Thursday, October 30, 2014

Vocabulary Review

Additive Color explained in under 5 minutes.
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Refraction, Absorption & Reflection of Light explained by Bill Nye.
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Hue, Value, Saturation in Subtractive Color 
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Monday, September 22, 2014

'Solid' light could compute previously unsolvable problems

Researchers at Princeton University have begun crystallizing light as part of an effort to answer fundamental questions about the physics of matter.

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Monday, June 2, 2014

Color, time, shifting light (Olafur Eliasson)

A View Becomes a Window, 2013 from Studio Olafur Eliasson on Vimeo.

Cold Wind Sphere

Below: Olafur Eliasson in collaboration with Henning Larsen Architects Construction of the façade for Harpa Reykjavik Concert Hall and Conference Centre, 2011
Eignarhaldsfélagi∂ Portus ehf., Reykjavik, Iceland

Color, time, shifting light (Monet)

Sol LeWitt wall drawings

From Bomb Magazine interview with Sol LeWitt:
As soon as one does work on walls, the idea of using the whole wall follows. It means that the art is intimately involved with the architecture. It is available to be seen by everyone. It avoids the preciousness of gallery or museum installations. Also, since art is a vehicle for the transmission of ideas through form, the reproduction of the form only reinforces the concept.
[...] When I first started drawing on the wall, the logic of the idea took over. From line to form, from flatness to dimensionality, without illusion, and the use of color. It might seem to some that color is synonymous with decoration, but I try to use color objectively. At first I used colored ink, starting with the three primary colors. Color theory suggests that all color comes from the primary colors if used in combination with black. Later I used acrylic paint with the addition of three secondary colors—green, orange and purple—but without mixing them. I do not use color for effect, although I see no evil in that. Albers used color for its maximum effect. 

Wednesday, May 21, 2014

Tilman: Color as Material

Painter Tilman stacked and piled planks of colors into increasingly sculptural constructions, until his paintings popped into fully immersive rooms.
"From 1982, when I entered the Akademie der Bildenden Künste München, I focused exclusively on painting. Then, in the mid-’90s, I started to realize that I could not manifest what I was looking for— namely, to create a platform to expose the essential qualities of light and the interpretation of light in our visual system— within the common means of painting. I arrived at the understanding that one cannot paint light itself, only an image of it. I had to find another form that would allow me to work with light and its natural properties [..]
 I see colors as paint, as materials. Colors are vehicles to transport light— not only the idea of light, but also its physical quality, whether it be natural or artificial. In some of my earlier, more two-dimensional works, I placed two separate planes with different tonalities on top of each other, then added painted MDF in a different color at an angle at the top, bottom, or side. This creates a tilted colored plane, which acts as a reflector. It diffuses the light falling on the adjacent plane, making the physical qualities visible."
Read more of the interview quoted above here.