"New scholarship and interpretation of Flavin's work also appears in the form of three critical essays by experts and an extensive chronology, comprehensive bibliography, and exhibition history. In addition, this book includes Flavin's text, "'...in daylight or cool white.' an autobiographical sketch," originally published in Artforum in 1965, and two interviews with the artist - one from 1972 and the other from 1982."--BOOK JACKET.

Showcasing Dan Flavin’s “corner,” “barrier,” and “corridor” works, this catalogue explores the artist’s core sculptural vocabulary and how his use of fluorescent light forged a new relationship between the art object and its surrounding architecture. This publication examines how Flavin’s light works, which he described as “situations,” function in space, occupying key positions that highlight how the rooms themselves are constructed. The exhibition is not only historically significant, as it mines early explorations in Flavin’s practice, but many of the works are reproduced for the first time in plates that accurately capture their colors. Published on the occasion of the 2015 eponymous exhibition at David Zwirner, New York, Corners, Barriers and Corridors takes as its point of departure the artist’s influential show, corners, barriers and corridors in fluorescent light from Dan Flavin, presented at the Saint Louis Art Museum in 1973. Above all, the photography reveals the unexpected and powerful interplay between the light of neighboring pieces and the space—the way the walls, floor, and various hues mingle to form unpredicted palettes that reveal what Michael Auping, following Donald Judd, calls the “exoskeleton.” These works, with their immediate relationship to architecture, not only function as color experiments but as structural explorations in light, and in his essay, Auping explores how Flavin’s investigations of corners, barriers, and corridors became an essential part of the way the artist understood space. This publication also features rarely seen photographs of Flavin installing his historic 1973 exhibition, as well as detailed notes by Alexandra Whitney about the works included in the St. Louis presentation. Designed by McCall Associates, in close collaboration with the Estate of Dan Flavin, this catalogue presents an especially significant body of work in a completely new way and offers a vital historical perspective on Flavin’s practice.

"This book, published on the occasion of Dan Flavin: The Architecture of Light at the Deutsche Guggenheim Berlin, draws upon the Solomon R. Guggenheim Museum's extensive holdings of the artist's work.".

In the early 1960s, US artist Dan Flavin (1933-1996) began using commercially available fluorescent tubes in standard sizes and colours to create an unmistakable œuvre. Precision and careful calculation are bound together with a sensual aura. By choosing the tubes as the material for his works, Flavin signalised the increasing proximity of art with everyday life and the consumer world. The ways in which they are presented are derived from principles of minimalist sobriety.

Published on the occasion of an exhibition celebrating the Wagners' promised gift of more than 850 works of art to the Whitney Museum of American Art, New York, and the Musaee national d'art moderne, Centre Pompidou, Paris, held at the Whitney Museum of American Art, November 20, 2015-March 6, 2016, and at the Centre Pompidou, June 16, 2016-January 2017.

With hundreds of pages of new and previously unpublished essays, notes, and letters, Donald Judd Writings is the most comprehensive collection of the artist’s writings assembled to date. This timely publication includes Judd’s best-known essays, as well as little-known texts previously published in limited editions. Moreover, this new collection also includes unpublished college essays and hundreds of never-before-seen notes, a critical but unknown part of Judd’s writing practice. Judd’s earliest published writing, consisting largely of art reviews for hire, defined the terms of art criticism in the 1960s, but his essays as an undergraduate at Columbia University in New York, published here for the first time, contain the seeds of his later writing, and allow readers to trace the development of his critical style. The writings that followed Judd’s early reviews are no less significant art-historically, but have been relegated to smaller publications and have remained largely unavailable until now. The largest addition of newly available material is Judd’s unpublished notes—transcribed from his handwritten accounts of and reactions to subjects ranging from the politics of his time, to the literary texts he admired most. In these intimate reflections we see Judd’s thinking at his least mediated—a mind continuing to grapple with questions of its moment, thinking them through, changing positions, and demonstrating the intensity of thought that continues to make Judd such a formidable presence in contemporary visual art. Edited by the artist’s son, Judd Foundation curator and co-president Flavin Judd, and Judd Foundation archivist Caitlin Murray, this volume finally provides readers with the full extent of Donald Judd’s influence on contemporary art, art history, and art criticism.

Donald Judd Interviews presents sixty interviews with the artist over the course of four decades, and is the first compilation of its kind. It is the companion volume to the critically acclaimed and bestselling Donald Judd Writings. This collection of interviews engages a diverse range of topics, from philosophy and politics to Judd’s insightful critiques of his own work and the work of others such as Mark di Suvero, Edward Hopper, Yayoi Kusama, Barnett Newman, and Jackson Pollock. The opening discussion of the volume between Judd, Dan Flavin, and Frank Stella provides the foundation for many of the succeeding conversations, focusing on the nature and material conditions of the new art developing in the 1960s. The publication also gathers a substantial body of unpublished material across a range of mediums including extensive interviews with art historians Lucy R. Lippard and Barbara Rose. Judd’s contributions in interviews, panels, and extemporaneous conversations are marked by his forthright manner and rigorous thinking, whether in dialogue with art critics, art historians, or his contemporaries. In one of the last interviews, he observed, “Generally expensive art is in expensive, chic circumstances; it’s a falsification. The society is basically not interested in art. And most people who are artists do that because they like the work; they like to do that [make art]. Art has an integrity of its own and a purpose of its own, and it’s not to serve the society. That’s been tried now, in the Soviet Union and lots of places, and it doesn’t work. The only role I can think of, in a very general way, for the artist is that they tend to shake up the society a little bit just by their existence, in which case it helps undermine the general political stagnation and, perhaps by providing a little freedom, supports science, which requires freedom. If the artist isn’t free, you won’t have any art.” Donald Judd Interviews is co-published by Judd Foundation and David Zwirner Books. The interviews expand upon the artist’s thinking present in Donald Judd Writings (Judd Foundation/David Zwirner Books, 2016).