That «mitered maze» defined a square, and now and again into the late 1970s it spun off into concentric squares bleeding from
fluorescent color into white.
Not exact matches
But the message receiver can turn on the key genes and make the
colors light up by pressing the nitrocellulose paper
into an agar plate containing a chemical trigger that activates expression of the
fluorescent proteins.
Listen, I'm not anti-vitamin, I just don't see the point is cramming a whole bunch of practically useless nutrition
into a bunch of sugar gummy bears and using that as an excuse to let your kids live off of goldfish crackers,
fluorescent colored «yogurt», and cereal.
In Excursus: Homage to the Square ³ (1998 — 2000), at Dia: Chelsea, New York City, Irwin altered his initial installation, a series of chambers constructed of fine mesh scrims lit primarily by multicolored
fluorescent lights (Prologue: x 18 ³, 1998),
into an environment of
color, expanding Josef Albers's one - dimensional experiments
into a three - dimensional experience.
InExcursus: Homage to the Square ³ (1998 — 2000), at Dia: Chelsea, New York City, Irwin altered his initial installation, a series of chambers constructed of fine mesh scrims lit primarily by multicolored
fluorescent lights (Prologue: x 18 ³, 1998),
into an environment of
color, expanding Josef Albers's one - dimensional experiments
into a three - dimensional experience.
And fields of
color in various shades of
fluorescent pink, purple, green, and blue pop
into and out of focus, recalling the increasingly frenzied pace of contemporary image intake.
In them, bright
fluorescent colors and monumental scale meet to distill»60s hedonism
into abstract history paintings.
For his indoor and outdoor works, he uses commercial building materials, such as plywood, lumber, metal wall studs, cinder blocks, and PVC pipes, which he then carefully sites in response to the environment, arranges
into seemingly casual configurations, and paints with commercial enamel in DayGlo yellow,
fluorescent orange, silver, and other synthetic
colors.
The front sides were screenprinted with gradients of
fluorescent pinks and oranges, fading
into neutral whites and blacks, while on the backsides the artists layered stencils haphazardly using crisscrossed masking tape to produce a noisy mishmash of pattern and
color.
Joe Fucigna, Joan Grubin, Levan Mindiashvili, and Jo Yarrington will transform the gallery
into space where one moves through warm fields of
fluorescent colors, referencing historical and current issues.
Two outstanding and seldom - seen untitled works by Judd at Meier, a 1965 floor box with
fluorescent pink Plexiglas sides and a long red - and - violet wall piece from 1969, remind us how his sculpture frequently injects
color aggressively
into interior space.