Word: mediums
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Dates: during 1960-1969
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...spiral shadows of alumia or the ghostly glare of minimal fluorescence. M.I.T.'s Hayden Gallery was jumping last week with the flickering lights of Venice Biennale Prizewinner Julio Le Fare's black-and-white Pulsating Lights and other works of artists exploring light as an artistic medium. For the Los Angeles County Museum's forthcoming "American Sculpture of the Sixties" show, electricians were readying Stephen Antonakos' Orange Vertical Floor Neon, Chryssa's Fragments for the Gates to Times Square II and an untitled work by Dan Flavin. At the heart of the U.S. pavilion...
Critics may rail at the technological supercharge of the "light brigade." Artists wail at the fragility of their new medium (fuses blow, bulbs burn out). But almost any exhibit that lights up in a gallery draws people like moths to a candle, or like children gazing into a burning hearth. In the following color pages, TIME reproduces the work of twelve luminal artists (and one luminal committee), photographed in galleries and studios in the U.S., France, West Germany and Britain...
...slowly evolving, shifting, glowing abstract patterns. At the Weimar Bauhaus, Laszlo Moholy-Nagy between 1922 and 1930 devised a polished metal and clear plastic Light Display Machine. But such items remained isolated curios ities. It took the 1950s and 1960s to attract a whole spectrum of artists to the medium...
...Museum of Natural History in Manhattan before beginning light constructions in 1964. His classically simple Cloverleaf employs relatively elementary wiring and hidden fluorescent tubes. McClanahan believes that "the promise of light is incredible to contemplate, but it may be disastrous for some at first, until the use of the medium is mastered, as classic Oriental drawing must be mastered, by constant training...
Understatement was the dominant note of the violin and piano recital presented by Tison Street and Tonu Kalam Tuesday night at Quincy House. Street's mellow tone, meticulous phrasing, and polished technique served as a transparent medium for the expression of every nuance of the music; Tonu Kalam's accompaniment was equally controlled, if the least bit more rodust. As a combination, they were nearly flawless, freely molding the music into the shape they desired without intruding between the music and the audience...