Edition: Paperback; 2003-07

Q: Is light art haptic?

corridor leading north, Munchener Ruck

p.38 "Onto the ceiling of the underground space, Keith Sonnier has aligned neon tubes in stripes of pure primary colours. Their intense hues subdivide the single sectors into imposing colour blends. A walk through the passage renders moods of alternating colour physically tangible."

"His neon installations combine a painter´s colouration with a sculptor´s form. He treats colour not as a flat plane, but as a volume, thereby allowing a close alliance with the architecture. He says himself that light has always offered him the possibility to create spaces within an already existing space." Susanne Ehrenfried

Compare stained glass windows "the luminosity of colour was first deliberately deployed in an architectural context. Church windows were the first example in the history of art in which a two dimensional depiction inter-penetrated the three-dimensional space with boundless light." p.39

"The fascination of neon lighting is based on the unusual, almost contradictory qualities of the material. Rigid glass, for one, can be formed during its manufacturing process into almost any shape. On the other hand, neon gas makes possible a countless variation in colour. The light gives the glass tubes the quality of an immaterial appearance, thereby dispelling the boundaries of its actual shape." p.39

"At the centre of Sonnier´s works, light stands as an object whose form is treated self-referentially. the concious delineation of the form allows no symbolic references; light oscillates between self-referentiality and abstraction." p.39

Artificial light: new light-based sculpture and installation art

Artificial light
Artificial light: new light-based sculpture and installation art: Jennifer Allora and Guillermo Calzadilla, Spencer Finch, Ceal Floyer, Ivan Navarro, Nathaniel Rackowe, Douglas Ross
Elana Herzog... [et al.]; curated by Sabine Russ and Gregory Volk
Publisher: Richmond, Va. : VCUarts Anderson Gallery, c2006.
ISBN: 0935519289

Jennifer Allora and Guillermo Calzadilla, In Growth (Survival), 2006, mixed media

Iván Navarro uses fluorescent tubes and electrical materials to create sculptural works that offer social and political commentary within an art historical context. In his works, Navarro appropriates the formal qualities of Minimalism and other avant-garde movements, such as geometric abstraction and constructivism, to speak about violence, energy and the media.

Spencer Finch "White (Niagara Falls Obscured by Mist) 2006". Lightbox and filters. This piece re-creates the light at a moment when the falls was obscured by its own mist.

p.68 "Bob Irwin was using light to dematerialise objects, to make them less solid; I was trying to materialise light as object" James Turrell.

Olaf Breuning - The Art Newspaper

Olaf Breuning - The Art Newspaper:

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NTAA - New Technological Art Award 2012 - Home

NTAA - New Technological Art Award 2012 - Home:

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Traffic light
Brake Light
Street Light
Reading Light
Stage Light
Airport lights
Airplane lights - horizontal rain
light coming in under the door of the bathroom
Martin Creed - Turner
Bruce Nauman (Richard Serra!)
Leger - Theatre lights flashing
Hell(o) (T)here
Lots of artists use words in lights
light at the end of the tunnel
Light reflected on the back of a van as you go through a tunnel
Ambulance / Fire / Police
Julien Gardiner

ESDM (1/13) - YouTube

ESDM (1/13) - YouTube:

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Keith Sonnier

James Turrell

James Turrell
James Turrell: The Wolfsburg Project
Markus Bruderlin, Richard Andrews, Annelie Lutgens, James Turrell,
Publisher: Hatje Cantz
ISBN: 3775724559 DDC: 709 Edition: Hardcover; 2010-03-31

p.67 "Light is a charged substance what we have a primary connection with. Situations in which you notice the presence of such a charged substance are fragile. I mold it... so that you can feel the presence of the light in the room."

p.80 "First of all I am not dealing with an object. The object is perception itself. Secondly, I am not dealing with an image., because I want to avoid any associative symbolic thought. Thirdly, I am not dealing with a special purpose or focal point, either. With no object, image or purpose, what are you looking at? You are looking at yourself looking."

p. 155 "My work is about space and the light that inhabits it. It is about how you confront that space and plumb it. It is about your seeing. How you come to it is important. The qualities of the space must be seen, and the architecture of the form must not be dominant. I am really interested in the qualities of one space sensing another. It is like looking at someone looking. Objectivity is gained by being once removed. As you plumb a space with vision, it is possible to "see yourself see". This seeing, this plumbing, imbues space with consciousness. by how you decide to see it and where you are in relation to it, you create its reality. The piece can change as you move to it or within it. It can also change as the light source that enters it changes." Turrell in conversation with Julia brown, 1985.

James Turrell

James Turrell
Zug Zuoz
By (author) Matthias Haldemann, Edited by Kunsthaus Zug

ISBN 9783775726023

p.28 "Light is a sculptural material for Turrell and he it physically palpable, like sound. Precise, but inconspicuous structural devices are designed to create this impression. The circular opening of ""Skyspace Piz Uter" 2005 Zuoz, Germany

has a sharp bevelled edge that reinforces the impression of flatness. And, as far as Turrell is concerned, a round space is better suited to the realm of perception than a rectangular one anyway. Moreover, the intensity and brightness of the white in the upper part of the room not only make the sky seem flatter than it really is, but also make its colours deeper and darker, outside the intense, luminous ultramarine is but a pale grayish blue. The same is evidently not the same and we cannot trust our own eyes: they see more than is actually there."