DOCSLIB.ORG

TRANSLATING SIZE to COLOUR and COLOUR to SIZE Jeroen P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TRANSLATING SIZE to COLOUR and COLOUR to SIZE Jeroen P Master’s Tesis TransArts Summer Semester 2014. Accompanying the Presentation of Colours by Jeroen P. Visser. T A!S"AT#!$ S#%& T' ('"')R A!* ('"') T' S#%& Jeroen P. Visser )ni+ersit,t -.r Angewan0te 1unst 2ien 3etreuers: Matthias Micha56a 7 oman P-efer. T A!S"AT#!$ S#%& T' ('"')R A!* ('"') T' S#%& Jeroen Visser )ni+ersit,t -.r Ange/an0te 1unst 2ien9 AT 0. A3ST A(T Tis paper /i55 0iscuss the basics o- co5our theory9 starting -rom !ewton’s 0isco+ery o- the spectrum to $oethe’s Teory of Colours an0 the /ay co5ours are used an0 0efned in mo0ern times, through $39 (M;1 an0 <SV systems. It /i55 -urthermore ta56 about co5our in art by a00ressing the systematic approach o- Josef Albers an0 his Interaction of Colours9 the more per-ormati+e actions o- ;+es 15ein an0 his International Klein Blue an0 the mythica5 Mar6 oth6o /ith his mu5ti-orms. Afer /hich # /i55 get into my o/n system o- translating si>e to co5our an0 co5our to si>e an0 its application. # /i55 conc5u0e /ith some in-ormation on my so5o?sho/ as part o- my gra0uation in June 2014. 1. #!T '*)(T#'! Since # /as not yet able to paint9 0ra/ or scu5pt # 0eci0ed that my best bet o- getting into art schoo5 /as to apply at the photography 0epartment o- the oya5 Aca0emy o- @ine Arts in Ant/erp, 3elgium. Photography a5/ays ha0 a strange position -or me9 nicely :tted bet/een the :el0 o- applied an0 :ne art. 2e /ere encouraged to +isit a number o- photography museums9 most o- /hich sho/ed some -orm o- 0ocumentary photography9 I enAoyed the museums o- mo0ern art a 5ot more ho/ever. Te on5y type o- photography that /as sho/n there, it seemed9 /as conceptua5. It /as -rom that point on that # started -ocusing on a more conceptua5 practice. Te goo0 thing about photography is that it gi+es you the opportunity to +isua5i>e your concept extremely Cuic65y9 thereby gi+ing you a chance to chec6 ho/ interesting a concept /ou50 actua55y be in the en0. I thin6 this ga+e me a goo0 sense o- /hich i0eas /ere /orth pursuing. 'ne o- my -a+orite habitats /as the museum9 an0 as such # /or6ed a 5ot /ith things seen an0 -oun0 /ithin the /hite cube o- the mo0ern exhibition space. My :na5 bachelor sho/ /as an assortment o- /or6s 0ea5ing /ith this topic. I sho/ed photographs o- empty museums, c5aiming that even i- 5ef empty the +iewer /ou50 sti55 :n0 something o- interest. # con0oned o8 a portion o- the exhibition space /ith p5astic an0 a00ed some 0ri55ing noises to ma6e it seem 5i6e there /as construction going on behin0 it9 to brea6 this ‘ho5y’ character o- the per-ect /hite cube an0 to suggest that this /as not my :na5 sho/9 an0 that I /as, in -act9 /or6ing on some new /or6s at the moment. An0 # pro0uced tit5e car0s exact5y the same as the ones being used by the Museum o- Mo0ern Art in Ant/erp an0 # placed them there to a00 D)ntit5ed’ /or6s to the exhibition. A=er gra0uating I -elt I /as stuc6 in this Dart about art’ practice9 so /hen # started stu0ying at the )ni+ersity o- Applied Arts in Vienna. # 0eci0ed # /ou50 ta6e my practice into a new 0irection by -ocusing more on an aspect o- art /ith /hich # /as not too concerned before, (o5our. 2 2. ('"') T<&' ; E <#ST' #(A" 3A(1$ ')!