“You need light to see, you need space to work,” Larry Bell has wryly stated on more than one occasion when asked for his thoughts on the Light and Space movement with which the celebrated artist has been associated since its inception in the mid-1960s. More of a loosely affiliated group of artists than a cohesive movement, Light and Space is a distinctly Southern California style, concurrent with the Finish/Fetish trend, said to reflect the influence of the distinct light of the region and the inclination to use non-traditional, often industrial, materials to explore this phenomenon. For Bell, the singular concern with light, or rather the visual properties of light on a surface, remains a lifelong subject of exploration. His iconic glass cube sculptures, for which the artist is best known today, are mesmerizing examples of this investigation. The translucent cubes, at first stoic and austere, slowly reveal poignant experiences to the faithful viewer. The minimalist geometric sculptures offer a kinesthetic experience, as illusory shapes appear and evaporate within the cubic volume as one moves around the work.
Bell’s desire to toy with the viewer’s perception is a trait shared with other artists affiliated with Light and Space, most notably Robert Irwin and James Turrell. The legacy of Bell, however, is not only material but also conceptual. For the pursuit of industrial materials represented a rejection of art as an object, a dominant theoretical underpinning of Minimalism, in pursuit of art as experience. The use of glass, mirror, metallic films, paper and leftover scraps of Mylar were, for the artist, a means to an end, not the end itself. There were materials through which Bell interacted with his primary medium, light, and was able to transmit that experience to the viewer