List of works by Dan Flavin

Dan Flavin was an American minimalist artist known for creating sculptural objects and installations from commercially available fluorescent light fixtures.


Collections

United States

Arizona

  • untitled (in memory of "Sandy" Calder) V 1/5, 1977, Private Collector, Scottsdale

California

Colorado

  • untitled (for A. C.), 1992, Denver Art Museum, Denver

District of Columbia

  • untitled, 1980, Administered by United States General Services Administration, Art-in-Architecture Program, Washington
  • "monument" for V. Tatlin 1/5, 1968, National Gallery of Art, Washington
  • "monument" for V. Tatlin 4/5, 1969–70, National Gallery of Art, Washington
  • untitled (to Barnett Newman to commemorate his simple problem, red, yellow, and blue) 4/5, 1969–70, National Gallery of Art, Washington[3]

Illinois

  • untitled (monument for V. Tatlin), 1970, Private Collector, Chicago
  • the alternate diagonals of March 2, 1964 (to Don Judd), 1964, Private Collector, Chicago

Indiana

Iowa

Massachusetts

  • Barbara Roses, 1962–1965, Smith College, Smith College Museum of Art, Northampton

Maryland

  • Untitled (To Barnett Newman for “Who’s Afraid of Virginia Woolf”). 1993-1994. The Baltimore Museum of Art.

Michigan

Minnesota

Nebraska

  • untitled, 1964, University of Nebraska-Lincoln, Sheldon Memorial Art Gallery and Sculpture Garden, Lincoln

New Hampshire

  • untitled (To Elita and her baby, Cintra), 1970, Dartmouth College, Hood Museum of Art, Hanover

New York

  • gold, pink and red, red 2/3, 1964, Dia Art Foundation, Beacon
  • monument 4 for those who have been killed in ambush (to P.K. who reminded me about death) 2/3, 1966, Dia Art Foundation, Beacon
  • the diagonal of May 25, 1963 (to Constantin Brâncuși) 3/3, 1963, Dia Art Foundation, Beacon (first entirely fluorescent work)
  • the nominal three (to William of Ockham) 2/3, 1963, Dia Art Foundation, Beacon
  • untitled (to a man, George McGovern) 2 2/3, 1972, Dia Art Foundation, Beacon
  • untitled (to the real Dan Hill) 1b 1/5, 1978, Dia Art Foundation, Beacon
  • untitled, 1996, Dia Art Foundation, Beacon
  • red out of a corner (to Annina) 3/3, 1963, Dan Flavin Art Institute, Bridgehampton
  • untitled 2/3, 1976, Dan Flavin Art Institute, Bridgehampton
  • untitled (to Robert, Joe and Michael) 2/3, 1975–81, Dan Flavin Art Institute, Bridgehampton
  • untitled (to Jan and Ron Greenberg) 2/3, 1972–73, Dan Flavin Art Institute, Bridgehampton
  • untitled (in honor of Harold Joachim) 3 1/3, 1977, Dan Flavin Art Institute, Bridgehampton
  • untitled (to Katharina and Christoph), [from the series to European couples] 1/5, 1971, Dan Flavin Art Institute, Bridgehampton
  • untitled (to Jim Schaeufele) 1 1/3, 1972, Dan Flavin Art Institute, Bridgehampton
  • untitled (to Jim Schaeufele) 2 1/3, 1972, Dan Flavin Art Institute, Bridgehampton
  • untitled (to Jim Schaeufele) 3 1/3, 1972, Dan Flavin Art Institute, Bridgehampton
  • "monument" for V. Tatlin, 1964, Museum of Modern Art, New York
  • pink out of a corner - to Jasper Johns, 1963, Museum of Modern Art, New York
  • untitled (to the "Innovator" of Wheeling Peachblow) 2/3, 1968, Museum of Modern Art, New York
  • untitled, 1968, Museum of Modern Art, New York
  • three fluorescent tubes, 1963, Private Collector, New York
  • icon V (Coran's Broadway flesh), 1962, Private Collector, New York
  • icon VIII (to Blind Melon Jefferson), 1962, Private Collector, New York
  • "monument" for V. Tatlin 1/5, 1964, Private Collector, New York
  • "monument" for V. Tatlin 4/5, 1964, Private Collector, New York
  • untitled (to Henri Matisse) 3/3, 1964, Private Collector, New York
  • untitled (for Ad Reinhardt) 1b 1/5, 1990, Private Collector, New York
  • greens crossing greens (to Piet Mondrian who lacked green), 1966, Solomon R. Guggenheim Museum, New York
  • the nominal three (to William of Ockham), 1963, Solomon R. Guggenheim Museum, New York
  • untitled (to Tracy, to celebrate the love of a lifetime), 1992, Solomon R. Guggenheim Museum, New York
  • untitled (to Ward Jackson, and old friend and colleague who, during the Fall of 1957 when I finally returned to New York from Washington and joined him to work together in this museum, kindly communicated), 1971, Solomon R. Guggenheim Museum, New York
  • untitled (for Robert, with fond regards), 1977, Whitney Museum of American Art, New York
  • untitled, 1966, Whitney Museum of American Art, New York
  • untitled, 1966, Whitney Museum of American Art, New York