* Some o- the :rst principles o- co5our theory appear as ear5y as the 1Fth century9 notably in the noteboo6s o- "eonar0o 0a Vinci. Tese /ere main5y Aust notes ho/everG a :rst rea5 theory o- co5our /as -ormu5ated -o55o/ing Isaac !ewton’s 0isco+ery o- the spectrum. In his -amous experiment9 the ‘experimentum crusis’ Hcrucia5 experimentI !ewton used prisms an0 sun5ight to pro+e that /hite 5ight /as composed o- co5oured 5ight J1K. 2.1 !&2T'! H1L42 E 1M2MI @igure 1 sho/s !ewton’s set up -or the experiment in 1LLF. Te ho5e in his /in0o/ H@I a55o/ed a beam o- sun5ight H'I to -a55 onto the :rst prism HA3(IG the spectrum o- 5ight HpqrstI is -ocused by a con+ex 5ens an0 passed through a secon0 prism H*&$I9 /hich in turn pro+es that the prism 0oes not ‘co5our’ the 5ight as /as believed previously. Te secon0 prism reconstituted the spectrum as a beam o- /hite 5ight H;I /hich then /ent through a thir0 prism H<#1I an0 split again into the spectrum HPN STI captured by a /hite screen H"VI J2K. <is paper DTeory about "ight an0 (o5ours’ in the Royal Society’s journal, Philosophical Transactions contained his :n0ing an0 appeared in 1LM2. #n 1M04 his ‘ pticks, Teory of Colour’ /as pub5ished. !ewton believed the spectrum /as ma0e up o- seven primary co5oursG red9 orange9 yel5o/9 green9 blue, in0igo9 an0 +io5et. <e chose these seven co5ours because he believed there /as a connection bet/een the co5ours, the musica5 notes HA9 39 (9 *9 &9 @9 an0 $I9 the 0ays o- the /eek9 an0 the by then 6no/n number o- planets in the so5ar system JOK. 2.2 M'S&S <A #S H1MO0 E 1MPPI Aroun0 one hun0red years 5ater9 bet/een 1MLL an0 1MM09 Te "atural System of Colours appeared9 in /hich &ng5ish entomo5ogist Moses <arris ta56s about a system to create -urther co5ours -rom three ‘primary’ Hsometimes ca55ed ‘primiti+e’I co5oursG red9 yel5o/9 an0 blue. <e proposed that these three co5ours contain a55 the hues an0 teints that can be -oun0 in the 0i8erent objects o- nature. He published the :rst completely symmetrica5 an0 complementary co5our chart H@ig. 2I9 the :rst ever o- its 6in0 to appear in -u55 co5our J4K. His /heel contained three primary co5oursG red9 yel5o/ an0 b5ue, an0 three secon0ary co5oursG orange9 green an0 purple9 thus eliminating !ewton’s seventh co5ourG in0igo. Tis miBing o- co5ours ha0 5ong been 6no/n to printers, 0yers an0 painters9 but they usua55y preferred pure pigments instea0 o- co5our miBtures9 because the miBtures /ou50 ofen turn out too 0u55 J1K. 2.O $'&T<& H1M4Q E 1PO2I #n 1P10 the $erman /riter9 poet an0 scientist Johann 2o5-gang +on $oethe published his boo6 #ur $arbenlehre HTeory o- (o5ours). 2here !ewton approached co5our so5ely -rom a physica5 point o- +iew9 $oethe ta56ed about the sensations o- co5our. He believed more in a 0ua5ity o- 5ight an0 sha0o/. He /rites ‘yel5o/ is a 5ight /hich has been 0ampened by 0ar6ness, blue is a 0ar6ness /ea6ened by the 5ight’ JFK. <e -urthermore tried to -ormu5ate ho/ co5ours a8ect our moo0G he 5in6ed purple to -antasy an0 imagination9 red to beauty an0 yel5o/ to Dgoo0’ an0 a -eeling o- un0erstan0ing9 green /as consi0ered Dusefu5’. 3 &+en though $oethe’s /or6 /as rejected by physicists it infuenced a number o- phi5osophers9 most notably "u0/ig 2ittgenstein an0 Arthur Schoppenhauer9 the 5atter /ou50 publish &%er das Sehn und die $arben H'n Vision an0 (o5ourI in 1P1L in /hich he 5in6ed $oethe’s theory to the action o- the retina. Artists /ere a5so infuenced by $oethe’s boo6. 