Dan Flavin's diagonal installations, beginning with the diagonal of May 25, 1963 (to Constantin Brancusi), mark a pivotal moment in both his career and the broader narrative of contemporary art. This work, a single gold fluorescent lamp placed at a 45-degree angle to the wall, signified a radical departure from traditional sculptural forms and mediums, encapsulating Flavin's innovative approach to art-making that utilized commercially available materials to redefine spatial perceptions (The Metropolitan Museum of Art) (David Zwirner).
By 1963, Flavin had decisively moved away from the gestural expressions of Abstract Expressionism and the use of found objects, toward the emblematic use of fluorescent lights. This transition was not only a significant shift in his material usage but also highlighted his interest in electric light's atmospheric and spatial properties. The Diagonal of May 25, 1963, dedicated to the sculptor Constantin Brancusi, was Flavin's first mature work using this medium, establishing the foundation for his later explorations into light and space (DailyArt Magazine).
Flavin's diagonal installations are characterized by their minimalist approach, using standard lengths of fluorescent tubes and a limited color palette that included primary colors and various shades of white. These installations transcended the conventional boundaries of sculpture and painting, engaging directly with the architectural spaces they inhabited. The use of diagonals in these works served not only as a formalist gesture but also as a means to invite viewers to experience space in new ways, marking the gallery walls and floors with light and shadow (The Art Story) (DailyArt Magazine).
The conceptual underpinnings of Flavin's work, along with his methodical approach to installation, played a crucial role in the development of Minimalist art. His diagonal installations, by rejecting the gestural for the geometric and the handcrafted for the industrially produced, challenged traditional notions of art. Moreover, by dedicating his works to individuals, Flavin imbued these ostensibly impersonal light constructions with a personal dimension, bridging the gap between the objective language of Minimalism and the subjective realm of human experience (DailyArt Magazine).
Dan Flavin's diagonal installations are not merely formal experiments with light and space but are also deeply imbued with conceptual rigor. Through these works, Flavin redefined the parameters of sculpture and installation art, influencing generations of artists to explore the possibilities of light as a primary medium. His legacy is a testament to the power of minimal means to elicit complex perceptual and emotional responses, making him a central figure in the narrative of 20th-century art (The Metropolitan Museum of Art) (The Art Story) (David Zwirner).