© 1969 James Jp Hawkins
light-as-painting-1971.jpg (1969) Malarstwo autorstwa James Jp Hawkins
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- Wymiary Wysokość 60in, Szerokość 50in
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Minimalism: Light Painting 1
Circa 1969 I was taking a class at UC Irvine called Physics for Artists. I was also taking art classes with Ed Moses & other West Coast Minimalists. I, of course, began thinking about how I could juxtapose Minimalism with Physics. I first began using light as a painting. In the Physics Department, I had[...]
Minimalism: Light Painting 1
Circa 1969 I was taking a class at UC Irvine called Physics for Artists. I was also taking art classes with Ed Moses & other West Coast Minimalists. I, of course, began thinking about how I could juxtapose Minimalism with Physics. I first began using light as a painting. In the Physics Department, I had access to far more equipment to fashion my art. I shortly after began making machines which used sound as sculpture and I created kinetic machines which had hidden reversing polarity magnets which created motion while interacting with permanent magnets. The museums I showed in required special insurance riders to show my light paintings due to the fact that contained open electric wires and nichrome wires which I shielded with glass plates. Instead of standing behind a velvet cord, all of my electronic pieces invited the interaction of the viewers who became artists themselves (ala Dadaism) by turning the pieces on and or manipulating them with rheostats.
Circa 1969 I was taking a class at UC Irvine called Physics for Artists. I was also taking art classes with Ed Moses & other West Coast Minimalists. I, of course, began thinking about how I could juxtapose Minimalism with Physics. I first began using light as a painting. In the Physics Department, I had access to far more equipment to fashion my art. I shortly after began making machines which used sound as sculpture and I created kinetic machines which had hidden reversing polarity magnets which created motion while interacting with permanent magnets. The museums I showed in required special insurance riders to show my light paintings due to the fact that contained open electric wires and nichrome wires which I shielded with glass plates. Instead of standing behind a velvet cord, all of my electronic pieces invited the interaction of the viewers who became artists themselves (ala Dadaism) by turning the pieces on and or manipulating them with rheostats.
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