Dan Flavin's "Icons" series, completed between 1961 and 1964, represents a pivotal moment in his artistic career, bridging the gap between his early work and the light sculptures for which he became renowned. This series consists of eight pieces, blending painting and sculpture through box-like constructions that incorporate painted surfaces and attached light fixtures. Each piece in the series demonstrates a unique "hierarchical relationship of electric light over, under, against and with a square-fronted structure of paint 'light.'" This exploration laid the groundwork for Flavin's subsequent experimentation with sculptures made entirely of fluorescent light (Dia Art Foundation).
The term "icon" in Flavin's work, given his Catholic background, is particularly evocative. Unlike traditional religious icons, Flavin's icons are nonrepresentational, dedicated to friends, family, and figures he admired, infusing the series with personal significance. These dedications carry a range of emotions, from humor to tragedy, demonstrating Flavin's complex relationship with the concept of iconography (Dia Art Foundation).
The first retrospective to include the full "Icons" series was presented by the National Gallery of Canada in Ottawa in 1969, showcasing Flavin's early but significant foray into combining traditional art forms with contemporary materials and concepts. Despite the retrospective label, the series hadn't been displayed in its entirety again until decades later, highlighting its importance within Flavin's body of work (Dia Art Foundation).
The "Icons" series is crucial for understanding Flavin's artistic evolution. Before his iconic use of fluorescent lighting, these works mark his initial steps towards redefining sculpture and installation art. By integrating electric light with painted surfaces, Flavin began to question and expand the boundaries of art, setting the stage for his later works that would fully embrace light as a medium. The "Icons" not only reflect Flavin's transition from painting to light but also his broader contributions to Minimalism and conceptual art (Dia Art Foundation) (Apollo Magazine).