3ritish painter J.M.2. Turner stu0ied it comprehensi+ely an0 even referenced it in the tit5es o- severa5 paintings. Turner’s pairing o- paintings Shade and (arkness – the *+ening of the Deluge an0 Li,ht and Colour ./oethe’s Teory) ) the 1orning afer the Deluge ) 1oses 3riting the Boo! of /enesis H@ig. OI i55ustrates use o- co5our as a means o- contro55ing 5ight an0 0ar6ness. 2assi5y 1an0insky /as another artist /ho explicit5y referred to $oethe’s theory9 both in his 5ectures at 3auhaus Schoo5 in 2eimar9 an0 in many o- his 0ra/ings JLK. O. ('!T&MP' A ; ('"') T<&' ; )p to this point people consi0ered red9 yel5o/ an0 blue H ;3I to be the primary co5ours9 but in 1MQ0 Herman +on <elmho5t> an0 James (5er6 MaB/el5 0isco+ered that red9 green an0 blue H $3I /ere in -act the three primary co5ours o- 5ight. Te ;3 co5our system /as based on the miBing o- pigments9 red an0 yel5o/ /ou50 combine to -orm orange, but this /ou50 not ho50 true -or the miBing o- co5oured 5ight. So it /as c5ear /e needed separate systems to 0efne the creation o- co5our by 5ight an0 the creation o- co5ours by pigments9 0yes or in6. O.1 $3?S;ST&M E A**#T#V& ('"') #n the 1Pth century Tomas ;oung intro0uced a trichromatic co5our theory. <e proposed that our co5our +ision /as the resu5t o- three 0i8erent photoreceptor cel5s9 an i0ea that <erman +on Helmho5t> 5ater expan0ed on. #n 1QFL $unnar S+aetichin :na55y pro+i0ed physio5ogica5 evi0ence -or the trichromatic co5our theory JMK. #n the retina o- the eye there are three types o- cones9 each contain a 0i8erent photosensiti+e pigment that is especia55y sensiti+e to a certain /a+elength o- 5ight. Te three types o- cones are "9 M9 an0 S9 /hich ha+e pigments that respon0 best to 5ight o- 5ong Hespecia55y FL0 nmI9 medium HFO0 nmI9 an0 short H420 nmI /a+elengths respecti+ely H@ig. 4aIJPK. #n or0er to 0istinguish the 0i8erent co5ours the brain 0oes not on5y need the appropriate /a+elength but a5so a +a5ue -or its intensity9 this is achieved by comparing the input o- 2 or more cones. @or example, mo0erate stimu5ation o- an M cone cel5 cou50 mean that it is being stimu5ated by an intense red H5ong?/a+elengthI 5ight9 or by not +ery intense yel5o/ish?green 5ight.
Load more

Recommended publications
  • Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Pale Intrusions into Blue: The Development of a Color Hannah Rose Mendoza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PALE INTRUSIONS INTO BLUE: THE DEVELOPMENT OF A COLOR By HANNAH ROSE MENDOZA A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Hannah Rose Mendoza defended on October 21, 2004. _________________________ Lisa Waxman Professor Directing Thesis _________________________ Peter Munton Committee Member _________________________ Ricardo Navarro Committee Member Approved: ______________________________________ Eric Wiedegreen, Chair, Department of Interior Design ______________________________________ Sally Mcrorie, Dean, School of Visual Arts & Dance The Office of Graduate Studies has verified and approved the above named committee members. ii To Pepe, te amo y gracias. iii ACKNOWLEDGMENTS I want to express my gratitude to Lisa Waxman for her unflagging enthusiasm and sharp attention to detail. I also wish to thank the other members of my committee, Peter Munton and Rick Navarro for taking the time to read my thesis and offer a very helpful critique. I want to acknowledge the support received from my Mom and Dad, whose faith in me helped me get through this. Finally, I want to thank my son Jack, who despite being born as my thesis was nearing completion, saw fit to spit up on the manuscript only once.
