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    <loc>https://www.rocknekrebs.com/home</loc>
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    <lastmod>2025-12-19</lastmod>
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      <image:title>Home</image:title>
      <image:caption>The Miami Line, urban-scale neon sculpture, one-quarter mile long neon on both sides of the bridge over the Miami River in downtown Miami, FL, 1987. “With its hot color, cool geometry and dramatic site, Miami Line seems to have provided not only an emblem for the city but a focus for civic pride.” David Joselit, Art in America, 1990, Public Art &amp; the Public Purse, Miami River in downtown Miami, FL, 1987</image:caption>
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      <image:title>Home</image:title>
      <image:caption>Anonymous, the first ever laser scanning device with digital memory, 1974. Projected Images, Walker Art Center, Minneapolis, MN.</image:caption>
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      <image:title>Home</image:title>
      <image:caption>Pi Flower, 1968. Collection of the Modern Art Museum of Fort Worth.Photograph: Corcoran Gallery of Art, Washington, DC, Gilliam, Krebs, McGowin, exhibition curated by Walter Hopps, 1969.</image:caption>
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      <image:title>Home</image:title>
      <image:caption>A Rainbow Tree, hand-colored lithograph, 1970. “Prints from the permanent collection of Minneapolis’ Walker Art Center, currently on display at the UI Museum of Art, represent a cross-section of art schools of the late ‘60s and early '70s… Rockne Krebs’ A Rainbow Tree is a conceptual statement, including sketches and text, for an ecological sculptural piece of rainbow haloes for trees, which are marvelous to imagine.” Gary Reynolds, Daily Iowan, 1980.</image:caption>
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    <loc>https://www.rocknekrebs.com/catalogueraisonne</loc>
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    <lastmod>2025-06-05</lastmod>
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    <loc>https://www.rocknekrebs.com/art-blog-rk</loc>
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    <lastmod>2025-10-27</lastmod>
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      <image:title>Art Blog</image:title>
      <image:caption>1) Benjamin Forgey, The Art of Rockne Krebs: Harnessing the Energies of Personal Experience, The Washington Star, 1978.</image:caption>
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      <image:title>Art Blog</image:title>
      <image:caption>1) The oldest work on view, a hippo made of clay, was done when he was 5. He also shows an envelope on which he sketched, one evening, the suffering of whales, their wisdom, and the sea.</image:caption>
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      <image:title>Art Blog</image:title>
      <image:caption>2) THE FOOTNOTE here is a piece from 1943 -- Krebs again, is 39 years old – and it is a neat little thing, a hippopotamus that formed part of a zoo the four-year-old Krebs made for himself. To actually put it into a serious gallery exhibition would be sheer indulgence if the little hippo did not establish a mood of personal, and not altogether happy, reverie that Krebs apparently wanted for this off-beat little show.</image:caption>
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      <image:title>Art Blog</image:title>
      <image:caption>2) Krebs has been a minimalist, an advanced technologist, a conceptualist of sorts, but he is not that only. One melancholy birthday he collages a bleeding ape with sparkling diamond tears.</image:caption>
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      <image:caption>3) He follows it with a porcelain tiger he made in 1956, the year he graduated from high school; a 1973 sketch on an envelope containing ingenuous ruminations upon the unfortunate fate of whales, and, to bring things up to date in the animal department, an ape drawing he made on Dec. 25, 1977 – Christmas Day and the day after the artist’s birthday.</image:caption>
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      <image:title>Art Blog</image:title>
      <image:caption>3) What united these varied works with his weightless urban sculptures is a kind of hunger, a quality of spirit. These animals and toys, diaries and poems, are – as are his light structures – traces of the questings that have, since early childhood, driven him toward art. He did not have it easy. Even when most polished, his art is never slick. He is no pencil prodigy, he struggles when he draws. His work, though often troubled, is at all times honest.</image:caption>
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      <image:caption>4) The ape is a beguiling, touching piece of art, a farcical plastic relief of the kind you can buy in souvenir-novelty shops, transformed by the artist into an expressive personal souvenir with brushstrokes of flecked day-glo paints, a rhinestone tear in the eye, and a tiny 3-D heart cut from Plexiglas.</image:caption>
