The Norton Simon Museum in Pasadena is presenting a special show from September 20: Plugged In: Art and Electric Light features works by famous artists from the 1960s who declared electric light to be a material for art.
With the exhibition Plugged In: Art and Electric Light, the Norton Simon Museum sheds light on the early days of light art: eleven works by eight famous artists, all created between 1964 and 1970, demonstrate these artists' interest in new technologies, social change and drastically changing consumer behavior. Some works, such as White Painting (1964) by Andy Warhol, which can also be seen in the exhibition and comments on how the female body is used as an object and as an advertising medium since the post-war period, were the subject of controversy. Other highlights include Assembly Lamp Eight (1966) by Jess (Burgess Collins) and the monumental Green Shirt (1965-1967) by Robert Rauschenberg. All exhibits come from the museum's collection and can be seen in the exhibition from September 20, 2024 to February 17, 2025.
Other works are by Walter Askin, Laddie John Dill, Dan Flavin, Robert Irwin and Allen Ruppersberg. In some works of art, the original light bulbs have been replaced by LEDs and components such as transformers by newer models, following consultation with the artists or their executors. This reduces power consumption and increases the safety and longevity of the works.
An accompanying program complements the exhibition with further information. A two-day symposium on the use of electric light in art, organized by the museum together with the California Institute of Technology, will take place on 11 and 12 October. From November 8 to 29, a film series will explain Hollywood's fascination with electricity.
Two exceptional artists with astonishing life parallels: The Kunsthaus Zürich shows in Matthew Wong – Vincent van Gogh. Painting as a Last Resort, the Kunsthaus Zurich shows how the painter star Wong, who died young, was inspired by van Gogh. The exhibition opens on September 20.
In her work, Munich artist Christiane Fleissner takes an unusual look at the fundamental structures of our reality. She invites us to question our understanding of space and time and to develop a new sense of the dimensions in their interplay.