    [Show full text]
  • Modern Painting Cui Ning Ri-Iodes University
    FORMS AND TECHNIQUEs O}~ MODERN PAINTING CUI NING MASTER OF FINE ART AT RI-IODES UNIVERSITY NOVEMBER 1998 ACKNOWLEDGEMENTS I would like to express my gratitude to my supervisor, Professor Mark Haywood, for the encouragement and guidance he provided me. I would also like to thank The Department of Fine Arts, Rhodes University, its lecturers and students for their help and encouragement during my practical work and the writing of my thesis. Thank you to Miss Allen for helping me to translate this thesis. I am grateful to my family for their generosity and financial support. CONTENTS PREFACE ACKNOWLEDGEMENT CHAPTER 1 The History of Techniques and Innovations in Painting 1. Byzantine Painting * Foils and Metal 2. The Invention of Oil Paint * Oil Paint and Painting supports * Canvas * Panels * Fresco 3. Colour * The impact of synthetic pigments * Pointillism 4. Watercolour * Plein air painting * Oriental art 5. Oriental influence * Oriental prints * The Realists CHAPTER 2 The Innovations and Techniques Developed in Modern Painting 1. Innovative Approaches 2. Cubist Collage * Surrealist Frottage and Grattage 3. Abstract Expressionism * Abstract Art of Wassily Kadinsky * Andre Masson and Oriental Influence 4. Hard Edge Abstraction and Pop Art CHAPTER 3 The Techniques and Innovations Developed in Post Modern Art 1. Post-Modernism 2. Use of Colour (Pigment) 3. Rise of Altenmtive Materials and Space 4. Traditional Painting 5. Materials used for specific Reasons (Symboiic,Metaphysical and Alchemical) CONCLUSION BIBLIOGRAPHY PREI?ACE When I arrived at Rhodes University in 1995 to do advanced studies, I have noticed that many lecturers and students here were enthusiastic about modern painting and the techniques involved in its creation.
    [Show full text]
  • Essays on Colour
    Essays on Colour ESSAYS ON COLOUR A collection of columns from Cabinet Magazine Eleanor Maclure Introduction For every issue the editors of Cabinet Magazine, an American quarterly arts and culture journal, ask one of their regular contributors to write about a specific colour. The essays are printed as Cabinet’s regular Colours Column. To date, forty-two different colours have been the subject of discussion, beginning with Bice in their first ever issue. I first encountered Cabinet magazine when I stumbled upon Darren Wershler-Henry’s piece about Ruby, on the internet. I have since been able to collect all of the published columns and they have provided a wealth of knowledge, information and invaluable research about colour and colour names. Collectively, the writings represent a varied and engaging body of work, with approaches ranging from the highly factual to the deeply personal. From the birth of his niece in Matthew Klam’s Purple, to a timeline of the history of Lapis Lazuli mining in Ultramarine by Matthew Buckingham, the essays have provided fascinating insights into a whole range of colours, from basic terms such as black and red, to the more obscure: porphyry and puce. While some focus very much on the colour in question, others diverge into intricate tales of history, chemistry or geopolitics. There are personal anecdotes, legends and conspiracies, but more than that, the essays demonstrate the sheer diversity of ways we can talk about colour. The essays gathered here have become far more than just the background reading they began as. The aim of this book is to bring together the works, as a unique representation of the different ways we relate to, experience and interpret colours.