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      <image:caption>4) In 1965, when a newcomer to Washington, a sculpture that he made was given the first prize at the Corcoran Area Show. A rather academic work, made of painted wood and metal in a constructivist-cubist style, it is here on view. The references of this piece to others, to Kenneth Noland and Tony Caro, are no longer of much interest. What makes it intriguing is the way that it predicts what was to come. It hints at orbs and landscape, and its title is prophetic.</image:caption>
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      <image:caption>5) Krebs obviously wasn’t feeling so well last Christmas, and with this piece exposes something of his personal life, touched with irony and humor. Yet the point is not simply anecdotal. Krebs the artist as well as Krebs the person identifies strongly with animals, they act for him, as for many artists, as surrogates for something strong and non-rational in his emotional life.</image:caption>
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      <image:caption>6) TO PURSUE THE animal motif one big step farther, we can look at two of Krebs’s original sketches for his large-scale laser-and-prism environment inside the huge steel, concrete, and glass Omni International complex in Atlanta. This is the very type of super-formal, super-“rational” piece that earned Krebs his international reputation. And yet as these drawings show, Krebs’ idea was to make of a configuration of the Canis Major (the Great Dog) constellation upon the vast ceiling of the place.</image:caption>
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      <image:caption>Photo Courtesy of the Elizabeth Myers Mitchell Art Museum. Some Light Reading (A Summer Exhibition), Elizabeth Myers Mitchell Art Museum, St. John’s College, Annapolis, MD, 2024.</image:caption>
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      <image:caption>Photos by Judy Olausen. Projecting Images: Six Artists at Walker by D.R. Martin, Twin Cities Express, September, 1974.</image:caption>
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      <image:caption>imaginary i, Madison Museum of Contemporary Art MMoCA, Madison, WI, 2023. Photo by Beth Zimmerman Van Epern.</image:caption>
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      <image:caption>American Places: Featuring Selections from the Corcoran Collection, National Gallery of Art, Washington, DC, 2023 - 2024.</image:caption>
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      <image:caption>Washington, DC, 1970. Juan Downey, Walter Hopps, Bob Elliott, Jr., and Dorothy Gilliam. Photo by Rockne Krebs.</image:caption>
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      <image:caption>Hemisfair ’68, the World’s Fair, 1968, San Antonio, TX. Clear, 1967, collection of the Witte Museum, San Antonio, TX.</image:caption>
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      <image:caption>Plasticos Washington, Latin American Art Foundation, San Juan, Puerto Rico, 1968.</image:caption>
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      <image:caption>Fringe Patterns, Cleveland Center for Contemporary Art, Cleveland, OH, 1987.</image:caption>
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      <image:caption>Telegram from LACMA's curators to Rockne on the opening night of the Gilliam, Krebs, McGowin exhibition curated by Walter Hopps at the Corcoran Gallery of Art, Washington, DC, 1969.</image:caption>
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      <image:caption>The Nesta Revival, Jefferson Place Gallery Reunion Show, Washington, DC, 1986. Photo © Carol Harrison</image:caption>
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      <image:caption>Whitney Museum of American Art Annual Exhibition Sculpture and Prints, Whitney Museum, New York, NY, 1966.</image:caption>
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      <image:caption>Notations: Minimalism in Motion, Philadelphia Museum of Art, Philadelphia, PA., 2015, (left to right) Fred Eversley, De Wain Valentine and Rockne Krebs. Photo courtesy of The Philadelphia Museum of Art.</image:caption>
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      <image:caption>Notations: Minimalism in Motion, Philadelphia Museum of Art, Philadelphia, PA., 2015, exhibition placard. Photo courtesy of The Philadelphia Museum of Art.</image:caption>
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      <image:caption>Notations: Minimalism in Motion, Philadelphia Museum of Art, Philadelphia, PA., 2015, (clockwise on the platform) Rockne Krebs, Fred Eversley and De Wain Valentine. Photo courtesy of The Philadelphia Museum of Art.</image:caption>
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    <lastmod>2026-03-28</lastmod>
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    <lastmod>2025-09-27</lastmod>
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      <image:title>Gallery - Rockne Krebs: Photographs + Interpretations by Carol Harrison</image:title>
