Isn't it fair to say, Peter, that what Albers did with color worked extraordinarily well for his work - which, even with all its 'rationality' from which is still get a kind of religious charge. Turning his color vocabulary into institutional practice was practically religious and put a default limit on students, or something against which to rebel. (Hard, as analog, not to think of Raushenberg at Black Mouintain where Albers taught and R's subsequent white paintings, erased deKoonings, et al). I suspect a new generation will throw paint balls of lead oils over Adobe photoshop colors, even the monitors simultaneously yelling for an end a lot of 'shallow' practice.
As an aside, I was once a guest at a meeting in a house in Beverly Hills that was owned by the man who invented and produced the small and portable transistor radio. Several of the walls through out the house were adorned with Albers paintings and prints in a variety of colors. Afterward I wondered if the owner saw some connection between the little colored transistor circuit boards and rectangles within the rectangles in the paintings. Both transmitters of disembodied spirits!
Oh, well,
Stephen
--- On Mon, 2/8/10, Peter ciccariello <[log in to unmask]> wrote:
From: Peter ciccariello <[log in to unmask]>
Subject: Re: about colour
To: [log in to unmask]
Date: Monday, February 8, 2010, 5:08 PM
Chris,
The bible at Pratt Institute in Brooklyn in the late 2960s was Josef Albers'
"Interaction of Color". (demonstration here at
http://www.rotorbrain.com/foote/interactive/hacks/colorinteraction1.html
Many times I struggled with the emotional and psychological effects of
color, making attempts to modify or control my choices. All attempts were
unsuccessful. For me color had a life of its own, its own direction, and I
have gravitated to different limited palettes since. Photoshop's
‘eyedropper’ tool has been a wonderful tool for me, for it seems that color
flows from shade to shade, not unlike music or poetry for that matter. It is
helpful to sample this melody, hue to hue or word to word, like stepping
stones into a composition or a narrative. In the end, Albers was simply more
proof to me that what was ‘out there’ was not at all what it appeared to be.
On Mon, Feb 8, 2010 at 7:42 PM, Chris Jones <[log in to unmask]> wrote:
> On Wed, 2010-01-27 at 11:24 -0500, Peter ciccariello wrote:
> > http://www.facebook.com/l/afe03;thenewpostliterate.blogspot.com/
>
> This pushed me to think about colour and the ways in which our
> understandings and the way colour is thought did change considerably
> around 1960 (which also coincided with publication of Ittens elements of
> colour in 1961 which links back to the Bauhaus)
>
> To flatten texture I have been painting objects for the still lifes
> using student acrylics and the standard six primary colours (ie warm and
> cool so you have warm red and cool red) and basically just for the fun
> of mixing colours. However the feeling these colours have seemed to me
> to be like graphic design colours (eg Pantone colours) more so then
> painterly colours of oil on canvas. Pop art comes to mine or David
> Hockney's use of acrylic.
>
> I did a quick search and my suspicions seem correct so any
> comments,leads welcome. (I also play around with mixing colours on a
> computer screen)
>
> http://www.moma.org/interactives/exhibitions/2008/livingcolor/index.html
>
> http://moma.org/visit/calendar/exhibitions/30
>
--
http://invisiblenotes.blogspot.com/
http://uncommonvision.blogspot.com/
http://poemsfromprovidence.blogspot.com/
http://uncommon-vision.blogspot.com/
You can find my art and writing updates on Twitter
https://twitter.com/ciccariello
|