Top-100 artists:
We use our proprietary AI - LiveArt Estimate™ to calculate current market value for each artwork. Based on this data LiveArt is able to provide numerous insights into artist and artwork financial performance, including:
See the measure of artist investment performance relative to risk. A higher ratio suggests better risk-adjusted returns, indicating more consistent performance with less risk.
Explore the most prolific periods in an artist's career based on artwork production volume and current market value. It also segments these periods by category, offering insights into when the most valuable pieces were created in each category.
Free to sign up. No credit card required.
| Image | Last Sale Date | Title | Edition No. | Last Sale | Last Sale Auction House | Last Sale Location | |
|---|---|---|---|---|---|---|---|
| Nov 10, 2015 | untitled (to Madeline and Eric Kraft) | 2 | Bonhams | New York | |||
sculpture
61 x 122 cm (24.02 x 48.03 in)
red, pink, filtered ultra violet, and yellow fluorescent light
2
Schellman Art + Furniture, New York. ,
Acquired from the above by the present owner
New York, Leo Castelli Gallery, Dan Flavin, 1-22 March 1997 (another from the edition ).Flavin arrived at fluorescent light in the mid-1960s. After meeting Sol LeWitt as a part-time employee at the Guggenheim, he was intrigued by burgeoning conceptual practices and concepts relating to Minimalism. Despondent and unable to achieve a satisfactory output working in watercolor and ink, Flavin began specifically thinking about light as a medium while working as a guard at the American Museum of Natural History, eventually losing his job after stealing directions for the assembly of one of the museum's neon light fixtures. After a series of experiments with light bulbs in his Williamsburg studio, Flavin felt a sense of elation when he realized the powerful visual effects of the seemingly mundane medium of commercial light fixtures. The aesthetic ramifications of the medium were dynamic, but it was also the shift in perception achieved by the way in which the tubes of gas were perceived that made his early work conceptually relevant. Fluorescent lights were introduced by General Electric as early as 1938 and were widely used commercially by 1964 when Flavin his first light pieces at Green Gallery in New York. As familiar as the Campbell's Soup can usurped by Pop artist Andy Warhol, it was the recontextualization of Flavin's chosen banality, most widely seen in gas station and bar signs, which framed his process as decisively avant-garde
M. Govan and T. Bell, Dan Flavin: The Complete Lights 1961-1996, New York, 2004, p. 399, no. 642 (illustrated in color)
