I’m a big fan of Dan Flavin’s work. The way he took a material as industrial as strip lighting and created such beautifully simple yet captivating pieces has been a great inspiration.
Of course, Flavin’s work extended beyond the realms of fluorescent light structures, but it’s this form of expression that first captured my imagination. Three years ago the Haunch of Venison curated a retrospective of the great man’s work in their Westminster Gallery space, and I was very fortunate to have made the trip to see just how impressive the pieces are first-hand.
Examples from the Haunch exhibition
© Dan Flavin 2005
© Spin, 2005
I remember being particularly struck by the exhibition poster (shown above), produced by Spin to promote the event and subsequently dotted all over London, most memorably on the underground and in bus shelters. As a brand the Haunch identity, for which Spin were also responsible, really works. Whilst the mark is intriguing (it’s inspiration apparently derived from the standing leg position of a Deer, as revealed by Spin founder Tony Brook in his D&AD lecture last year), the flexible approach to typography is for me it’s most interesting facet. Through experimentation with typography, the designer has opportunity to tailor a unique identity for each show whilst keeping brand elements simple and consistent. The Flavin poster was a great example of this — custom, modular type divided into strips echoes the work itself and offers the show it’s own personality, whilst still very much having the appearance of a Haunch project. This approach is illustrated further by the examples below.
© Spin
It was on my journey to work down Farringdon Road that I spotted something that I wanted to share with everyone. Like the majority of advertising hoardings in circulation, the bus shelter ad space opposite the Royal Mail building is back lit by, as one would expect, strip lights.
Given the minimalist aesthetic Flavin’s sculptures adopt, another interesting and appropriate solution might have been as per the visuals below — utilising existing materials within Adshel spaces and simply branding them using reversed black vinyls attached to the inside of the glass.
Some may think this solution over simplifies Flavin’s work, as obviously it is far more complex and considered than merely hanging strip lighting — there is a consideration of space, colour and position taken with every installation that could not be accounted for in existing ad spaces. However, by taking something functional and giving it a second purpose, just as Flavin did, it might help the audience connect to his work as well as providing an eye catching alternative to the expected back-lit offering.
I hold Spin in very high esteem — their work always seems considered, constantly challenges expectations and pushes materials and print techniques. I’m sure there was a very good reason why the exhibition poster looked as it did. However, riding past the hoarding the other day I couldn’t help but wonder what might have been had the designer seen the same visual opportunity? Given we are very fortunate to have Robert from Spin on board with Design Assembly I’d be really interested in some more of an insight into the chosen solution and the brand as a whole.
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Superb solution to the problem. I ‘m also a big fan of his work! Great post!
Nice work on the bus shelter ad – a gift of an application entirely appropriate for the subject matter. I think the artist may have objected to it as a solution, partly because it’s so specific to a single site/application, but an interesting observation nonetheless.
Just come across your site and got intrigued by conversation— my apologies now, as these comments are more to do with Spin than with Flavin.
Having witnessed the inception of the ‘Haunch’ project first hand, it’s fascinating to see how it’s grown and evolved. It is a cracking project and next to Frieze, HOV have probably got one of the strongest identities in the art world. It’s ‘flexibility’ and ‘diversity’ are its strengths. I think a lot of this can be attributed to Dan Poyner (love child of Rick Poynor and a Wookie), who spent weeks and months killing himself over millions of systems and executions; I still love the Bill Viola piece that he did, it’s immaculate. His invisible system and a healthy dose of Stedelijk-circa-Crouwel have also contributed to the identities success.
As an aside, at the time of the Haunch, there was a fantastic methodology operating within the studio, something that I’ve not witnessed in any other company. To their credit, I think a lot of this was down to Wal and Tony. It was essentially a discursive rhythm of Talk, Work, Talk, Work… If there were any problems or blocks, the ‘hive mind’ of the studio get deployed. We worked and talked our way into and out of solutions.
Interesting, I’ve since worked with other XSpin designers in a different contexts and when we’ve fallen into this familiar pattern, it has been considered alien or threatening. Strange, as I think it is a highly creative way to operate.
Nic — thanks for your comment, and no need to apologise for the topic of your response. The article was a random one, starting with an introduction to Flavin (far too short to be constitute the entire article subject matter) then evolving into an appreciation for the HOV branding, and finally returning to the artist and an observation of my own.
I much prefer HOV to Frieze — whilst I recognise the latter’s qualities I think HOV balances a structured, modernist approach to information, juxtaposed with a playful, almost anti-modernist approach to headers, beautifully. You always feel like the subject matter or artist is most important, much more so that the venue itself, which feels appropriate.
I think it’s healthy to talk through solutions and consider each and every possible positive and negative. Surely it’s only by doing this that the best solution is arrived upon? One thing I’ve learnt at SEA (and still learning) is to trust gut instinct and not be afraid to try something that feels uncomfortable — by their very nature the two mantras don’t always go so well together, but when they do I think some of our most successful work is produced.
Matt,
here’s another conversation direction. Its one I’m wrestling with at the moment, so would be interested to see what others think. I’m not sure if Spin, or for that matter, any cultural practitioner these days operates within a modernist framework. I think all of us are practicing various forms of postmodernism— and this is a real problem. At the ‘end of history’ there is an illusion of innovation and change, but no real invention and newness. We perform micro-adjustments and twists upon a (modernist) theme, a game that is ultimately not sustainable and getting harder and harder to perform. The Modernist vein is nearing exhaustion. I must say, some agencies do these maneuvers very well; they’ve built careers out of it! I think the best we can say is that Spin (at that time) were practicing pastiche (‘blank parody’), we all loved modernist design, but were tragically, all born way to late.
