Ever since minimalism momentously gained popularity in the 1960’s, the “Light and Space” movement has naturally acquired prominence for its stunning juxtaposition in geometric abstraction, luminescence, and space. Artwork from this distinctive style is notable for its use of glass, neon, and cutting-edge fabrication to showcase transparency, reflection, and eye-trickery in mind-bending expanses. In looking to its artists who embrace the personal, theatrical experience of the viewer and their related work, we can best understand “Light and Space” in its stand-alone artistry.

自从极简主义在1960年代大受欢迎之后，“光与空间”运动就以其在几何抽象，发光和空间方面惊人的并列性而自然受到关注。 这种独特风格的艺术品以玻璃，霓虹灯和尖端制造技术的使用而著称，可在展翅宽阔的空间中展现透明性，反射性和眼神。 在寻找包含观看者的个人戏剧体验及其相关作品的艺术家时，我们可以从其独立的艺术作品中最好地理解“光与空间”。

拉里·贝尔 (Larry Bell)

The world’s first introduction to “Light and Space” was at the 1971 UCLA Art Gallery exhibition titled “Transparency, Reflection, Light, Space.” There, Larry Bell—an American contemporary artist and sculptor—debuted glass boxes and large-scaled illusionistic sculptures that caught notable attention of eyes on the West Coast.

1971年，加州大学洛杉矶分校(UCLA)画廊举办了题为“透明，反射，光，空间”的全球首次“光与空间”的介绍。 在那儿，美国当代艺术家和雕塑家拉里·贝尔(Larry Bell)首次亮相玻璃盒和大型幻像雕塑，引起了西海岸的瞩目目光。

His glass creations were iconic in its beautiful ephemeral appearance; the cubes constantly changed in response to their surroundings as well as to the viewer’s movement around the work. This illusory, phenomenological experience alluded to the motif that the artistry was not simply in the cubes or sculptures themselves, but in the transformation of light as shapes appeared and evaporated to the presence of individuals.

他的玻璃作品以其短暂的外观而具有标志性。 立方体根据周围环境以及观看者在作品周围的移动而不断变化。 这种虚幻的现象学经验暗示着这样的主题，即艺术性不仅是在立方体或雕塑本身中，而且还在于随着形状的出现和蒸发到个体的存在而发生的光的转变。

罗伯特·欧文 (Robert Irwin)

Another among the most notable in the Light and Space collective is Robert Irwin—an artist whose innovative, site-conditioned works explore the effects of light through interventions in space and architecture. Although his initial career focused on line paintings, Irwin slowly transitioned to embark on an inquiry of art-making beyond the traditional frame in the mid-1960s. Today, his works stand as interventions that survey the nature of light, volume, and perceptual psychology in its united interactions.

罗伯特·欧文(Robert Irwin)是光与空间集体中最著名的艺术家，他的创新作品是根据现场情况而定，通过干预空间和建筑来探索光的影响。 尽管他最初的职业生涯集中在线条画上，但Irwin慢慢过渡到了1960年代中期开始超越传统画框的艺术创作研究。 时至今日，他的作品已成为一种干预措施，旨在探讨光，体积和知觉心理在其相互作用中的本质。

Among his most notable installations is Untitled (dawn to dusk), a large-scale permanent site of 10,000 square feet at the Chinati Foundation in Texas. Irwin designed the courtyard and divided the building’s interior into two halves: one wing light and the other dark. With equally-spaced windows and divided on each side, the installation orchestrates viewers’ perceptions of light, interior space, and the surrounding landscape.

他最著名的装置之一是《 无题》(黎明至黄昏) ，这是德克萨斯州Chinati基金会的一个大型永久性场地，占地10,000平方英尺。 欧文(Irwin)设计了庭院，并将建筑物的内部分为两半：一个是侧翼，另一个是侧翼。 通过等距间隔开的窗户并在每一侧分开，该装置可以协调观众对光线，室内空间和周围景观的感知。

道格·惠勒 (Doug Wheeler)

Wheeler adds to the list of the era’s preeminent practitioners in his dematerialization of architecture to transform rooms into abstract worlds.

惠勒(Wheeler)在他对建筑的非物质化将房间变成抽象世界的过程中，增加了该时代的杰出从业者。

In his most recent work titled 49 Nord 6 Est 68 Ven 12 FL, visitors walk on a high-gloss floor to enter a white room illuminated from a hidden source. As someone who visited this gallery first-hand, I can attest that being in this room feels like peering into an infinite chasm of white light and the effect is almost magical in its accompanied calming aura. As you close your gap to the wall, your gaze dissolves in reaction to the lack of reference points.

