On this day in 1976, the Rockne Krebs Laser Sculpture at the St. Petersburg Pier was unveiled by Glenn Anderson
On this day in 1976, the Rockne Krebs Laser Sculpture installation at the St. Petersburg Municipal Pier was unveiled.
The Tampa Tribune, November 6, 2013,
Excerpt from Glenn Anderson’s remembrance in Rockne Krebs Photographs + Interpretations by Carol Harrison
1* Harrison, Carol. Rockne Krebs Photographs + Interpretations. 2013.
A Rainbow Tree, 1970
A Rainbow Tree has always caught my eye. I feel my uncle’s art and ideas come from an inner connection that never forgot.
“Rockne makes his art mostly with his heart,” says Sam Gilliam. "Some
of his works are the most sentimental things. When Robert Rauschenberg saw the Rainbow Tree, he actually cried. He said, ‘That’s something I wish
I had done.’ “ 3*
It's hard to understand that everything we see on a daily basis IS a sculpted piece of art, and made of light. That's how I think my uncle saw things. The only difference is how we choose to view it, that's how the world changes. We are just witnessing the unfolding of truth in the reflection of a prism rainbow.
Moon Archer, 1974, drawing for a night rainbow
As in A Rainbow Tree, Moon Archer also uses the knowledge of the sculptor, Rockne Krebs, that the observer will not find on the outside what they don't hold on the inside.
- Kyle Krebs
ARTFORUM 1971 (ad text) - Krebs’ Spectral Drawings
Signed edition of 50 A Rainbow Tree Hand tinted print 17”x22”
A Film by Edward Kelley on Krebs’ Photon Structures (16mm; prints
available) Jefferson Place Gallery, Washington, DC
1* Nathanson, Carol A. (Editor). Tracing Vision: Modern Drawings from the Georgia Museum of Art. Rockne Krebs, essay by Hillary Brown. 2011.
2* Forgey, Benjamin. The Washington Post, Krebs, Crystal Clear, At the Corcoran: Brilliant Light, Brilliant Ideas, December 24, 1983.
3* Allen, Jane Addams. The Washington Times, Rockne Krebs, December, 23, 1983.
The Philadelphia Museum of Art — Two Spectacular Public Art Works Commissioned in 1972 -1973, Gene Davis and Rockne Krebs
From the Archive: “The city at night is light” Krebs says, 1973.
“Sky Bridge Green is not the first enormous outdoor work of art that has been installed in Philadelphia by a Washington artist. As they leave the Philadelphia Museum, those laser beams pass over Franklin’s Footpath, a painting of multi-colored stripes by Washington’s Gene Davis that is 414 feet long and eight lanes of traffic wide. Franklin’s Footpath, which has been painted on the street at the foot of the museum’s hill was also commissioned by David Katzive.” Richard, Paul. The Washington Post, 1973, The City at Night Is Light.
Visiting Gene Davis' Franklin's Footpath, 1972.
Krebs originally called the piece Sky Pi, he re-titled it Sky Bridge Green, perhaps after he and David Katzive met this man admiring the laser sculpture. “An elderly man, a stranger, was standing there at City Hall gazing in astonishment at the lights that came from the museum. When Krebs and Katzive then returned to the museum, they met the man again, staring at the light above him, climbing the museum steps. 'It’s like walking into heaven,' said the stranger.” Richard, Paul. The Washington Post, 1973, The City at Night Is Light.
Sky Bridge Green was a bridge to the sky hovering above Davis' Franklin’s Footpath.
Rockne Krebs’ lasers pierce the Philadelphia air
When read from below strictly from the point of view of style, the piece was like an excessively simple sculpture somehow suspended in the sky.
Yet it was impossible to read the piece merely as a formalist tour de
force. The piece emphasized with great tact and intelligence the street pattern of the city, in this case the broad, arrow-straight line of Franklin Boulevard that leads directly from City Hall to the knoll on top of which sits the museum temple. It interacted strikingly with other man-made aspects of its environment: fountains, equestrian statues, office buildings, street lights…These relationships changed radically as one changed one’s vantage point, and in view of the enormous territory covered by the piece, these possibilities were immense…” Forgey, Benjamin. Art in America, September-October 1973, Rockne Krebs at the Philadelphia Museum of Art.
"Krebs, for all his precision, thinks about light like a mystic…"
How is it beautiful? How is it art? What is it, in fact, that Krebs has done? In the first place, unlike many of the unhappy couplings of art and technology… in the heady days of the mid-‘60s, Krebs’s laser environments represent a triumph of vision of over technique.
After all, the idea of making “sculpture” out of a non-material “substance” such as light is in itself an incisive bit of poetry, and when you get down to it, Krebs, for all his precision, thinks about light like a mystic…
On Franklin’s Footpath, Davis’ street painting, the trees enveloped me in almost total darkness. The laser beams seemed like everlasting comet trails – pure, inexplicable, beautiful.” Forgey, Benjamin. The Evening Star and The Washington Daily News, May 1973, A Spectacle of Light.
aging statues sprinkled through cities. They once seemed large as life, or larger, but they seem so no longer…It is the city that has killed them…where the city pushes in the monuments seem lost. Our cities are too big, too busy, all sculpture seems too small. Krebs’ work, as you might guess, is huge...It succeeds because it is not made of steel, or of bronze or plastic. It is made of light….Though weightless and insubstantial, they manage to wholly dominate their visual competition." Richard, Paul. The Washington Post, 1973, The City at Night Is Light. *This article appeared in several other newspapers around the country and abroad.