Have you come across the notion of ‘Hauntology’? It’s quite an interesting way of looking at this problem. What do we do with the modernist ghost, how do we break the cultural inertia we find ourselves in.
Matt
I remember thinking a similar thing at the time when he had a show at the Hayward Gallery. I’m really surprised I haven’t seen this familiar sight exploited more.
It also brings to mind the advert for 3M Security glass which stacked piles of real money in the side of bus stop, then proceeded to film idiots trying to break it.
Thanks Nic, Hauntology in this context certainly is an interesting theory.
My understanding of Modernism is that its philosophy was (predominantly) to pioneer progressive, forward thinking (I’m aware this summary is quite crude but given the context it should serve a purpose). In which case I hope there are attributes of Modernism that will live on for many years, regardless of age. However, hauntology is an appropriate way of examining it’s current manifestation in design — style replicated for aesthetic alone and not necessarily its relevance. What I like about the HOV brand is that whilst it was obviously influenced by the structure and order with which we associate Modernism, it broke key Modernist design ‘rules’ particularly to typography, with the outcome being a refreshingly different, but still appropriate, solution.
You could well argue that, in an environment where there are an increasing number of Crouwel inspired agencies appearing to compliment those already in existence, this will be detrimental to creative progression. However, I do believe that trends come and go and that the best agencies/practitioners will keep pushing forward, taking inspiration from particular movements and using them in a relevant way. Hopefully HOV is a valid case study…
Does that make sense?!
Matt, that does make sense; and I think a lot of the problems with the modernity/postmodernity debate is this initial setting of terms; what is understood by them and what flag of convenience is flying? Admittedly, this can be a fruitless and somewhat tedious task. Please feel free to stop reading now !-).
As far as I’ve worked out, there is this analysis that culture is ‘flatlining’ and has been for some time. The culprit is advanced capitalism and its cohort is postmodernity— the two go hand in hand. History has collapsed and we’re condemned to this eternal present, a ‘Groundhog Day’ where past solutions get turned into grammars and styles. We recombine them to our hearts content, but tragically, we do not innovate and we do not push forward— we’re kidding ourselves. At very best, we give the impression of progress and the appearance of change. It’s one big spectacle.
I agree with you that aspects of modernism were about ‘forward thinking’, but I think even this has been emptied of all meaning and has been rendered obsolete. Which leaves us in a rather unenviable position, not only are modernist aesthetics defunct but also the values; for instance: change, transformation and newness have also become illusionary.
This is the postmodern moment that we all seem to inhabit, I can’t think of an agency or designer that doesn’t produce via ‘quoting’, ‘reference’ or ‘pastiche’ (in some way or another). ‘Modernity’ contains the mother-load, most of the 20th century’s most important continental designers! We strip-mine its cannon and rearrange the content. Even tactics (like centred type) that seek to sidestep the period, only end up being drawn back into the conversation.
A lot of the current cultural debates have returned to this question, how to break the deadlock and imagine that ‘change’ and innovation are possible again. Can we be truly ‘forward thinking’? It is interesting that capitals recent ‘glitch’ may just have provided an opportunity for this too happen.
There some more (poncey) stuff here
http://k-punk.abstractdynamics.org/archives/010770.html
http://splinteringboneashes.blogspot.com/2008/10/when-nothing-ever-happens.html
[...] Read Design Assembly’s post about Dan Flavin. Date — Jan 14, 2009 at 5:45 am. Filled under — Articles Speak [...]
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[...] via http://www.designassembly.org/2008/11/17/flavin-revisited/ [...]
Thanks you all for sharing your interesting thoughts!
Very useful for a (danish exchange) student like me. Funny, because I’ve just been doing a brief on the exact subject at LCC. Making the artist (HOV) poster on Dan Flavin. Before the brief, I several times went to see the Theo Van Duesburg exhibition at Tate. And I was very fascinated by the thoughts of the modernist movement, it gave a good perspective on where we are today. I came to reflect about what is the movement of today? ( I will certainly read on about the Hauntology expression).
For a long time I, as an graphic design student, have been seeking an overall inspiration or purpose in a bigger context, which I can related my work to. Sometimes I feel almost paralysed because of the lack of ”purpose”, when working. Therefore I feared the Dan Flavin brief a bit, because of the minimalism of his work - how could I possibly complement his work typographically?!
To me it doesn’t seem like there is any movements that makes sense to stick to - the only theory you can stick to, is complex problem solving techniques (Dorst Rittel, solving tame and wickid problems, and Donald Schön reflective practitioner). But why is that? Can you consider that as a movement? - what would it be? Something like Complexionism? You consider every problem in its own complex context - which secures original work every time?
But that doesn’t provide any composition strategies to stick to. I think we are in a state of ”what now”, and each individual designer has to understand how much responsibility he has for his own work. I think designers are more in charge of themselves than ever before - we can manage everything ourselves on our home computers. But I think ”we” (some of us - including myself) are a bit scared of the thought of handling the cause of our designing lives all by ourselves - we get a little insecure without the guidelines of a movement. (excuse me if this is obvious to somebody).
I don’t think we are going in circles - I think we are in a big development where we have better tools than ever to explore new territory. But it is easy to get lost - and therefore its sometimes easier to stick to styles already there.