No UV Needed just about says it all when it comes to the fluorescent glow of this Hot Pink Nail Gel from L.A.Girl. Just sitting in the bottle, it looks like a tiny work of art — and I’m sure it looks great on your nails as well!
Dan Flavin (1933 – 1996) began to use commercially available fluorescent light tubes in 1963. This work marries color and light, bringing them into three dimensions. In dialogue withe surrounding space, the vertical and horizontal tubes both illuminate and obscure the corner — a location not typically used for displaying art. Though the emitted light transcends its physical encasement and transforms the surrounding space, Flavin avoided characterizing his work as sublime and instead considered his light installation as “situations” or proposals. “One might not think of light as a matter of fact, but I do,” he stated. “And it is…as plain and open and direct an art as you will ever find.”
Laser cut from fluorescent green and fluorescent red acrylic, the Cactus Garden acts a both a day and night lighting fixture. The sculptures offer a subtle glow when in light thanks to the fluorescent material from which they are cut.
An LED wired base can also be fitted to each cactus, illumining the sculptures in UV blacklight. All cactus styles are cut to nest in the lamp base, making the design entirely interchangeable.
This installation was designed and fabricated by Nobel Truong in Los Angeles and photographed at the Architectural Digest Design Show in NYC.
Ivan Navarro uses electric light as his primary medium, appropriate the austere visual language of Minimalism and imbuing it with political resonance. For Homeless Lamp, the Juice Sucker (2004–05), he built a grocery cart out of fluorescent tubes and, with it, wandered to the gallery-lined streets of Manhattan’s Chelsea neighborhood. The luminous sculpture evokes the work of Dan Flavin while also referencing an object commonly repurposed by homeless people for storage and transportation.
Scored to the Mexican revolutionary song “Juan Sin Tierra” (John the Landless), the accompanying documentary video follows Navarro and a friend as they search for public electricity with which to eliminate the sculpture. presenting the artist as a transient figure, Navarro offers a personal allegory for his early attempts to gain access to the New York art world as well as the difficulties faced by migrants in establishing connections with the place to which they have relocated.
Photographed at the Guggenheim Museum in New York City during the Storylines exhibit in 2015.
This old-school FDNY Call Box on the corner of Bowery and Rivington, is easy to spot, as it is painted a bright florescent orange. According to Bowery Boogie, the call box was formerly an art installation; part of Two Rams Gallery’s Alarm! exhibition, which ran from February 5 – 22nd, 2015, and for which the call box was painted bright florescent Red. As the exhibit has now ended, I imagine someone felt it was necessary to achieve closure by painting it orange.
Pace Prints is currently hosting Ryan McGinness: Figure Drawings, the artist’s second exhibition at the gallery. I can’t say I’m sorry that I missed the opening reception, because how could you possibly get good photos of these works in a gallery full of people?
Figure Drawings is a continuation of the McGinness’s Women series, which he started working on in 2010. Drawing directly from nude models, he approaches these drawings in the same manner in which he creates his signature undulating and layered icons.