      <image:caption>Rockne Krebs: Photographs + Interpretations by Carol Harrison. ISBN: 978-1-939793-00-3 Published February 2013 Library of Congress Registration No. TX 7-690-454. Copyright © 2013 Carol Harrison. Print books, ebooks, Apple iPad format, and .pdf format available through Blurb.com. Also available through Apple’s iBookstore in iTunes -https://books.apple.com/us/book/rockne-krebs/id583010962</image:caption>
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      <image:title>Gallery - Rockne Krebs: Photographs + Interpretations by Carol Harrison</image:title>
      <image:caption>Rockne Krebs: crystal + star ILLUMINATIONS by Carol Harrison. ISBN: 978-1-939793-01-0. Published February 2013. Print books, ebooks, Apple iPad format, and .pdf format available through Blurb.com. Preview the book on Blurb.com.</image:caption>
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      <image:caption>Rockne Krebs with Pi Flower (1968), Jefferson Place Gallery, Washington, DC, 1969. A painting by Sam Gilliam is in the background. Photograph by Steve Szabo for The Washington Post. Photograph from the article The Artful Showing of Space, Light and Geometry by Paul Richard, The Washington Post, 1969. A review of Rockne Krebs: Energy Structures.</image:caption>
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      <image:caption>Antarctic Flower, 1969, 73 x 32 x 38” Photo © The Spencer Museum of Art, 2013 “Three triangular forms in clear plexiglass of descending size, nested within the largest form. Each object comprises two joined right-triangular panels. The glue along the center seam of each object alternates clear and transparent cobalt blue. The highly polished edges of each panel refract light, from the center, appearing to also be striated with blue in addition to the spectrum of color created by the prismatic plexiglass." The Spencer Museum of Art</image:caption>
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      <image:caption>(con't from previous image) and transparent cobalt blue. The highly polished edges of each panel refract light, from the center, appearing to also be striated with blue in addition to the spectrum of color created by the prismatic plexiglass." The Spencer Museum of Art. Antarctic Flower, 1969. Photo © The Spencer Museum of Art, 2013</image:caption>
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      <image:caption>XXI, 1967, 48 x 72 x 72” Rockne Krebs: Sculpture, 1967, Byron Gallery, New York, NY, exhibit installation photograph.</image:caption>
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      <image:caption>Rockne Krebs at the Byron Gallery, 1967, New York, NY</image:caption>
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      <image:title>Gallery - Sculpture</image:title>
      <image:caption>Untitled, 1968. Photographed in Krebs’ Johnson Avenue studio in the Shaw neighborhood of Washington, DC, 1969. “I started out as a sculptor in which I explored ideas about space. And space is meaningless without light.” At one point, Krebs said, he constructed sculptures of transparent plexiglass. “I walked away from it, turned around, and it seemed to have disappeared. At that moment the idea was triggered to work with lasers. I liked the idea of structuring things in space that aren’t material.” Jack Garner, Sculpture in the Sky, Democrat and Chronicle, Rochester, NY, 1987</image:caption>
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      <image:caption>No Land, Rockne Krebs, 1966, 66.5 x 96 x 60” Photo taken outside of Krebs’ studio in the Adams Morgan neighborhood in Washington, DC, 1966. Coll: The Phillips Collection, Washington, DC, Gift of Sam Gilliam, 1980. "No Land has bands of color with a clear area in the middle where one can see through the sculpture. It changes as one looks at it. Sometimes it looks as if color came out of the ground, made a sharp angled turn (like a light beam bouncing off a mirror), then went back into the floor. Other times, it looks like a mountain. (con't next image)</image:caption>
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      <image:caption>No Land, Rockne Krebs, 1966, 66.5 x 96 x 60” coll: The Phillips Collection, Washington, DC. Photo: © Carol Harrison, 2024. (con't) "Influenced by Washington Color School painters, Krebs made something solid yet transparent, and not at all dependent on canvas or even a wall to hang it on. From this he went on to work primarily with light. One can see a hint of his light works in No Land, as he begins to give color its freedom.” Ianthe Gergel, Obituary: Rockne Krebs, 1938-2011, Experiment Station, a blog by The Phillips Collection, November 4, 2011</image:caption>
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      <image:caption>Untitled, 1966</image:caption>
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      <image:caption>Untitled, 1985. 97 x 32.5 x 24” Photo courtesy of Pazo Fine Art / © Pazo Fine Art</image:caption>
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      <image:caption>Untitled, 1985 (detail)</image:caption>