    [Show full text]
  • Blue.-Gallery-Guide-Final.Pdf
    blue. A Guide to Looking This guide offers a selection of works from the exhibition. Look at the included artwork and then use the text to help build a deeper understanding of the artists, their process, and their works. Pablo Picasso (Spanish, b. 1881 – d.1973) Buste de Femme, 1902, lithograph y e r n Inspiration e Between 1900 and 1904 Picasso created a series of works in shades of l l blue that became known as his Blue Period, reflecting feelings of O instability, poverty and sadness. In 1901-1902, Picasso began visiting a a women’s prison named St. Lazare which was guarded by nuns. He juxtaposed the daily lives of the imprisoned women with themes, G colors and compositions found in Christian iconography. In the Artist’s Words “I paint objects as I think them, not as I see them.” Take a Closer Look While recognizable as a portrait, the stylization of the woman’s face hints at Picasso’s future distancing from realism. There is a sense of elongated lines disappearing off the edge of the canvas like a waterfall, with the tilt of her head echoing this downward direction. The body language creates a sense of quiet and stillness while the limited, monochromatic palette evokes a subdued, thoughtful tone. Something to Talk About Picasso is known for his different styles and periods, particularly his cubist works which exemplify his quote above. Do you typically prefer artwork to be more realistic or do you prefer artworks do not have easily recognizable subject matter? Why or why not? Antonio Santín (Spanish, b.1978) y Toast to Ashes, 2020, oil on canvas, 215 x 150 cm e r n Inspiration e l Antonio Santin is a Spanish-born artist who creates meticulously l O layered oil and acrylic paintings that mimic the texture, colors and scale of woven rugs.
    [Show full text]
  • Air Force Blue (Raf) {\Color{Airforceblueraf}\#5D8aa8
    Air Force Blue (Raf) {\color{airforceblueraf}\#5d8aa8} #5d8aa8 Air Force Blue (Usaf) {\color{airforceblueusaf}\#00308f} #00308f Air Superiority Blue {\color{airsuperiorityblue}\#72a0c1} #72a0c1 Alabama Crimson {\color{alabamacrimson}\#a32638} #a32638 Alice Blue {\color{aliceblue}\#f0f8ff} #f0f8ff Alizarin Crimson {\color{alizarincrimson}\#e32636} #e32636 Alloy Orange {\color{alloyorange}\#c46210} #c46210 Almond {\color{almond}\#efdecd} #efdecd Amaranth {\color{amaranth}\#e52b50} #e52b50 Amber {\color{amber}\#ffbf00} #ffbf00 Amber (Sae/Ece) {\color{ambersaeece}\#ff7e00} #ff7e00 American Rose {\color{americanrose}\#ff033e} #ff033e Amethyst {\color{amethyst}\#9966cc} #9966cc Android Green {\color{androidgreen}\#a4c639} #a4c639 Anti-Flash White {\color{antiflashwhite}\#f2f3f4} #f2f3f4 Antique Brass {\color{antiquebrass}\#cd9575} #cd9575 Antique Fuchsia {\color{antiquefuchsia}\#915c83} #915c83 Antique Ruby {\color{antiqueruby}\#841b2d} #841b2d Antique White {\color{antiquewhite}\#faebd7} #faebd7 Ao (English) {\color{aoenglish}\#008000} #008000 Apple Green {\color{applegreen}\#8db600} #8db600 Apricot {\color{apricot}\#fbceb1} #fbceb1 Aqua {\color{aqua}\#00ffff} #00ffff Aquamarine {\color{aquamarine}\#7fffd4} #7fffd4 Army Green {\color{armygreen}\#4b5320} #4b5320 Arsenic {\color{arsenic}\#3b444b} #3b444b Arylide Yellow {\color{arylideyellow}\#e9d66b} #e9d66b Ash Grey {\color{ashgrey}\#b2beb5} #b2beb5 Asparagus {\color{asparagus}\#87a96b} #87a96b Atomic Tangerine {\color{atomictangerine}\#ff9966} #ff9966 Auburn {\color{auburn}\#a52a2a} #a52a2a Aureolin
    [Show full text]
  • The Blue That Blew Bloo
    Southern Methodist University SMU Scholar Art Theses and Dissertations Art Spring 5-20-2017 The Blue that Blew Bloo Daniel Ray Martinez Southern Methodist University, [email protected] Follow this and additional works at: https://scholar.smu.edu/art_etds Part of the Art Practice Commons, Fine Arts Commons, Interactive Arts Commons, Interdisciplinary Arts and Media Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Other Film and Media Studies Commons, and the Photography Commons Recommended Citation Martinez, Daniel Ray, "The Blue that Blew Bloo" (2017). Art Theses and Dissertations. 1. https://scholar.smu.edu/art_etds/1 This Thesis is brought to you for free and open access by the Art at SMU Scholar. It has been accepted for inclusion in Art Theses and Dissertations by an authorized administrator of SMU Scholar. For more information, please visit http://digitalrepository.smu.edu. Daniel Ray Martinez The Blue that Blew Bloo 05/04/2017 The Blue that Blew Bloo My thesis, a video installation entitled Untitled (blue video) explores how the image of the ​ ​ color blue affects the body externally and internally. So much of the world is experienced through images. An image can be something that is physical, like a photograph or a statue, but it can also be something that exist on a screen. Yet an image of something can form in one's mind. Blue can function like an image, in that it is something physical we can see and touch like a Yves Klein monochrome. But blue can also be experienced through digital screens that emit blue light waves. The word blue can also be listened to and felt internally, like Blues music, folks feel the blues.
