Exhibitions

COLOR MIXING

APRIL 22 – MAY 13, 2018

Opening: Sunday, April 22, 2018 at 4pm

Including: Joel Adas, Anna Betbeze, Michael Demps, Anoka Faruqee and David Driscoll, Munro Galloway, Kati Gegenheimer, Mark Thomas Gibson, Fox Hysen, Alexander Jackson, Sophy Naess, Helen Selsdon, and Molly Zuckerman-Hartung

 

 

In painting, color mixing refers to an activity. (Typically opposed to “out of the tube.”) In grade school chances are you mixed the primary colors: red, blue and yellow, into secondary colors: orange, green and purple. Mixed colors become duller.

In Titian’s Bacchus and Ariadne from the 16th Century, the precious pigments ultramarine, vermillion, carmine lake, lead yellow, realgar and orpiment show themselves off, unmixed. They stand apart from the subtler green and brown tints and shades of the trees, clouds and earth. The mixed colors are the ground in which the figures stand.

Color mixing is slower. Eschewing the ready-made, the mixed colors set a mood, an idiom, an eccentricity. I’m using this practice as a metaphor for what I want the new space to feel like. We are in Shelton, CT, about ninety minutes from New York. If it were a color I’m guessing it would be a muddy brown. In fact, the nickname for Shelton is “the valley.” Someone told me once that “it takes a lot of shit to fertilize a field” and we feel that here– that things grow.

“…and shines upon the green moss,

…glitter again on the dark green moss,

…the top of the green moss is lit again,

…shining over the green moss again,

…and gleam again on the shadowy moss,

…and falls again upon the mossy ground,

…stray shafts of the sun pick out the green moss,

…casts motley patterns on the jade-green mosses,

…again shining on the green moss, above,”

from Eliot Weinberger and Octavio Paz, 19 Ways of Looking at Wang Wei

“On the 19th of June, 1799, late in the evening, when the twilight was deepening into a clear night, as I was walking up and down the garden with a friend, we very distinctly observed a flame-like appearance near the oriental poppy, the flowers of which are remarkable for their powerful red colour. We approached the place and looked attentively at the flowers, but could perceive nothing further, till (sic) at last, by passing and repassing repeatedly, while we looked sideways on them, we succeeded in renewing the appearance as often as we pleased….In looking directly at the flower the image is not produced, but it appears immediately as the direction of the eye is altered. Again, by looking sideways on the object, a double image is seen for a moment, for the spectrum then appears near and on the real object.”  – Johann Wolfgang von Goethe. Theory of Colours. 11.

“Her skin is like dusk

O cant you see it

Her skin is like dusk

When the sun goes down”

Jean Toomer, Karintha

Convicts’ garb is striped pink and white. Though it was at my heart’s bidding that I chose the universe wherein I delight, I at least have the power of finding therein the many meanings I wish to find:  there is a close relationship between flowers and convicts. The fragility and delicacy of the former are of the same nature as the brutal insensitivity of the latter. Should I have to portray a convict — or a criminal — I shall so bedeck him with flowers that, as he disappears beneath them, he will himself become a flower, a gigantic and new one. -Jean Genet

“Another exercise that is very effective is walking on colors. Pick out all the reds on a street, focusing only on red objects—brick, lights, sweaters, signs. Shift to green, blue, orange, yellow. Notice how the colors begin to stand out more sharply of their own accord.” – William S. Burroughs, “Ten Years and a Billion Dollars.” The Adding Machine. 49.

  

“A color has many faces, and one color can be made to appear as two different colors.” Josef Albers, Interaction of Color

“…The soul is emerging, purged by trials and sufferings. Shapeless emotions, such as fear, joy, grief, etc., which belonged to this [past, materialist] time of effort, will no longer greatly attract the artist. He will endeavor to awake subtler emotions, as yet unnamed.” Wassily Kandinsky, Concerning the Spiritual in Art

“…the increasing importance of color as a mapping or coding device in our culture. It is my belief that, as our cognitive world becomes more and more two-dimensional as a result of computers and other technology, color plays an ever more central role in coding this two-dimensional world. …I would even speculate that the use of color in traditional societies and in the historical West, which we usually interpret as expressive, may have just as much to do with this coding function…” from Peter Halley, An Artist’s Thoughts on the Role of Color in Contemporary Art