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      <image:caption>Untitled, 1985 (detail), 97 x 32.5 x 24”</image:caption>
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      <image:caption>Untitled, 1985 (detail)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/bc8b059b-033c-4865-9d3f-f3f84efa471a/1970+Krebs+with+Plexi+sculpture+phote+LeRoy+Woodson.%283%29..jpg</image:loc>
      <image:title>Gallery - Sculpture</image:title>
      <image:caption>Photo © LeRoy Woodson. Photographed for the exhibition catalogue Rockne Krebs by James N. Wood, Albright-Knox Art Gallery, Buffalo, New York, 1971. Krebs in his studio working on a plexiglas sculpture, 1970.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/c0288677-b1a6-4741-9cec-5005a4c1e616/1970+Krebs+with+Plexi+sculpture+phote+LeRoy+Woodson.%282%29.jpg</image:loc>
      <image:title>Gallery - Sculpture</image:title>
      <image:caption>Photo © LeRoy Woodson. Photographed for the exhibition catalogue Rockne Krebs by James N. Wood, Albright-Knox Art Gallery, Buffalo, New York, 1971. Krebs in his studio working on a plexiglas sculpture, 1970.</image:caption>
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      <image:title>Gallery - Sculpture</image:title>
      <image:caption>Ice Flower, 1969, 149 x 57 x 38" Collection: The National Gallery of Art, Washington, DC “Not long ago I visited a commercial gallery in the company of Michael Clark, a young Washington painter. A Krebs sculpture of transparent plexiglass stood tall and triangular in the center of the room. It was late afternoon. We turned the lights off to (text con't)</image:caption>
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      <image:title>Gallery - Sculpture</image:title>
      <image:caption>Untitled, 1971. Photo courtesy and © MMoCA, 2024. (text con't) discover which of the paintings on the wall would vanish in the semi-darkness and which would blossom. Clark suddenly turned and pointed at the Krebs. “Look,” he said, “a guardian angel.” Paul Richard, Washington Post art critic, 1968, essay for Plasticos 1968, exhibit catalogue, Latin American Art Foundation, San Juan, Puerto Rico.</image:caption>
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    <image:image>
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      <image:title>Gallery - Sculpture</image:title>
      <image:caption>Untitled, 1968. Aluminum and light reflective tape, 154 x 154 x 120". Models in a fashion photo shoot, 1968.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/438bd85f-64f2-487b-a620-4fa9df24f79a/1968+Sculpture+Use+light+reflective+tape+3.2+edit+2025.jpg</image:loc>
      <image:title>Gallery - Sculpture</image:title>
      <image:caption>Untitled, 1968. Aluminum and light reflective tape, 154 x 154 x 120". 1968: Rockne Krebs at the Whitney Museum of American Art in the Annual Exhibition Contemporary American Sculpture.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/bdba069b-6500-4bb5-831a-23d02b2670f2/1968+Sculpture+light+reflective+tape+5.2025.jpg</image:loc>
      <image:title>Gallery - Sculpture</image:title>
      <image:caption>Untitled, 1968. Aluminum and light reflective tape, 154 x 154 x 120". “One is a room-activating composition of aluminum triangles... For the viewer feels as if Krebs has discovered something as monumentally simple as the triangle or the space within a room. It is this simplicity, rather than the shifting richness that swirl about it, that persists in the viewer’s memory." Paul Richard, The Washington Post, Restraint Enhances Young Washington Artist’s Sculptures, 1968.</image:caption>
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      <image:title>Gallery - Sculpture</image:title>
      <image:caption>Rockne Krebs exhibition The Study: Home on the Range Part IV, University of Maryland, College Park, MD, 1974. Paul Richard, an esteemed art critic for The Washington Post, is pictured with two sculptures by Rockne Krebs, titled "Between The Sheets," 1965, and "Untitled," 1966.</image:caption>
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  </url>
  <url>
    <loc>https://www.rocknekrebs.com/gallery/project-four-rkdrawings</loc>
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    <lastmod>2025-07-07</lastmod>
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  </url>
  <url>
    <loc>https://www.rocknekrebs.com/gallery/project-rkpublicart</loc>
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    <lastmod>2025-10-17</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/9b3c4b18-48b6-4fbd-9537-ccb1fc3b79fc/Transparent+Airplanes+Crew.jpg</image:loc>
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  </url>
  <url>
    <loc>https://www.rocknekrebs.com/gallery/project-two-rkinstallations</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-09-25</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/1463fea3-60da-4abd-b17b-aa53160d19fb/2010-09-01+03.51.00.jpg</image:loc>
      <image:title>Gallery - Installations</image:title>