在他最近的作品《 49 Nord 6 Est 68 Ven 12 FL》中，访客走在高光地板上，进入由隐藏光源照亮的白色房间。 作为亲自去过这个画廊的人，我可以证明在这个房间里感觉就像凝视着无限的白光，其伴随的平静光环几乎具有魔幻般的效果。 当您缩小与墙壁的距离时，视线会因缺乏参考点而消失。

詹姆斯·特瑞尔 (James Turrell)

A pilot trained in psychology and math, Turrell is among the most famous of pioneers who perfected the use of light as a medium for art. His perfectly constructed installations make light so immediately present that the boundaries of space itself appear to dissolve.

Turrell是一名接受过心理学和数学训练的飞行员，是最著名的开拓者之一，他们完美地将光作为艺术媒介使用。 他完美构造的装置使光线如此明亮，以至于空间的边界似乎消失了。

“We eat light, drink it in through our skins. With a little more exposure to light, you feel part of things physically.”

“我们吃光，然后通过皮肤喝光。 多一点的光线，您就可以感觉到身体的一部分。”

His light show Aten Reign (2013) at the Guggenheim Museum recasted the museum’s rotunda as a volume filled with shifting artificial and natural light. One of the most dramatic transformations the museum has conceived, the installation breathed themes of openness in nature, graceful curves, and a grand sense of space.

他在古根海姆博物馆( Guggenheim Museum )举行的灯光秀《 阿滕·瑞恩(Aten Reign)》(2013)重塑了博物馆的圆形大厅，其体积充满了不断变化的人造和自然光。 博物馆构思出的最具戏剧性的变化之一是，该装置呼应了自然开放，优美曲线和宽敞空间的主题。

One of my favorite James Turrell quote is as follows:

我最喜欢的James Turrell引用之一如下：

“I always wanted to make a light that looks like the light you see in your dream. Because the way that light infuses the dream, the way the atmosphere is colored, the way light rains off people with auras and things like that…We don’t normally see light like that. But we all know it. So this is no unfamiliar territory — or not unfamiliar light. I like to have this kind of light that reminds us of this other place we know.”

“我一直想制作一种看起来像您在梦中看到的光的灯。 因为光注入梦想的方式，气氛的变色，光环与光环之类的东西下雨的人……我们通常不会看到这样的光。 但是我们都知道。 因此，这不是陌生的领域，也不是陌生的光。 我喜欢这种光使我们想起我们认识的另一个地方。”

对媒体的影响 (Influence in Media)

Hints of the Light and Space Movement can be seen across 21st century media. In Drake’s music video for “Hotline Bling,” the set’s visual language hints at Turrell and Irwin’s immersive light installations. In the clip, glowing white cubes slowly change color and dimension to cast the rapper and dancers in silhouettes. The intentional unity in the vast environment and neon luminescence is an evident homage to Light and Space itself.

在21世纪的各种媒体中都可以看到光与空间运动的提示。 在Drake的音乐视频“ Hotline Bling”中，场景的视觉语言暗示了Turrell和Irwin的沉浸式灯光装置。 在剪辑中，发光的白色立方体会缓慢改变颜色和尺寸，从而使说唱歌手和舞者的身影变得轮廓分明。 在广阔的环境中有目的的统一和霓虹灯的发光是对光与空间本身的崇高敬意。

Additionally, Kanye West released his film Jesus is King with footage of his Sunday Service performance series set in Roden Crater—a venue conceptualized by Turrell himself. Featured on the official film poster, this hall is built within a dormant volcano in Northern Arizona as a project spanning over four decades long. It represents the culmination of the artist’s lifelong research in the field of human visual and psychological perception.

此外，坎耶·韦斯特(Kanye West)发行了他的电影《 耶稣是国王》，其中包含他在罗登·克雷特(Roden Crater)演出的系列《周日服务》表演系列的画面，特罗尔本人将其概念化。 这个大厅在官方电影海报上有特色，建在亚利桑那州北部的一座Hibernate火山中，历时四十年之久。 它代表了艺术家在人类视觉和心理感知领域进行终生研究的高潮。

With this short overview on this artistry and its creators, it’s clear to see why the Light and Space Movement still holds relevancy in today’s creative age—the beauty of the elegant, minimalistic aesthetic is hard to disregard. Iconic in its appearance, the work offers a healing essence in its reminder to how beautiful the simple presence of light can be.

通过对这门艺术及其创作者的简短概述，可以清楚地看到为什么光与空间运动在当今的创意时代仍然具有重要意义-优雅，简约美学的美丽是不容忽视的。 该作品具有标志性，在提醒人们简单的光线存在的美丽时提供了治愈的本质。

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