The invention of neon signs in the 19th century brought the concept of luminous advertisements to the attention of consumers. The use of neon signs, particularly those that come from the Neon Mama site, became so popular in advertising that certain cities developed an identity based on them, such as Ocean Drive in Miami, Fremont Street in Las Vegas, and Shinjuku in Tokyo. As time went on, more businesses began using neon signs in their advertisements, making this technology more widespread. The first neon sign was invented by advertising entrepreneur Douglas Leigh.

Claude Moore’s Neon Tubes

The invention of the neon tube is a product of a combination of science and engineering. This invention has a history that stretches back to 1750. Thomas Moore and Claude Moore first experimented with the idea, using a glass tube filled with neon. Moore realized the potential of this form of light and made it available for commercial use. In 1907, he patents the technique and started using neon tubes in advertising.

A year before the discovery of the gas itself, Claude developed a tube lamp that needed a pump to replace the gas. The design required a pump to keep the gas fresh, and Moore struggled to develop a lamp that was a viable competitor to the incandescent bulb. He also experimented with other gases. While Moore’s goal was general illumination, he would have considered the red glow of neon a major drawback.

The gas mixture was also a popular medium for advertisements, as it allowed for more than forty different color combinations to be displayed on a sign. Although the neon mixture was fragile and difficult to work with, the potential of these signs was endless. They were used in large-scale moving signs called “spectaculars” and featured everything from dancing showgirls to drinks poured into enormous glasses. The creation of these elaborate signs required miles of electrical wiring and hundreds of feet of tubing.

Neon tubes can be very long-lived if properly installed. A quality installation should last for at least 20 years before the tubes need to be repaired. The tubes can be recharged, extending their life. A quality installation will last at least that long. And if they do need repairs, there is no reason not to replace them. And the best part? They’re remarkably durable!

Mario Merz’s Igloo

Although his igloos were created in the late 1960s, they remain socially relevant and evocative. In a world where so many live in precarious tent cities and improvised refugee camps, Merz’s semi-transient structures serve as a reminder of our shared global community and remind us of the importance of the individual effort to foster human solidarity. In her new essay, Elizabeth Mangini explores the relationship between Merz’s igloos and postwar social histories.

Born in 1925, Merz’s works are a result of a radically different approach to art. The artist was a member of the anti-Fascist group Giustizia e Liberta and began his artistic career with drawings on paper. In the late ’40s, he moved on to painting in oil on canvas, which was far more experimental. In the ’60s, Merz began incorporating different materials such as glass and burlap into his paintings.

The igloos in Mario Merz’s igloo are a continuation of the artist’s solo show at the Zurich Kunsthaus in 1985. While the original igloos were made from broken glass, Merz has further transformed the concept by including glass panes and slate slabs. This work has been exhibited internationally and continues to draw attention. Merz’s work also includes an adaptation of the artist’s 1977 igloo – Time-based Architecture, Time-debased Architecture.

“Igloos” is a comprehensive exhibition of thirty of Merz’s igloos. This is the last exhibition of Merz’s igloos before his death. The exhibition includes a collection of his later works, such as La goccia d’acqua (a drop of water) from 1987. The show also highlights the variations in materials and reflects Merz’s growing reputation.

Lucio Fontana’s Neon Sculptures

The newest exhibition featuring Lucio Fontana’s neon sculpture series will be in Milan, Italy. This exhibition is co-curated by Iria Candela and Manuel Cirauqui and will present the evolution of Fontana’s art from sculpting to the purified environment of advertising. The exhibition will also include a catalog of photographs and essays written by international art experts.

The sculptural influence of Fontana’s works on neon is most evident in his neon sculptures. The artist was influenced by the neon he used in his advertisements, which he first applied in the 1920s. His creations set a precedent for subsequent artists to use neon in advertising. Today, neon sculptures are widely used in advertising, and the influence of Fontana’s works has reached far beyond the medium.

The 1951 neon installation is being displayed in the same building where it first appeared. The exhibit will continue until the fall of 2021 when Hauser & Wirth plans to show the show in Hong Kong. The exhibition runs until 17 May. This is a rare opportunity to see Fontana’s work. It is worth your time and visiting the exhibition to see his neon sculptures in advertising.

A series of installations, called “Spatial Environments”, is also featured in the exhibition. These installations were created by the Italian artist during his time in Argentina, and span from 1948 to 1968. The exhibition at Pirelli HangarBicocca includes nine environments reconstructed at full scale. The development of these works has been based on extensive research into historical documents. Personal letters, architectural plans, magazine reviews, and film excerpts have all been analyzed for the exhibition. Interviews with Fontana’s collaborators and art historians have also been conducted.

Bruce Nauman’s Neon Light-Room Installation

While exploring the possibilities of neon, Bruce Nauman’s work often falls short of monumental seriousness. Though it incorporates sophisticated technical techniques, his work often uses simple concepts to create an impactful effect. His work from the late 1970s, for example, is a series of neon works that flash in phase with one another. These pieces depict power and sex, as well as the artist’s self-image.

After graduating from art school at age 24, Nauman moved into a vacant grocery store in San Francisco. He soon began to create works of art by simply doing them. He began documenting his efforts with his camera, including his failures. One of his photographs from this period, Composite Photo of Two Messes on the Studio Floor, for instance, shows the plaster dust, refuse, and other remnants of a creative act.

The title of Bruce Nauman’s exhibition focuses on the themes of his works. He enjoys making his objects in his studio, and his pieces are conceptual in nature. His work resists any preconceived meaning, allowing the viewer to come up with their own interpretations of the works. In addition to this, he frequently employs camera surveillance to interact with the audience. The result is an immersive experience that involves the audience in a way that is unique to him.

The Guggenheim’s Panza Collection has an extensive collection of Nauman’s works, including interactive environments that incorporate closed-circuit video and audio components. There’s one film-based installation as well as a collection of early objects. Another highlight is “Yellow Room (Triangular),” an exhibition that recreates the artist’s iconic work. The pieces are also fascinating and challenging to understand.

Tracey Emin’s Handwriting

Traditionally, neon is a commercial medium. Often used for advertising, Emin’s artwork combines a diaristic style with neon technology. This artwork features handwriting that resembles her own, creating a highly recognizable image that reflects the artist’s unique personality. Emin’s handwriting is also reproduced in neon on her limited edition offset lithograph You Loved Me Like a Distant Star.

In her self-portrait, Emin deals with the body and monetary success that comes with fame. In a portrait that depicts the artist sitting on a bed, she appears to be clutching a piece of cash to her groin. However, the gesture is ambiguous. It is a remembrance of an experience that Emin combines with artistic expression.

The artwork is inspired by her love of lettering and writing and is a great place to start if you’re curious about her work. She has written several letters, poems, and essays that explore the theme of female empowerment. In addition, she is also known for her neon advertising designs. Emin’s neon sculptures have been featured in several prominent museum collections. If you want to know more about her work, click the links below!

A comprehensive book containing the artist’s neon work has been published by Skira Rizzoli. The subtitle is “Angel Without You,” and it was compiled in collaboration with Emin. Gary Indiana and Clearwater wrote essays about Emin’s work. Emin’s handwriting in neon advertising has influenced many artists since the 1960s, but her handwriting is uniquely expressive and powerful. In her neon work, Emin uses her messy handwriting to express powerful messages.