      <image:caption>Sculpture Minus Object, 1968, the first ever 3-D laser beam installation. Gallery of Modern Art, Washington, DC. "My first exhibit was at the Washington Gallery of Modern Art in 1968. The room was 25’ x 21’ x 11’ high. I mention the size of the enclosure because to me I’m trying to deal with the six planes, the enclosures through which our bodies move, and use light as a medium in that I am projecting the light through this space... What really prompted me to try this was the possibility of reversing the proposition by which we normally view sculpture. We normally have some kind of mass or configuration, which when it is illuminated, we can perceive this is obviously some kind of an object regardless of its medium. What I did I think was to reverse this proposition. I introduced incidental matter into the atmosphere and project light through it. The resulting configuration would be the work of art itself." Rockne Krebs, 1970</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/da1381ce-eb6b-450d-8345-622a0b29236e/1969+Ra+at+the+Corcoran.14+edit+2025+for+website.jpg</image:loc>
      <image:title>Gallery - Installations</image:title>
      <image:caption>RA, 1969, Corcoran Gallery of Art. First ever solar and laser installation, 61’ x 31’ x 26’. “Krebs’ work, too, is almost without precedent. His sculpture is made of light. “Ra,” named for the Egyptian sun god, is complete less than an hour every day. Shortly after noon a rectangular bar of sunlight plunges to the floor. Lines of laser light of red and green and blue X above the viewer’s head, and an inclined plane of electric light cuts from floor to ceiling through the dark and fog-filled room. Walking through that plane of light is like walking through a wall. As the viewer moves, that sheet of light intersects his eye. He sees a slice of rainbow, and then a blinding slice of light, and then another rainbow, and the room is dark again.” Paul Richard, Washington Post, 1969, A Local Exhibition with International Appeal: In the Tradition of Washington’s Color Painters.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/f826a9df-6385-4f90-8272-da46793e0028/New+Arts+catalogue+RK.+2025+for+website+2.jpg</image:loc>
      <image:title>Gallery - Installations</image:title>
      <image:caption>U.S. Pavilion, Expo ’70, Osaka, Japan, 1970. The first ever laser beam switching system and prototype of the first laser light show, Krebs’ collaboration with the Hewlett Packard Corporation, 1969-1970. New Arts, Los Angeles County Museum of Art, in Osaka, Japan.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/675dd28e-ccc2-44fb-b300-81cd7ba4c74b/2010-09-01+00.12.00.Cut+Flowers+for+website.jpg</image:loc>
      <image:title>Gallery - Installations</image:title>
      <image:caption>Cut Flowers, 1970, exhibition Washington: Twenty Years, Baltimore Museum of Art, Baltimore, MD. “Krebs’ Cut Flowers, a laser piece exhibited this year at the Baltimore Museum of Art, was named for the four students who died at Kent State.” Paul Richard, Washington Post, 1970 "The most sensational single room in the show is that occupied by a photon structure made by Rockne Krebs out of laser beams reflected in mirrors..." Frank Getlein, Washington Evening Star, 1970</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/dc926284-ed04-479d-8971-9aab8bb12a80/295.+Art+n+Future+1973.839+edit.+2025+for+website.jpg</image:loc>
      <image:title>Gallery - Installations</image:title>
      <image:caption>"Also existing in time as well as space is a 100-foot long laser beam-filled corridor, designed by Rockne Krebs with Hewlett-Packard. The result is an absolutely hypnotic experience with intimations of infinity.” Henry J. Seldis, Los Angeles Times, 1971, County Museum Exhibit Mates Art and Technology. Day Passage, Rockne Krebs, interior piece, 1971. The Art and Technology Program exhibition, Los Angeles County Museum of Art, Los Angeles, CA.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/c81c88fd-fbd7-4ffa-be6e-cbb07746f6e8/Day+Passage+Albright-Knox.jpg</image:loc>
      <image:title>Gallery - Installations</image:title>
      <image:caption>Day Passage, interior piece, 1971, Rockne Krebs at the Albright-Knox Art Gallery, Buffalo, New York. Exhibition included Day Passage (interior laser sculpture) and Night Passage (outdoor laser sculpture).</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/e70cfa7f-29b3-4c6e-be8f-709ab3c27cc3/1973+Home+on+the+Range.910+edited+2025.jpg</image:loc>
      <image:title>Gallery - Installations</image:title>
      <image:caption>Home on the Range, 1973. Exhibition Rockne Krebs: 365 Drawings and Home on the Range, Jefferson Place Gallery, Washington, DC. "Art by candlelight," Krebs' description of this piece.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/c978c370-7d59-41ce-8efb-4907bae9942e/For+Sale+1974+edited+for+website.jpg</image:loc>
      <image:title>Gallery - Installations</image:title>
      <image:caption>For Sale: Home on the Range, Part V, A Christmas Piece &amp; Laser Environment, 1974. A flat black X-Mas tree illuminated by neon lights and encircled by a toy train carrying scenes from the Nativity. Krebs referred to this piece as his allusive black-light piece.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/a2627e0c-8f7d-4d2a-a7cf-194f2bb4adba/1975+The+Laser+St.+Pete.711+edit+2025.jpg</image:loc>