    [Show full text]
  • 2Bbb2c8a13987b0491d70b96f7
    An Atlas of Rare & Familiar Colour THE HARVARD ART MUSEUMS’ FORBES PIGMENT COLLECTION Yoko Ono “If people want to make war they should make a colour war, and paint each others’ cities up in the night in pinks and greens.” Foreword p.6 Introduction p.12 Red p.28 Orange p.54 Yellow p.70 Green p.86 Blue p.108 Purple p.132 Brown p.150 Black p.162 White p.178 Metallic p.190 Appendix p.204 8 AN ATLAS OF RARE & FAMILIAR COLOUR FOREWORD 9 You can see Harvard University’s Forbes Pigment Collection from far below. It shimmers like an art display in its own right, facing in towards Foreword the glass central courtyard in Renzo Piano’s wonderful 2014 extension to the Harvard Art Museums. The collection seems, somehow, suspended within the sky. From the public galleries it is tantalising, almost intoxicating, to see the glass-fronted cases full of their bright bottles up there in the administra- tive area of the museum. The shelves are arranged mostly by hue; the blues are graded in ombre effect from deepest midnight to the fading in- digo of favourite jeans, with startling, pleasing juxtapositions of turquoise (flasks of lightest green malachite; summer sky-coloured copper carbon- ate and swimming pool verdigris) next to navy, next to something that was once blue and is now simply, chalk. A few feet along, the bright alizarin crimsons slake to brownish brazil wood upon one side, and blush to madder pink the other. This curious chromatic ordering makes the whole collection look like an installation exploring the very nature of painting.
    [Show full text]
  • Philip Ball the Invention of Colour
    Philip Ball: The Invention of Colour 1 Philip Ball The Invention of Colour The 2011 Van Gogh exhibition at the Royal Academy in London was widely praised for revising our view of the Dutch artist. Its central focus was a selection of Van Gogh’s correspondence with his brother Theo, and these letters show that he did not work in a crazed frenzy, as the romantic legend might have us believe, but was methodical and thoughtful about his technique. The letters, which are of course long familiar to art historians, reveal a man passionate not so much about love and death as about art, and in particular about its techniques and materials. One great source of inspiration for Van Gogh was colours, especially the new colours that during his lifetime had only recently become available to artists. He wrote to Theo that: I have got new ideas and I have new means of expressing what I want, because better brushes will help me, and I am crazy about those two colours, carmine and cobalt. Cobalt is a divine colour, and there is nothing so beautiful for putting atmosphere around things. Carmine is the red of wine, and it is warm and lively like wine. The same with emerald-green. It is bad economy not to use these colours, the same with cadmium.1 This focus on materials is not unusual among artists. Van Gogh’s friend Paul Gauguin was preoccupied on Tahiti not with metaphysical questions – where we are from, where we are going – nor about his sexual relations with the local women, as again legend might encourage us to believe, but about the very prosaic difficulty of getting the pigments he needed.