North Carolina

  • untitled, 1971, Mint Museum of Art, Charlotte

Ohio

  • untitled (to Janie Lee) one, 1971, Columbus Museum of Art, Columbus
  • untitled (Fondly to Helen), 1976, Private Collector, Cincinnati
  • untitled (to Ellen Johnson, fondly), 1975, Oberlin College, Allen Memorial Art Museum, Oberlin

Oregon

  • untitled (To Donna) II , 1971, Portland Art Museum
  • untitled (for Robert Ryman) 2/5, 1996, Miller-Meigs Collection, Portland

Texas

  • alternate diagonals of March 2, 1964 (to Don Judd) 2/3, 1964, Dallas Museum of Art, Dallas
  • diagonal of May 25, 1963 (to Constantin Brâncuși) 2/3, 1963, Modern Art Museum of Fort Worth, Fort Worth
  • Untitled (for you Leo, in long respect and affection) 4 2/5, 1978, Modern Art Museum of Fort Worth, Fort Worth
  • monument 1 for V. Tatlin, 1964, Menil Collection, Houston
  • untitled (to Barbara Wood), 1970, Menil Collection, Houston
  • untitled frieze, 1996, Menil Collection, Richmond Hall, Houston
  • untitled foyer, 1996, Menil Collection, Richmond Hall, Houston
  • untitled interior, 1996, Menil Collection, Richmond Hall, Houston
  • icon III, 1962, Chinati Foundation, Marfa
  • icon VI (Ireland dying)(to Louis Sullivan), 1962, Chinati Foundation, Marfa

Washington

  • untitled (To Donna), 1973, Private Collector, Seattle

International

Canada

  • the alternate diagonals of March 2, 1964 (To Don Judd), 1964, Art Gallery of Ontario, Toronto, Ontario
  • untitled corner piece, Art Gallery of Ontario, Toronto, Ontario
  • "monument" for V. Tatlin, 1969–1970, National Gallery of Canada, Ottawa, Ontario
  • "monument" for V. Tatlin, 1968, National Gallery of Canada, Ottawa, Ontario
  • untitled (to Barnett Newman to commemorate his simple problem, red, yellow and blue), 1970, National Gallery of Canada, Ottawa, Ontario
  • untitled, 1971, Winnipeg Art Gallery, Winnipeg, Manitoba

France

  • "monument" for V. Tatlin, 1975, Musee National d'Art Moderne, Centre Georges-Pompidou, Paris
  • untitled (To Donna) 5a, 1971, Musee National d'Art Moderne, Centre Georges-Pompidou, Paris