      <image:title>Gallery - Installations</image:title>
      <image:caption>Starboard (Home on the Range, Part VI), part of The Laser and Starboard (Home on the Range, Part VI), 1975, commissioned by the St. Petersburg Arts Commission and the National Endowment for the Arts. "One of the things that was also wonderful is that when this piece was working, when the laser was on, that whole Plexiglas box just kind of glowed. It was eerie and mysterious to have this glowing Plexiglas star down at one end with beams, green beams shooting out in front of it. It was mesmerizing." Glenn Anderson, 2022, former Director of the St. Petersburg Arts Commission</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/eeb2e0e0-8e75-47b0-a23f-039413150b89/Eye+of+Atlanits-R1-E021+2025+edit+for+website.jpg</image:loc>
      <image:title>Gallery - Installations</image:title>
      <image:caption>The Eye of Atlantis, 1973-1976, Omni International Complex, Atlanta, GA. Developed natural light plan, which was designed into the architecture. Atlantis, used sunlight and an arrangement of prisms to throw rainbow-like color on the facade. On only two days a year, the spring and autumn equinoxes, the precise configuration of hundreds of prisms and sunlight created a portrait of his daughter’s eye, visible on the facade of the building.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/449f9654-2a85-47b5-b228-9d872fa554a5/2010-09-01+01.41.00.jpg</image:loc>
      <image:title>Gallery - Installations</image:title>
      <image:caption>Picasso Play, Desire Caught By The Tail, 1984, Whitman Studio Theater, New York, NY. A collaboration piece, interactive laser stage sets. Alvin Klein, The New York Times, June 10, 1984, Desire Caught By The Tail, Picasso Play Gets Rare Showing, “…production also represents a collaboration, between Lynda Benglis and Rockne Krebs, a laser artist.” “Part steampunk, part MacGyver, and all genius. This was Rockne Krebs. His live events drew the best and brightest. I recall after a show I assisted on in New York as part of a visual extension of the stage into the audience, being with Rockne as artist after artist came up to congratulate him, among them Isamu Noguchi and Robert Rauschenberg. He was an artist’s artist.” Jason Sapan, holographer.com. Excerpt from Rockne Krebs: Photographs + Interpretations by Carol Harrison.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/16e0600e-fe8f-412a-8ac7-2ea76afc7e8c/1984+photos+of+Laser+Dance+rehearsal+by+RK.20220411_12485431.edit.jpg</image:loc>
      <image:title>Gallery - Installations</image:title>
      <image:caption>Laser Dance, 1985, interactive laser stage sets for the dancers and audience environment, George Washington University, Lisner Auditorium, Washington, DC. Collaboration piece with Krebs, choreographer Maida Withers and composer Bob Boilen. Maida Withers and the Dance Construction Company’s 2022 exhibition and immersive installation, LEGACY: 50 YEARS Dance on the Edge at the Corcoran Gallery of Art in Washington, DC included restored vintage video footage of Laser Dance presented on large monitors. (more information on maidadance.com) Laser Dance I (Duet), 1971, a collaboration with Maida Withers, The Maida Withers Dance Construction Company and Rockne Krebs. Performance at the Dorothy Betts Marvin Theatre, Washington, DC. “Probably the first performance of laser and dance [1971] for a live audience.” Maida Withers, 2022</image:caption>
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      <image:title>Gallery - Installations</image:title>
      <image:caption>A Robert Mapplethorpe self-portrait projected on the museum’s wall. “Laser Artist Rockne Krebs projected a huge, ghostly image of the dead artist on the stately façade of the building.” Newsweek, 1989, Corcoran Showdown.</image:caption>
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      <image:title>Gallery - Installations</image:title>
      <image:caption>Day Star, 2005, The Children’s Inn at the National Institute of Health, NIH, Bethesda, MD. A sun piece with 180 prisms, neon, large Plexiglas mobile with lily pads, clouds and four-leaf clovers, and a wall painting.</image:caption>
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  </url>
  <url>
    <loc>https://www.rocknekrebs.com/gallery/project-one-rklasersculpture</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-09-13</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/edef6a06-90c4-4e19-9670-d604aacd6640/1989+Inclined+Planes009.2023+presentation.jpg</image:loc>
      <image:title>Gallery - Urban-Scale Laser Sculpture</image:title>
      <image:caption>Inclined Planes,1989, Johnstown, PA. “…laser artist Rockne Krebs was the pioneer in the orchestration of elaborate choreographies of static and moving laser beams. Inclined Planes transformed the town into a dynamic stage of moving shapes.” Pamela Houk, Sculpture Magazine, May-June 1991, Sky Art’s Lofty Ambitions.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/8a01e3a8-8011-43db-8b78-80b6b7e2877a/1970+Stern+Line065.edit.jpg</image:loc>
