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In a sense, the audience becomes the actor upon his stage as the work does not exist without the viewer there to actually take part. For Turrell, light is not an aid, something to assist us in seeing, but it is the actual art object.

The History of Light in Art

His ability to transform the physical properties of light is indicative of a lifelong obsession with it as a material. The physicality of the art object is explored time and time again by artists and it is interesting that these artists selected for the exhibition tend to explore this from a visual perceptive standpoint. The conceptual artist Sol LeWitt b.

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It has to look like something if it has physical form. No matter what form it may finally have it must begin with an idea. It is the process of conception and realisation with which the artist is concerned. Once given physical reality by the artist, the work is open to the perception of all, including the artist. The paradox between the plan and the finished object led many conceptual artists practising during the s and s to a distrust of art historical theory and criticism. Clark emphasises that most of the artists included in the exhibition, save for Robert Irwin b.


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Robert Irwin is the oldest artist of those exhibiting and could perhaps be deemed the most influential as his work, which focuses on the perceptual phenomena of both objects and site-specific installations, is extensive and varied. These experiments ultimately led to installations using light and scrim to create environments that invite and envelop the viewer into the work.

His installations layer light and shadow through the placement of scrim within specific spaces, producing a geometric ambience to be both experienced and perceived.

The immersive environment was a key point of interest for Irwin, as well as Larry Bell b. The difficulty of articulating, via catalogue text, light-based installations was recognised by Compton and he therefore avoided even attempting to describe and analyse their works.

The visual ambiguity and feeling of disorientation produced by each work was compounded by the fact that they were part of a chain of movement, as the three galleries were connected.

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This interaction forged an intangible aesthetic that carried on into their future works; an aesthetic based on the reductive quality of the object and an emphasis on the corporeal energy of light. Whereas the site-specific works of Irwin, Bell, Wheeler and Turrell investigated light and its physical qualities as dependent on the dichotomous structures that reflect and absorb it, Michael Asher b. His early works show an interest in investigating the basic structures of form, which ultimately lead to his current engagement with the overall structures and constructs of the art world itself.

Asher, along with many of the other artists selected to exhibit, has been incredibly influential and inspiring for many contemporary artists. See also: Dan Flavin. See also: James Turrell. See also: Robert Irwin artist. See also: Neon art.

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See also: Projection mapping. See also: Digital graffiti. See also: Light painting. See also: Festival of Lights Lyon. See also: Vivid Sydney. See also: Light Art Biennale Austria See also: Lux Helsinki.

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See also: i Light Marina Bay. Visual arts portal. Lichkunst aus Kunstlicht: Licht als Medium der Kunst im Retrieved 31 July Archived from the original on 13 June Hatje Cantz Verlag. Retrieved 17 January Retrieved 10 July Webist Media. Maryland, United States:: Wildside Press. Vice Media Inc. International Year of Light - Blog. Retrieved 10 August The Museum of Modern Art. Smart Light Sydney.

How Different Artists Bring Light Into a Painting

Singapore Urban Redevelopment Authority. Retrieved 4 February Retrieved 8 August Visual arts. List of artistic media.


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