Dan Flavin (American, 1933-1996)
monument on the survival of Mrs. Reppin, 1966
Warm red and white fluorescent light
Norton Simon Museum, Museum Purchase, Fellows Acquisition Fund
© Stephen Flavin/Artists Rights Society (ARS), New York; courtesy of David Zwirner, New York
Norton Simon Museum in Pasadena is gearing up to unveil a new exhibition that examines the role of electric light in mid-20th century art. “Plugged In: Art and Electric Light” will showcase 11 works created between 1964 and 1980, all drawn from the museum’s collections.
Opening on Sept. 20 and running through Feb. 17, 2025, the exhibition will be presented in the Museum’s lower-level exhibition wing and will feature eight artists who incorporated electric light into their practice: Walter Askin, Laddie John Dill, Dan Flavin, Robert Irwin, Jess, Robert Rauschenberg, Allen Ruppersberg, and Andy Warhol.
These artists used the medium to shape and respond to artistic and social changes during this period, approaching electric light from different perspectives, ranging from scientific collaborations to deeply personal expressions.
Rauschenberg’s “Green Shirt” (1965-1967), a monumental sculpture measuring 10 feet high and 20 feet long, is one of the exhibition’s centerpieces. The piece will be installed on its own at eye-level in the final gallery, combining neon tubes bent into motifs from Rauschenberg’s earlier works.
The sculpture was created in collaboration with Artkraft Strauss, a sign-manufacturing firm. Over time, some electrical elements have been replaced to improve safety and energy efficiency, while maintaining the original design’s elegance.
Dan Flavin’s work “monument” on the survival of Mrs. Reppin (1966) offers a contrasting approach to electric light as an artistic medium. Flavin used prefabricated fluorescent lights to alter viewers’ perception of architectural space and evoke fundamental emotions.
The piece commemorates the experiences of Mrs. Reppin, a friend’s mother-in-law, during World War II. Flavin intended the work to be viewed in isolation, creating an ironic twist on the concept of enduring monuments.
The exhibition also features work by Jess (born Burgess Collins), an artist with a complex relationship to science and technology. Jess, who previously worked on the Manhattan Project, turned to art as “an antidote to the scientific method.” His piece “Assembly Lamp Eight” (1966) combines salvaged objects, glass lantern slides, and electric candle lights. The work serves as both an unsettling lightbox revealing ambiguous histories and a gentle source of domestic illumination.
Maggie Bell, Associate Curator at the Norton Simon Museum, organized the exhibition. The museum is planning several related events, including a two-day symposium with Caltech and a film series exploring Hollywood’s fascination with electricity from Nov. 8-29.
An opening weekend celebration on Sept. 21 will include tours, live music, and art-making for all ages. The exhibition is part of the Getty-led initiative PST ART: Art & Science Collide.
A conservation note indicates that where possible, LEDs have replaced original incandescent light bulbs with the permission of the artist or artist’s estate. Electrical components have also been updated to improve safety and longevity.
Norton Simon Museum is located at 411 W. Colorado Blvd. in Pasadena. It is open Thursday through Monday, with general admission at $20 for adults and $15 for seniors. The museum is wheelchair accessible and offers free parking.
For more information, visit www.nortonsimon.org/.