      <image:title>Gallery - Urban-Scale Laser Sculpture</image:title>
      <image:caption>Stern Line, 1970, first ever urban-scale laser environment. Commissioned by Mr. and Mrs. Philip M. Stern, Washington, DC. "In the 1960s lasers became available to the artist. Lasers have been used most characteristically to create spectacular nocturnal displays, the pioneer in this field being the American artist, Rockne Krebs (1938-2011)." Chilvers, Ian (Editor). “Light Art,” A Dictionary of 20th Century Art, 1999.</image:caption>
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      <image:title>Gallery - Urban-Scale Laser Sculpture</image:title>
      <image:caption>The Source, 1980, The National Mall, Washington, DC. Commissioned for The 11th International Sculpture Conference Exhibition. “The approval of more than ten federal agencies was required before the artist could complete this sculptural work using two argon lasers with split beams to connect the Lincoln Memorial, Washington Monument, Jefferson Memorial, and the White House.” Public Art Proposals, 1992. Published by the International Contemporary Art Fair, Japan. Chapter: Cities and Art, Rockne Krebs, The Source, National Mall, Washington, DC, USA, International Sculpture Center.</image:caption>
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      <image:title>Gallery - Urban-Scale Laser Sculpture</image:title>
      <image:caption>The Source, 1980, The National Mall, Washington, DC. Commissioned for The 11th International Sculpture Conference Exhibition. "The Source by Rockne Krebs, a kind of weightless sculpture made of glowing laser beams that floated in the evenings above the greensward of The Mall, was among the most beautiful.” Paul Richard, The Washington Post, March 27, 1990, Sculptors’ Conference to Return to Washington.</image:caption>
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      <image:title>Gallery - Urban-Scale Laser Sculpture</image:title>
      <image:caption>The Source, 1980, The National Mall, Washington, DC. Commissioned for The 11th International Sculpture Conference Exhibition. "In his homage to the founding fathers of our country, entitled “The Source,“ Rockne Krebs bounced a laser beam off the reflecting pool between the Lincoln Memorial and the Washington Monument.” (10’ x 4' mirror in the middle of the reflecting pool.) Editors. Optics &amp; Photonics News, OPN, March 1996, Vol.7 No.3, After Image.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/468591ca-4085-4ba9-ae1e-8fe49ec510c9/ArtPark+Green+Isis.2025.jpg</image:loc>
      <image:title>Gallery - Urban-Scale Laser Sculpture</image:title>
      <image:caption>Green Isis, 1975, Artpark, Lewiston, NY. Art Spaces Archives Project, 2009, oral history transcript, interview with David Katzive, Artpark Visual Arts Director, 1974-1976. "I liked it if artists did something that really connected to something that was inherently there. Rockne Krebs said he wanted to have his lasers come from the power plant. I thought, Oh, wow, great, even though it was on the Canadian side. They wouldn’t let him across the border because his lasers were seen as weapons. We had all kinds of issues there. Finally he got over there. [laughs]", David Katzive.</image:caption>
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      <image:title>Gallery - Urban-Scale Laser Sculpture</image:title>
      <image:caption>The Green Lady, 1984, Fountain Square, Cincinnati, OH. Commissioned by the Cincinnati Contemporary Art Center. Exhibition organized by Director Dennis Barrie. Included traveling exhibition, Rockne Krebs: A Retrospective of Drawings, 1965-1982 and the installation sculpture piece, Crystal Oasis for the Winter Solstice.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/b0efa177-19f2-4323-bc58-e667089ccc4e/1975+The+Laser+St.+Pete.704.For+Bill+DeYoung.jpg</image:loc>
      <image:title>Gallery - Urban-Scale Laser Sculpture</image:title>
      <image:caption>The Laser and Starboard (Home on the Range, Part VI), 1975, commissioned by the St. Petersburg Arts Commission and the National Endowment for the Arts. "The laser would kick on right at sunset, as a subtle reminder of Florida’s famous “flash of green,” the natural phenomenon that occurs at the moment the sun “sinks” into the Gulf." Glenn Anderson, former Director of the St. Petersburg Arts Commission. Featured in VINTAGE ST. PETE: The Pier and The Laser, Bill DeYoung, St. Pete Catalyst, January 21, 2022</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/497262b4-d23d-48ca-b150-66abd87ae2a9/Irish+Light+1974+2_edited-1.2025+for+website.jpg</image:loc>
      <image:title>Gallery - Urban-Scale Laser Sculpture</image:title>
      <image:caption>Irish Light, 1974, The Kennedy Center, Washington, DC. Commissioned for the Art Now '74 Exhibition. Douglas Davis, Newsweek, 1974, Art - Summing Up the Season. “The most spectacular work at the 'Art Now '74' exhibition (where the avant-garde took over the staid Kennedy Center), was Rockne Krebs’s 'Irish Light,' an arching crisscross of laser beams in the night sky. Seen from the roof of the Kennedy Center, 'Irish Light' framed the night-scape of the entire city, beamed from sources miles away from the viewer.”</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/65a85c67-cb40-4879-9916-0a724a7fc0f3/Disneyland+Hotel+Still+Green.for+video.jpg</image:loc>