“I found myself thinking of an evening in 1973, in balmier weather, when I walked from my apartment a few blocks from the Art Museum to see another temporary installation there, Sky Bridge Green by Rockne Krebs.
It consisted of a green laser beam shot from the Art Museum to a mirror atop City Hall and bounced several times across the Parkway. The atmosphere was like a party. People kept throwing objects to see if they could make this monumental beam of light disappear for a split second.
It was so much fun seeing the amazing light and the community it created,
I went back for several more evenings to see it again and again.
The Krebs piece dramatized the polarities of the Parkway — with one end in the heart of the city with its commerce and politics, the other at the Art Museum, representing aesthetic contemplation and the gateway to a natural world beyond. On the ground, the Parkway often falls short, but Krebs’ work shined a new kind of light on the ideals that brought it into being.”
- Hine, Thomas. The Philadelphia Inquirer, January 24, 2019.
Thank you, George Terry
Closing Reception Sunday, March 2, 2014, 6-8pm.
What's Up: New Technologies in Art curated by Harriet Lesser.
Press Release (click)
created by George Terry
1965 Trip to Bennington College, Bennington, Vermont to visit
Anthony Caro and Kenneth Noland.
Began plexiglass pieces.
1967 First experimentations with lasers, ideas for projection of color transparencies into a controlled atmosphere of vapor.
"Krebs responded deeply to the work of sculptor Anthony Caro and visited Caro at Bennington College in Vermont where he, as well as Kenneth Noland, was teaching. While Krebs’s exposure to art is extremely broad, the work of Noland and Caro has been the most immediately influential.
The most remarkable aspect of Krebs’ s study of the work of Noland and Caro is the speed with which he was able to grasp the problems they were presenting in their art and then the speed with which he was able to apply this
toward solutions all his own.
Woods, James N. Rockne Krebs, Albright-Knox Art Gallery, 1971.
“His materials vary but his concerns remain the same. All his sculptures deal with space-space explored and occupied by glowing lines of light. Krebs’ laser lines vanish at the throwing of a switch. His plastic lines are permanent
Richard, Paul. HemisFair Sculpture, The Washington Post, 1968.
Artists on Their Art, Art International, Volume XII/4, 1968.
"Rockne Krebs: Drawings for Sculpture You Can Walk Through" Spencer Museum of Art – Kansas University, January Facebook posts.
1967: Martin Luther King, Jr. denounced the Vietnam War. NASA announced the crew for Apollo 7. The US Supreme Court declared laws against interracial marriage unconstitutional. The Beatles released "Magical Mystery Tour." Physicist John A. Wheeler coined the term "Black Hole." A lost city was discovered in Greece. And yes... Rockne Krebs conducted early experiments with brand new laser technology; these experiments would lead to the first exhibition of 3D laser art.”
“One of the many delights of exploring Rockne Krebs: Drawings for Sculpture You Can Walk Through is stopping to read the artist's notes on his drawings.
On the drawing below, he writes: ‘Cut a cloud and checker the earth.
Cloud windows. The sun is not a laser.’”
From the Archive: RockneKrebsArt.com requests your help identifying the gentleman seated in the middle.
What’s Up: New Technologies in Art
January 11 through March 2, 2014
From the Darwinism of Electric Sheep to visual sound waves, lasers
and the vectorization of a kiss
The Mansion at Strathmore is located at
10701 Rockville Pike, North Bethesda, MD.
This technology-focused exhibit includes the outdoor urban-scale laser and video installation
"Object… History... Light… Passage… Fog… Green…Black… Void”
created by George Terry honoring his mentor Rockne Krebs.
Curated by Harriet Lesser of the Mansion
at Strathmore in Bethesda, MD.
The conceptual piece uses a green laser projected from the Mansion at Strathmore to the Gudelsky Concert Pavilion, visually connecting the two structures and symbolizing the pedagogical transfer of ideas.
The Pavilion will house a functioning television atop a pedestal, playing a video that uses a “green screen” as a metaphor for the act of creation and the endeavor to be an artist.
Two flags will be incorporated: one made of green screen fabric
mounted to the Mansion and the other of black duvetyn fabric mounted to the Pavilion. The green screen flag is emblazoned with an eye, symbolic
of “The Artist’s Eye,” a turn-of-phrase used frequently by Krebs. The black
flag will feature an image of Marcel Duchamp’s “Étant donnés” as a symbol for “The Art Object.” The green screen is a common mechanism in video editing, a “stand-in” backdrop which is replaced with a different image in post production; the black is the void or hole that is left when the
green screen is cut out. The color green and the color black, then, symbolize the act of creating, and the act of telling a story.
From the Rockne Krebs Archive: Laser Safety Guide sheet for “The Source” on the National Mall, Washington, DC, 1980.
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What’s Up: New Technologies In Art