    [Show full text]
  • Hyperreality As Well As a Curveball Thrown at the World of Today Filled with Uncertainties
    BITTER MEDICINE #02 17.09.2020-31.01.2021 1 Temporary Exhibition ABBREVIATIONS BITTER MEDICINE #02 September 17, 2020 - January 31, 2021 Borusan Contemporary Perili Köşk, Rumelihisarı :mK :mentalKLINIK Curator KE Dr. Kumru Eren Dr. Necmi Sönmez NS Dr. Necmi Sönmez Editor and Translation Merve Ünsal OY Osman Can Yerebakan Serra Yentürk AD Ayşe Draz Proofreading Burak Mert Çiloğlugil NC Naz Cuguoğlu Design MW Marlies Wirth Timuçin Unan FS Fredo De Smet Photographs Özge Balkan AI Artificial Intelligence CCTV Close-circuit Television FAANG Facebook-Amazon-Apple-Netflix-Google FOMO Fear of Missing Out GAFA Google-Amazon-Facebook-Apple IKB International Klein Blue (= PB29, = CI 77007) JOMO Joy of Missing Out MAK Museum für angewandte Kunst (Museum for Applied Arts; Uygulamalı Sanatlar Müzesi) SFMOMA San Francisco Museum of Modern Art UX User Experience VR Virtual Reality VRT Vlaamse Radio -en Televisieomroeporganisatie (Flemish Radio and Television Broadcasting Organisation; 2 :mentalKLINIK BITTER MEDICINE #02 COURSE OF COLORS Gold: Yves Klein Blue: Yves Klein Blue and Green: Fuchsia: 01.10.2020 - 19.10.2020 20.10.2020 - 08.11.2020 09.11.2020 - 19.11.2020 14.09.2020 - 30.09.2020 Turquoise and Rainbow: Fuchsia and Rainbow: Black and Rainbow: 20.11.2020 - 14.12.2020 15.12.2020 - 06.01.2021 07.01.2021 - 31.01.2021 3 CONCEPTUAL FRAMEWORK 5 BITTER MEDICINE CONVERSATIONS Dr. Necmi Sönmez Dr. Kumru Eren, Dr. Necmi Sönmez, Osman Can Yerebakan Open Laboratory / Hyper-Reality-Simulation / Analyzing Today 15 PIGMENT, GLITTER, PIXEL: 6 On the Element of Color in :mentalKLINIK’s BITTER MEDICINE #02 Dr. Necmi Sönmez Ayşe Draz, Naz Cuguoğlu Performative Spectatorship, Oxymoron Aesthetic of :mentalKLINIK, 22 *AN HOMAGE TO YVES KLEIN 9 Taking a Third Position From Object to Hyperobject: Leaving a Trace in the Void Dr.
    [Show full text]
  • Swatch Name HLS RGB HEX Absolute Zero 217° 36% 100% 0 72
    Swatch Name HLS RGB HEX Absolute Zero 217° 36% 100% 0 72 186 #0048BA Acid green 65° 43% 76% 176 191 26 #B0BF1A Aero 206° 70% 70% 124 185 232 #7CB9E8 Aero blue 151° 89% 100% 201 255 229 #C9FFE5 African violet 288° 63% 31% 178 132 190 #B284BE Air superiority blue 205° 60% 39% 114 160 193 #72A0C1 Alabaster 46° 90% 27% 237 234 224 #EDEAE0 Alice blue 208° 97% 100% 240 248 255 #F0F8FF Alloy orange 27° 42% 85% 196 98 16 #C46210 Almond 30° 87% 52% 239 222 205 #EFDECD Amaranth 348° 53% 78% 229 43 80 #E52B50 Amaranth (M&P) 328° 40% 57% 159 43 104 #9F2B68 Amaranth pink 338° 78% 75% 241 156 187 #F19CBB Amaranth purple 342° 41% 63% 171 39 79 #AB274F Amaranth red 356° 48% 73% 211 33 45 #D3212D Amazon 147° 35% 35% 59 122 87 #3B7A57 Amber 45° 50% 100% 255 191 0 #FFBF00 Amber (SAE/ECE) 30° 50% 100% 255 126 0 #FF7E00 Amethyst 270° 60% 50% 153 102 204 #9966CC Android green 74° 50% 55% 164 198 57 #A4C639 Antique brass 22° 63% 47% 205 149 117 #CD9575 Antique bronze 52° 26% 55% 102 93 30 #665D1E Antique fuchsia 316° 46% 22% 145 92 131 #915C83 Antique ruby 350° 31% 66% 132 27 45 #841B2D Antique white 34° 91% 78% 250 235 215 #FAEBD7 Ao (English) 120° 25% 100% 0 128 0 #008000 Apple green 74° 36% 100% 141 182 0 #8DB600 Apricot 24° 84% 90% 251 206 177 #FBCEB1 Aqua 180° 50% 100% 0 255 255 #00FFFF Aquamarine 160° 75% 100% 127 255 212 #7FFFD4 Swatch Name HLS RGB HEX Arctic lime 72° 54% 100% 208 255 20 #D0FF14 Army green 69° 23% 44% 75 83 32 #4B5320 Artichoke 76° 53% 13% 143 151 121 #8F9779 Arylide yellow 51° 67% 74% 233 214 107 #E9D66B Ash gray 135° 72% 8% 178 190