      <image:title>Gallery - Urban-Scale Laser Sculpture</image:title>
      <image:caption>Still Green, 1979, The Disneyland Hotel, Anaheim, CA. “As a part of Water Wonderland, a giant laser sculpture was premiered. Commissioned by Jack Wrather, the laser art is entitled Still Green (a.k.a. Rather Green) by Rockne Krebs, a pioneer in laser art." Disneyland Hotel brochure introducing Still Green.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/678425607a02123df7f0f885/a3f88b7c-4f59-41d0-90eb-46dc7b45ef5e/2010-09-01+04.38.00_edited-2024.jpg</image:loc>
      <image:title>Gallery - Urban-Scale Laser Sculpture</image:title>
      <image:caption>“I was working at the Philadelphia Museum of Art back in 1973, when David Katzive, the head of the Museum's Division of Education and the Urban Outreach Program, commissioned Sky Bridge Green, which was one of the most extraordinary, beautiful artworks I have ever experienced. I watched Rockne tinker with the impressively huge laser that he had set up on the east portico of the Museum to shoot a beam of light straight down the Benjamin Franklin Parkway to a mirror on Billy Penn's hat on the top of City Hall.” William F. Stapp, 2012, curator</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.rocknekrebs.com/art-blog-ii</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-12-21</lastmod>
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    </image:image>
  </url>
  <url>
    <loc>https://www.rocknekrebs.com/art-blog-ii/sun-dog-rockne-krebs-kennedy-space-center</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-08-28</lastmod>
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      <image:title>Art Blog II - Sun Dog, 1976. U.S. Bicentennial Expo Science and Technology, Kennedy Space Center</image:title>
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      <image:title>Art Blog II - Sun Dog, 1976. U.S. Bicentennial Expo Science and Technology, Kennedy Space Center</image:title>
      <image:caption>The USS Hot Dog, part of the solar and laser environment, Sun Dog.</image:caption>
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      <image:title>Art Blog II - Sun Dog, 1976. U.S. Bicentennial Expo Science and Technology, Kennedy Space Center</image:title>
      <image:caption>The USS Hot Dog, part of the solar and laser environment, Sun Dog.</image:caption>
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      <image:title>Art Blog II - Sun Dog, 1976. U.S. Bicentennial Expo Science and Technology, Kennedy Space Center</image:title>
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      <image:title>Art Blog II - Sun Dog, 1976. U.S. Bicentennial Expo Science and Technology, Kennedy Space Center</image:title>
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      <image:title>Art Blog II - Sun Dog, 1976. U.S. Bicentennial Expo Science and Technology, Kennedy Space Center</image:title>
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      <image:title>Art Blog II - Sun Dog, 1976. U.S. Bicentennial Expo Science and Technology, Kennedy Space Center</image:title>
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      <image:title>Art Blog II - Sun Dog, 1976. U.S. Bicentennial Expo Science and Technology, Kennedy Space Center</image:title>
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      <image:title>Art Blog II - Sun Dog, 1976. U.S. Bicentennial Expo Science and Technology, Kennedy Space Center</image:title>
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      <image:title>Art Blog II - Sun Dog, 1976. U.S. Bicentennial Expo Science and Technology, Kennedy Space Center</image:title>
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      <image:title>Art Blog II - Sun Dog, 1976. U.S. Bicentennial Expo Science and Technology, Kennedy Space Center</image:title>
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  <url>
    <loc>https://www.rocknekrebs.com/art-blog-ii/art-at-the-speed-of-light-patrick-mccray-2014</loc>
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    <priority>0.5</priority>
    <lastmod>2025-08-28</lastmod>
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    </image:image>
  </url>
  <url>
    <loc>https://www.rocknekrebs.com/art-blog-ii/christmas-lights-kansas-city-missouri-1956-rockne-krebs</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-10-03</lastmod>
  </url>
  <url>
    <loc>https://www.rocknekrebs.com/art-blog-ii/rockne-by-marc-palumbo</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-09-13</lastmod>
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  </url>
  <url>
    <loc>https://www.rocknekrebs.com/art-blog-ii/in-memory-of-philip-m-smith-2014</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
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