“𝙸 𝚐𝚛𝚎𝚠 𝚞𝚙 𝚒𝚗 𝚛𝚞𝚛𝚊𝚕 𝙰𝚛𝚒𝚣𝚘𝚗𝚊, 𝚊𝚗𝚍 𝚠𝚑𝚎𝚗 𝙸 𝚠𝚊𝚜 𝚢𝚘𝚞𝚗𝚐, 𝙸’𝚍 𝚑𝚊𝚟𝚎 𝚝𝚘 𝚐𝚎𝚝 𝚞𝚙 𝚊𝚝 𝟺:𝟹𝟶 𝚊.𝚖. 𝚊𝚗𝚍 ‘𝚛𝚒𝚍𝚎’ 𝚏𝚎𝚗𝚌𝚎 𝚕𝚒𝚗𝚎, 𝚠𝚑𝚒𝚌𝚑 𝚠𝚊𝚜 𝚖𝚢 𝚌𝚑𝚘𝚛𝚎 𝚋𝚎𝚏𝚘𝚛𝚎 𝚋𝚛𝚎𝚊𝚔𝚏𝚊𝚜𝚝. 𝚃𝚑𝚎 𝚒𝚍𝚎𝚊 𝚠𝚊𝚜 𝚝𝚘 𝚌𝚑𝚎𝚌𝚔 𝚍𝚒𝚏𝚏𝚎𝚛𝚎𝚗𝚝 𝚜𝚎𝚌𝚝𝚒𝚘𝚗𝚜 𝚘𝚏 𝚝𝚑𝚎 𝚏𝚎𝚗𝚌𝚎 𝚝𝚘 𝚛𝚎𝚙𝚊𝚒𝚛 𝚊𝚗𝚢 𝚜𝚙𝚘𝚝𝚜 𝚝𝚑𝚊𝚝 𝚠𝚎𝚛𝚎 𝚌𝚘𝚖𝚙𝚛𝚘𝚖𝚒𝚜𝚎𝚍. 𝚂𝚘 𝚊𝚝 𝚏𝚒𝚛𝚜𝚝 𝚒𝚝’𝚜 𝚍𝚊𝚛𝚔 𝚊𝚗𝚍 𝚢𝚘𝚞 𝚌𝚊𝚗 𝚋𝚊𝚛𝚎𝚕𝚢 𝚜𝚎𝚎, 𝚊𝚗𝚍 𝚝𝚑𝚎𝚗 𝚐𝚛𝚊𝚍𝚞𝚊𝚕𝚕𝚢 𝚝𝚑𝚎 𝚕𝚒𝚐𝚑𝚝 𝚒𝚜 𝚌𝚘𝚖𝚒𝚗𝚐 𝚒𝚗. 𝚃𝚑𝚎 𝚜𝚔𝚢 𝚠𝚊𝚜 𝚊𝚕𝚠𝚊𝚢𝚜 𝚎𝚟𝚎𝚛𝚢𝚝𝚑𝚒𝚗𝚐. 𝙸𝚏 𝚝𝚑𝚎𝚛𝚎 𝚠𝚎𝚛𝚎 𝚊 𝚌𝚘𝚞𝚙𝚕𝚎 𝚘𝚏 𝚜𝚌𝚊𝚝𝚝𝚎𝚛𝚎𝚍 𝚌𝚞𝚖𝚞𝚕𝚘𝚞𝚜 𝚌𝚕𝚘𝚞𝚍𝚜, 𝙸 𝚏𝚘𝚞𝚗𝚍 𝚝𝚑𝚊𝚝 𝚝𝚑𝚎 𝚌𝚕𝚘𝚞𝚍𝚜 𝚌𝚛𝚎𝚊𝚝𝚎𝚍 𝚝𝚑𝚒𝚜 𝚜𝚎𝚗𝚜𝚎 𝚘𝚏 𝚜𝚙𝚊𝚌𝚎, 𝚍𝚎𝚏𝚒𝚗𝚒𝚗𝚐 𝚜𝚙𝚊𝚌𝚎, 𝚖𝚊𝚔𝚒𝚗𝚐 𝚒𝚝 𝚏𝚎𝚎𝚕 𝚍𝚒𝚖𝚎𝚗𝚜𝚒𝚘𝚗𝚊𝚕...𝚘𝚞𝚝 𝚝𝚑𝚎𝚛𝚎 𝚝𝚑𝚎𝚛𝚎’𝚜 𝚊 𝚛𝚎𝚊𝚕 𝚜𝚎𝚗𝚜𝚎 𝚘𝚏 𝚟𝚘𝚕𝚞𝚖𝚎, 𝚠𝚑𝚎𝚗 𝚢𝚘𝚞 𝚕𝚘𝚘𝚔 𝚊𝚝 𝚝𝚑𝚎 𝚟𝚊𝚞𝚕𝚝 𝚘𝚏 𝚝𝚑𝚎 𝚜𝚔𝚢. 𝚃𝚑𝚊𝚝’𝚜 𝚠𝚑𝚊𝚝 𝙸 𝚜𝚝𝚊𝚛𝚝𝚎𝚍 𝚙𝚕𝚊𝚢𝚒𝚗𝚐 𝚠𝚒𝚝𝚑 𝚊𝚜 𝚊𝚗 𝚊𝚛𝚝𝚒𝚜𝚝: 𝚗𝚘𝚝 𝚕𝚘𝚘𝚔𝚒𝚗𝚐 𝚊𝚝 𝚝𝚑𝚒𝚗𝚐𝚜 𝚋𝚞𝚝 𝚝𝚑𝚎 𝚝𝚎𝚗𝚜𝚒𝚘𝚗 𝚒𝚗 𝚋𝚎𝚝𝚠𝚎𝚎𝚗 𝚝𝚑𝚒𝚗𝚐𝚜.” — 𝙳𝚘𝚞𝚐 𝚆𝚑𝚎𝚎𝚕𝚎𝚛
The Light and Space movement came out of a group of Southern California artists who were interested in applying the principles of minimalism to an even more abstract idea—how does light interact with the space around it?
Doug Wheeler was very interested in this concept. He spent years using white spray paint on canvas to emulate an atmospheric illumination. The breakthrough came a few years later, when he opted to use light as a raw material.
In 1966, he moved his paintings out of his studio, painted the walls white, and installed a strip neon light on the ground in such a way that one could see the glow but not the source of it. The result was the immersive, uncanny “luminous field” that Wheeler became known for.
His latest installation at David Zwirner is reminiscent of his first use of light. Stripped of everything but the light and the space it takes up, there’s nothing to look at but everything. - 4 hours ago