“Moreover, did not Schopenhauer already tell us that the shape of our intelligence is time, a thin line that only presents things to us one by one? The terrifying aspect of that narrowness is that the poems to which Montoliu-Croce allude reverently acquire unity in the frailty of our memory, but not in the successive task of the one who wrote them or the one who reads them. (I said terrifying, because that successive heterogeneity tears to bits not only those diffuse compositions, but all writing.)” from Jorge Luis Borges, An Investigation of the Word
“It is lonesome, yes. For we are the last of the loud.Nevertheless, live.Conduct your blooming in the noise and whip of the     whirlwind.” from Gwendolyn Brooks, The Second Sermon on the Warpland (for Walter Bradford)

“Now it is light, now it is the calm/ yellow after the night goes to sleep”  from Frank O’Hara, Now it is Light 

The DeLuxe Show bears a heavy burden in these arguments, which suggests that color – in all its physical and metaphorical capacities -provided a site and vehicle for Bradley’s intervention. from Darby English, A Year in Color 

“My clothes were bright and covered me from neck to ankle–a rayon shirt and pants printed with red and purple poppies and yellow daisies. She told me that she had had a sister who would have loved what I wore. Her sister had loved flowers and had been a painter. I asked her to tell me more about her and soon we were having a conversation about the great Alma Thomas.”  – Bridget Cooke

“On painterly color: it arises as a simple phenomenon in the imagination, but its purity is distorted by its existence in space and this is the origin of light and shade. These form a third thing between pure imagination and creation, and in them painterly colors have their existence.” from Walter Benjamin, Collected Writings

“What I notice is not a total leveling of color but a leveling of hues.  Instead of there being many blues, chalky blues, inky blues, expensive blues and cheap blues we talk about blue as a given signifier–something like indigo is a shade of blue rather than a material. So hues are given names without having other material values and properties. But actually color is very physical; it is not flat at all.”  Fox Hysen (quoted from a color talk with Munro Galloway)

Passage for John Coltrane
Words      after all are syllables just
and you put them
     in their place
     notes
     sounds
a painter using his stroke
     so the spot
where the article
     an umbrella
     a knife
we could find
     in its most intricate
     hiding
slashed as it was with color
     called “being”
     or even “it”

Expressions

For the moment just
     when the syllables
     out of their webs float

We were just
     beginning to hear
like a crane hoisted into
     the fine thin air
that had a little ache (or soft crackle)

     golden staffed edge of
     quick Mercury
     the scale runner

Envoi

     C’est juste
     your umbrella colorings
dense as telephone
     voice
     humming down the line
     polyphonic

Red plumaged birds
     not so natural
     complicated wings
                              French!

Sweet difficult passages
                              on your throats
there just there
                              caterpillar edging
                              to moth
Midnight
                              in the chrome attic

 –  Barbara Guest

“Color mixing is alchemy, a sensation of the eyes that didn’t exist a moment before.”  – Joel Adas

“Cerulean Blue, Kings Blue, Cadmium Yellow Light and Titanium White.  Or try Magenta, Titanium White and Yellow Ochre. Mix them together and see what you get. Magic.” – Helen Selsdon

“Tonight, a Tempo, a Pattern, an Interval, a Speed, a Care, a Touch, an Expanse, an Order, an Assembly, a Chorus, an Emptiness, a Fullness, the Space Where Edges Meet. Tonight, a Bright Pink, an Egyptian Violet, Volcano and Paynes Grey, a Yellow Ochre, a Turquoise Blue, a Baryte Green, a Light Viridian, a Zinc White, Indigo, and a Deep French Yellow.” – Kati Gegenheimer

Octopuses use their colour displays mainly for camouflage and signaling. But sometimes they produce elaborate colour displays for no apparent reason, in the absence of predators or other octopuses.  Most of the chromatic signals produced by an octopus appear not to have any consistent effect on other octopuses, suggesting that they are signs without meaning, words with no sense. -Amia Srinivasan

The colour of a blood-shot eye might have a splendid effect as the colour of a wall-hanging. Someone who speaks of the character of a colour is always thinking of just one particular way it is used. -Ludwig Wittgenstein

Therefore, when we put a blue stripe beside an orange stripe…. it is evident that the colours of the two objects in contact will purify each other, and become more vivid. But it may happen that the Blue will appear to incline to green or to violet, and the Orange to yellow or red, that is to say, the modifications act not only upon the intensity of the colour, but also upon its physical composition…” – Michel Eugene Chevreul. The Principles of Harmony and Contrast of Colors. 58.