For its 125th anniversary, Indianapolis Museum of Art commissioned Light and Space III (2008) for its Pulliam Great Hall, a multifloored interior space in which the artist arranged fluorescent lights to create an irregular grid, flanked by semi-transparent fabric scrims. Framing an ocean view and literally opening up the gallery space to exterior light, air, smells, and sounds, 1° 2° 3° 4° exemplifies the subtle but dramatic transformations inherent to Irwin’s work. Irwin has created numerous permanent installations for museums and other public sites such as 1° 2° 3° 4° (1997) at the Museum of Contemporary Art San Diego, La Jolla, his first permanent museum installation. Irwin’s interventions blur the distinctions between space and artwork, exploring the nature of light, volume, and perceptual psychology. Working in existing sites, he composes with materials that are ephemeral, but which substantially transform the viewers’ visual and phenomenological experience.
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In 1966, Irwin initiated a series of curved aluminum and acrylic discs that he painted and displayed with an arm extending out from the wall, creating a viewing experience that is impossible for a work on canvas.īy 1970, Irwin abandoned his studio, embarking on an extended inquiry of artmaking beyond the frame and the traditional art object. By the early sixties, Irwin shifted to creating more restrained works with his line paintings, guided principally by questions of structure, color, and perception, and his dot paintings, works on gently bowed supports composed with small dots of near-complementary colors. Two Years Before the Mast by Richard Henry Jr.Robert Irwin is among the most significant American artists and theoreticians working today and is renowned for his innovative site-conditioned artworks that explore the effects of light through interventions in space and architecture.ĭeveloping an Abstract Expressionist approach to painting by the late 1950s, Irwin had his first monographic exhibition at Felix Landau Gallery, Los Angeles, in 1957, then moving to the newly founded Ferus Gallery, where he began exhibiting in 1958. San Francisco Bay: Portrait of an Estuary by John Hart San Francisco Bay Shoreline Guide by California Coastal Conservancy Natural History of San Francisco Bay by Ariel Rubissow Okamoto National Geographic Magazine 1981 v159 #6 June by Wilbur E. Mountain Blizzard (Harlequin Intrigue) by Cassie Miles Montgomery and the Portsmouth by Fred Blackburn Rogers
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