{"id":415896,"date":"2024-03-01T09:58:00","date_gmt":"2024-03-01T14:58:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=415896"},"modified":"2024-03-01T16:53:25","modified_gmt":"2024-03-01T21:53:25","slug":"chryssa-light-sculpture","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/chryssa-light-sculpture\/","title":{"rendered":"Chryssa\u2019s 1962 Neon Sculpture Was Way ahead of the Art-World Curve"},"content":{"rendered":"
\n
\"Chryssa's<\/a>
An installation view of USA, First Preparatory Work for a Neon Box<\/em>, 1962, by Chryssa<\/a>, on display in \u201cChryssa & New York\u201d at New York’s Dia Art Foundation. Photo by Don Stahl <\/figcaption><\/figure><\/div>\n\n\n

Famously inspired by the buzzing tangle of electrified signs in New York City\u2019s Times Square, Chryssa Vardea-Mavromichali<\/a> recontextualized, rotated, repeated and jumbled letterforms and odd bits of text in her sculptures and paintings.<\/p>\n\n\n\n

Born in Greece in 1933, the artist known simply as Chryssa moved from Athens to New York in the 1950s to live in the epicenter of the modern art world. By the end of the following decade, she\u2019d become a sensation, with a Guggenheim Museum<\/a> solo show under her belt, frequent reviews in art publications, coverage in Time<\/em> magazine, many pieces in museum collections and inclusion in the first edition of H. H. Arnason\u2019s seminal textbook, History of Modern Art<\/em>.<\/p>\n\n\n\n

Her work overlapped with (and sometimes predated) the minimalist<\/a>, conceptual<\/a>, Pop<\/a> and light art<\/a> movements, but it was very much its own thing. We see the themes underlying all of those schools luminously expressed in USA, First Preparatory Work for a Neon Box<\/em><\/a>, 1962, now on view in the exhibition \u201cChryssa & New York<\/a>\u201d at the Menil Collection in Houston.<\/p>\n\n\n

\n
\"Portrait<\/a>
Portrait of Chryssa<\/a>, courtesy of the Contemporary Greek Art Institute
<\/figcaption><\/figure><\/div>\n\n\n

The sculpture comprises convoluted red and orange neon<\/a> tubes inside a gray-tinted plexiglass<\/a> box that\u2019s meant to evoke the smoggy atmosphere of 1960s Times Square. The continuously flowing neon takes all sorts of zigs and zags to spell out the semilegible letters USA<\/em>, tipped on their sides and repeatedly reflected within the box\u2019s walls. <\/p>\n\n\n\n

\u201cWe often talk about Chryssa\u2019s interest in letters being more about their formal elements and using these characters as tools for abstraction,\u201d says Dia Art Foundation<\/a> curator Megan Witko, who organized the show with the Menil\u2019s Michelle White. \u201cThere are very few examples of her work where the individual letters actually form a specific word \u2014 and this is one of those examples.\u201d<\/p>\n\n\n\n

As the name indicates, USA, First Preparatory Work for a Neon Box<\/em>, is the earliest in a series of boxes incorporating neon, a material intimately linked to advertising<\/a>.<\/p>\n\n\n\n

\u201cChryssa\u2019s work regularly ruminated on images of the neons in Chinatown and Times Square and what those beautiful signs implied,\u201d says Emma Reinhardt, of RoGallery<\/a>, which represents the piece. \u201cI think it\u2019s very poetic that her first full foray into playing with the commercial medium is to light up the letters USA<\/em>, as if she is putting the country itself up for sale while she contemplates the shape of the letters.\u201d<\/p>\n\n\n\n

The neon boxes soon led to Chryssa\u2019s magnum opus, The Gates to Times Square<\/em>, 1964\u201366, which she unveiled in a solo show at the then-upstart Pace Gallery<\/a>. That epic assemblage unites neon lights, metal scaffolding, drawings inside vitrines, old signs and more in a monumental structure that\u2019s like a mid-century update of an ancient gateway arch.<\/p>\n\n\n\n

\"Close-up<\/a>
Close-up view of the red and orange neon tubes that spell USA<\/em><\/figcaption><\/figure>\n\n\n\n

In addition to featuring First Preparatory Work for a Neon Box<\/em>, \u201cChryssa & New York\u201d marks the triumphant return of The Gates<\/em> after a major restoration. The show, which premiered at Dia\u2019s Chelsea space last year, remains on view at the Menil through March 10 and travels to Chicago\u2019s Wrightwood 659 in the summer.<\/p>\n\n\n\n

\u201cViewers will be surprised by the vast array of different media that Chryssa was exploring in a relatively compact period of time,\u201d Witko says. \u201cI am awed by the amount of creativity she had at this time, and I think you can really see that in the leaps she\u2019s taking in her work.\u201d<\/p>\n\n\n\n

Maybe someday, Chryssa\u2019s pioneering neon creations will also return to their source of inspiration, Times Square, where they can mingle with the even brighter and more hyperactive LED screens that light up the streets in the 21st century. <\/p>\n\n\n\t

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\n\t\t\t\t\t\tExplore More Chryssa Art on 1stDibs\t\t\t\t\t<\/div>\n\t\t\t\t\t
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Famously inspired by the buzzing tangle of electrified signs in New York City\u2019s Times Square, Chryssa Vardea-Mavromichali recontextualized, rotated, repeated and jumbled letterforms and odd bits of text in her sculptures and paintings. Born in Greece in 1933, the artist known simply as Chryssa moved from Athens to New York in the 1950s to live 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