The Netherlands

  • untitled (to Barnett Newman to commemorate his simple problem, red, yellow, and blue), 1970, Stedelijk Museum, Amsterdam
  • monument for V. Tatlin, 1969, Stedelijk museum, Amsterdam
  • untitled (to Piet Mondrian through his preferred colors, red, yellow and blue, Stedelijk museum, Amsterdam
  • Projects 1963-1995, 1996, Stedelijk museum, Amsterdam
  • Untitled, 1968, Museum Boijmans Van Beuningen, Rotterdam
  • Untitled (to Karin), 1966, Museum Kröller-Müller, Otterlo
  • Untitled (to Ingrid Nibbe), Museum Kröller-Müller, Otterlo
  • Untitled (to a man, George McGovern) (1972), Van Abbe museum, Eindhoven
  • Untitled, (quietly, to the memory of Mia Visser),1977, Museum Kröller-Müller, Otterlo

Switzerland

United Kingdom

  • "monument" to V. Tatlin, 1975, Gallery of Modern Art, Edinburgh, Scotland
  • monument for V. Tatlin, 1966–1969, Tate Gallery, London
  • untitled, 1969, Tate Gallery, London
  • a primary picture 2/3, 1964, Hermes Trust U.K., London
  • untitled (to Lucie Rie, master potter) 1c 2/5, 1990, Waddington Galleries Ltd., London
  • untitled (to Lucie Rie, master potter) 1jjj 2/5, 1990, Waddington Galleries Ltd., London
  • untitled (to Lucie Rie, master potter) 1o 1/5, 1990, Waddington Galleries Ltd., London

Estate Collection
  • icon I (the heart) (to the light of Sean McGovern which blesses everyone), 1961
  • icon II (the mystery) (to John Reeves), 1961
  • pink out of a corner - to Jasper Johns, 1963
  • "monument" 1 for V. Tatlin, 1964, Sonja Flavin collection
  • Corner Monument 4, 1966
  • "monument" for V. Tatlin, 1967
  • "monument" for V. Tatlin, 1967
  • untitled (to Janie Lee) one, 1971
  • untitled (to Emily), 1973
  • untitled (to you, Heiner, with admiration and affection), 1973
  • untitled (in honor of Harold Joachim) 3, 1977
  • "monument" for V. Tatlin, 1981
  • untitled (to Piet Mondrian), 1985
  • untitled (for Donald Judd, colorist) 1, 1987
  • untitled (for Donald Judd, colorist) 2, 1987
  • untitled (for Donald Judd, colorist) 3, 1987
  • untitled (for Donald Judd, colorist) 4, 1987
  • untitled (for Donald Judd, colorist) 5, 1987
  • untitled, 1989
  • untitled (for Ad Reinhardt) 2b, 1990

Permanent installations

From 1975, Flavin installed permanent works in Europe and the United States, including "Untitled. In memory of Urs Graf" at the Kunstmuseum Basel (conceived 1972, realized 1975)[4]

Sites for Flavin's architectural "interventions" include Grand Central Station in New York (1976), Hamburger Bahnhof in Berlin (1996), and the Chinati Foundation in Marfa, Texas (2000). His large-scale work in colored fluorescent light for six buildings at the Chinati Foundation was initiated in the early 1980s, although the final plans were not completed until 1996.[5] His last artwork was a site-specific work at Santa Maria Annunciata in Chiesa Rossa, Milan, Italy. The 1930s church was designed by Giovanni Muzio. The design for the piece was completed two days before Flavin's death on November 29, 1996. Its installation was completed one year later with the assistance of the Dia Center for the Arts and Fondazione Prada.[6]

References
  1. Govan and Bell, Dan Flavin: A Retrospective, Yale University Press, 2004
  2. diacenter.org accessed June 6, 2008
  3. Carol Vogel (February 13, 2004), National Gallery Adds to Collection New York Times.
  4. ""Piet Mondrian – Barnett Newman – Dan Flavin", Kunstmuseum Basel, 2013". Archived from the original on 19 August 2014. Retrieved 17 August 2014.
  5. Dan Flavin, untitled (Marfa project) (1996) Chinati Foundation, Marfa.
  6. "Dan Flavin", brochure, S. Maria in Chiesa Rossa, Fondazione Prada, Dia Center for the Arts, 1997. Essay by Michael Govan.
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