    [Show full text]
  • Colours: Regulation and Ownership
    Colour: Design & Creativity (4) (2009): 6, 1–22 http://www.colour-journal.org/2009/4/6/ Colours: Regulation and Ownership Paul Green-Armytage School of Design and Art, Curtin University of Technology, Perth, Australia Email: [email protected] Received: 29 October 2009; Published online: 25 March 2010 Summary Attempts to regulate or claim ownership of colours have met with limited success. A complicating factor has been the lack of clear defi nitions. There is more than one kind of colour – related, but distinct. In this paper, seven different kinds of colour are described together with the means used to identify individual colours. It is the means used to identify a colour which determine what kind of colour it is that is being identifi ed. These defi nitions clarify the issues in a number of case histories, for example: why it was diffi cult to enforce the law against brides wearing crimson in Renaissance Florence; why his patent on a mauve dye was of limited value to William Henry Perkin; why disputes over colours as company trademarks are so prolonged and so inconclusive. These distinctions may also help to clarify the issues in the current debate about the desirability, or otherwise, of regulating colour in the built environment. Introduction Colours convey meanings in the social context. For this reason there have been attempts in the past to regulate the use of colour, especially the colours of clothing. There have also been attempts to claim ownership of particular colours, not least because of the value of colour in branding strategies.
    [Show full text]
  • Pamela Rosenkranz Selected Texts & Press
    MIGUEL ABREU GALLERY pamela rosenkranz selected texts & press 88 Eldridge Street / 36 Orchard Street, New York, NY 10002 • 212.995.1774 • fax 646.688.2302 [email protected] • www.miguelabreugallery.com MIGUEL ABREU GALLERY PAMELA ROSENKRANZ Pamela Rosenkranz was born in Uri, Switzerland in 1979. She received her MFA from the Academy of Fine Arts, Bern, in 2004, and completed an independent residency at the Rijksakademie in Amsterdam in 2012. Her project Our Product was selected to represent Switzerland at the 56th Venice Biennale in 2015, and was the first recipient of the Paul Boesch prize. Previously, her work was featured in the 55th Venice Biennale, The Encyclopedic Palace, curated by Massimiliano Gioni. Rosenkranz’s first solo exhibition in the United States, Because They Try to Bore Holes, took place at Miguel Abreu Gallery in 2012. Other solo exhibitions include Alien Blue Light (Kreuzgang Fraumünster, Zürich, 2018), Amazon Spirits (Green Blood) (Karma International, 2018), Alien Culture (GAMeC, Bergamo, 2017), She Has No Mouth (Sprüth Magers, Berlin, 2017), Slight Agitation 2/4: Pamela Rosenkranz (Fondazione Prada, Milan, 2017), Anemine (Miguel Abreu Gallery, 2016), My Sexuality (Karma International, 2014), Feeding, Fleeing, Fighting, Reproduction (Kunsthalle Basel, 2012), Untouched by Man (Kunstverein Braunschweig, 2010), No Core (Centre d’Art Contemporain, Geneva, 2012), Our Sun (Swiss Institute, Venice, 2009), and This Is Not My Color / The Seven Habits of Highly Effective People, a two- person show with Nikolas Gambaroff
    [Show full text]