Introduction
Conceptually, the Pulitzer's exhibition Dan Flavin: Constructed Light pointed the way. After sunset, surreal beams of fluorescent color emanate from the Pulitzer's windows and bounce off the water court toward the south end of the building, creating between the Pulitzer and its neighborhood an immaterial but palpable bond.
In a given setting, one may perceive in light anything from basic safety to sublime spirituality. Its meaning lies very much in the context. Some of the artists invited to participate in The Light Project take light's site-specific meanings as ancillary effects; others engage them directly, even playfully.
The total effect of The Light Project is, like light itself, difficult to pin down. Though the project is ostensibly on view for only six weeks, if it is successful, it will be outlived by memories that generate a new sense of what Grand Center can be.
The cooperation of our community and others farther afield was integral to the realization of this project. For this reason it is my pleasure to thank a great many people: the artists Spencer Finch, Sebastian Hungerer, Rainer Kehres, Ann Lislegaard, and Jason Peters, for their willingness to set our neighborhood aglow; the curators Robin Clark, Laura Fried, and Matthew Strauss, for their efforts and expertise; our partnering institutions the Contemporary Art Museum, Saint Louis Art Museum, and White Flag Projects, for their involvement; and individuals and enterprises too numerous to be named here, for their generous support.
Matthias Waschek Director, The Pulitzer Foundation for the Arts
