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.

自從極簡主義在1960年代大受歡迎之后，“光與空間”運動就以其在幾何抽象，發光和空間方面驚人的并列性而自然受到關注。 這種獨特風格的藝術品以玻璃，霓虹燈和尖端制造技術的使用而著稱，可在展翅寬闊的空間中展現透明性，反射性和眼神。 在尋找包含觀看者的個人戲劇體驗及其相關作品的藝術家時，我們可以從其獨立的藝術作品中最好地理解“光與空間”。

拉里·貝爾 (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，加州大學洛杉磯分校(UCLA)畫廊舉辦了題為“透明，反射，光，空間”的全球首次“光與空間”的介紹。 在那兒，美國當代藝術家和雕塑家拉里·貝爾(Larry Bell)首次亮相玻璃盒和大型幻像雕塑，引起了西海岸的矚目目光。

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暫的外觀而具有標志性。 立方體根據周圍環境以及觀看者在作品周圍的移動而不斷變化。 這種虛幻的現象學經驗暗示著這樣的主題，即藝術性不僅是在立方體或雕塑本身中，而且還在于隨著形狀的出現和蒸發到個體的存在而發生的光的轉變。

羅伯特·歐文 (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.

羅伯特·歐文(Robert Irwin)是光與空間集體中最著名的藝術家，他的創新作品是根據現場情況而定，通過干預空間和建筑來探索光的影響。 盡管他最初的職業生涯集中在線條畫上，但Irwin慢慢過渡到了1960年代中期開始超越傳統畫框的藝術創作研究。 時至今日，他的作品已成為一種干預措施，旨在探討光，體積和知覺心理在其相互作用中的本質。

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.

他最著名的裝置之一是《 無題》(黎明至黃昏) ，這是德克薩斯州Chinati基金會的一個大型永久性場地，占地10,000平方英尺。 歐文(Irwin)設計了庭院，并將建筑物的內部分為兩半：一個是側翼，另一個是側翼。 通過等距間隔開的窗戶并在每一側分開，該裝置可以協調觀眾對光線，室內空間和周圍景觀的感知。

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)在他對建筑的非物質化將房間變成抽象世界的過程中，增加了該時代的杰出從業者。

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，訪客走在高光地板上，進入由隱藏光源照亮的白色房間。 作為親自去過這個畫廊的人，我可以證明在這個房間里感覺就像凝視著無限的白光，其伴隨的平靜光環幾乎具有魔幻般的效果。 當您縮小與墻壁的距離時，視線會因缺乏參考點而消失。

詹姆斯·特瑞爾 (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是一名接受過心理學和數學訓練的飛行員，是最著名的開拓者之一，他們完美地將光作為藝術媒介使用。 他完美構造的裝置使光線如此明亮，以至于空間的邊界似乎消失了。

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

“我們吃光，然后通過皮膚喝光。 多一點的光線，您就可以感覺到身體的一部分。”

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.

他在古根海姆博物館( Guggenheim Museum )舉行的燈光秀《 阿滕·瑞恩(Aten Reign)》(2013)重塑了博物館的圓形大廳，其體積充滿了不斷變化的人造和自然光。 博物館構思出的最具戲劇性的變化之一是，該裝置呼應了自然開放，優美曲線和寬敞空間的主題。

One of my favorite James Turrell quote is as follows:

我最喜歡的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.”

“我一直想制作一種看起來像您在夢中看到的光的燈。 因為光注入夢想的方式，氣氛的變色，光環與光環之類的東西下雨的人……我們通常不會看到這樣的光。 但是我們都知道。 因此，這不是陌生的領域，也不是陌生的光。 我喜歡這種光使我們想起我們認識的另一個地方。”

對媒體的影響 (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世紀的各種媒體中都可以看到光與空間運動的提示。 在Drake的音樂視頻“ Hotline Bling”中，場景的視覺語言暗示了Turrell和Irwin的沉浸式燈光裝置。 在剪輯中，發光的白色立方體會緩慢改變顏色和尺寸，從而使說唱歌手和舞者的身影變得輪廓分明。 在廣闊的環境中有目的的統一和霓虹燈的發光是對光與空間本身的崇高敬意。

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·韋斯特(Kanye West)發行了他的電影《 耶穌是國王》，其中包含他在羅登·克雷特(Roden Crater)演出的系列《周日服務》表演系列的畫面，特羅爾本人將其概念化。 這個大廳在官方電影海報上有特色，建在亞利桑那州北部的一座Hibernate火山中，歷時四十年之久。 它代表了藝術家在人類視覺和心理感知領域進行終生研究的高潮。

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.

通過對這門藝術及其創作者的簡短概述，可以清楚地看到為什么光與空間運動在當今的創意時代仍然具有重要意義-優雅，簡約美學的美麗是不容忽視的。 該作品具有標志性，在提醒人們簡單的光線存在的美麗時提供了治愈的本質。

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