The results are large - scale abstract works that connect past and present, formalism and intuition,
languages of color theory and human rights legislation.
Informed by Oppermann's neuroscience background as well as her active international painting practice, this presentation will touch on everyone from 19th - century French chemist Michel Eugène Chevreul to Op Art's Bridget Riley as we travel through the history
of color theory in Europe and its journey to the US.
Color was the basis of her painting, undeniably reflecting her life - long
study of color theory as well as the influence of luminous, elegant abstract works by Washington - based Color Field painters such as Morris Louis, Kenneth Noland, and Gene Davis.
In 2004, the Triton Museum of Art in Santa Clara, California, mounted a solo exhibition
of his color theory works entitled Trooping the Colors.
Albers was the supreme
teacher of color theory, not just at the Bauhaus but at Yale (where his graduate assistant was Richard Serra).
Vincent Como's work is informed by «the history and
traditions of Color Theory, Physics, Alchemy, Heavy Metal, Religion and Mythology1.»
Our Colour looks to the past, detailing the
history of color theory, from Isaac Newton to Josef Albers, on an accompanying plaque.
For
adherents of color theory and avid users of the color wheel, this analogous color pair is congruous, and versatile when you consider the range of options available as an accent.
Saul relies on the meat and
potatoes of color theory, deploying a quadratic color combination that establishes instant visual harmony and also allows for copious — and sometimes confounding — detail.
Students learn how to apply the
fundamentals of color theory to painting from perception (still life or the model), imagination, or abstraction.
The artist pursues color relationship and brings a considerable
dexterity of color theory, a deep - seated sense of rhythm and formational aspects to each painting.
For those who wish to only observe, Beckwith and Gartrell will be working on a
variety of color theory projectsthroughout their residency ranging from still life photography to found object sculpture and collage that explore seemingly opposing color relationships.
Both Anuszkiewicz (who studied with Josef Albers) and Wurmfeld, whose exhibition I reviewed on April 14th, make optically dazzling, hard - edge paintings that owe something to the scientific, research - driven engagement with color that goes back to Georges Seurat, the study of optics and the
rise of color theories.
I also mixed regular paints with fluorescent paints to get a wider range of colors, which I alternated for contrast, instead of following some
sort of color theory.
The German - born American painter, writer, and educator Josef Albers (1888 - 1976) was a pioneer of 20th century modernism, and an innovative
practitioner of color theory.
It promises autonomy for color; in fact, it offers three distinct but related types of autonomy: that of each color from every other color, that of color from the
dictates of color theory, and that of color from the register of representation.
The gallery exhibition contrasted to my project at The Drawing Center, which dealt with the
aspects of color theory, as well as the process of drawing as a premise for social interaction.
Josef Albers, Alfred Jensen, and Ad Reinhardt used the square as the basic organizing framework for their
systems of color theory.
A self - taught
student of color theory and non-western philosophies, Alfred Jensen communicates his broad philosophical and mystical knowledge with his paintings.
Paul Cezanne was a
pioneer of color theory, whose works inspired many generations of artists including Pablo Picasso, Georges Braque, Henri Matisse, Cy Twombly, Robert Motherwell, Richard Diebenkorn and others.
Because, as Grigely told me, «no archive is disinterested» and in an extension of Joseph Albers»
articulations of color theory, «you can't put one document beside another without changing both.»
ETHAN RYMAN explores geometric forms and tests perception by disrupting boundaries between dimensions and employing the sensory
phenomena of color theory.
Since the prints lack the just - visible brushwork of Albers» paintings, allowing color to emerge without surface blemish, some have argued that they constitute a more effective
illustration of his color theory.
«The aesthetic of Christian Haub, Matthew Kluber and Matthew Penkala, while working in different media, all possess a relation in
terms of color theory and optical effects,» notes gallery director David Eichholtz.
The Composers Forum will enrich the artistic practices of Philadelphia - based composers by exploring orchestration and techniques used in the
creation of Color Theory commissions.
Albers»
exploration of color theory at Yale University in particular would have a profound effect on his student Victor Moscoso, who would carry the lessons of his teacher to San Francisco in the 1960s and influence a whole generation of poster artists.
The Barrick Museum will host the «Art and
Science of Color Theory,» a talk with artist Julie Oppermann at 7 p.m., Feb. 12, 2018, in the museum auditorium.
You must know a
bit of color theory in order to blend colors tastefully and in order to judiciously make the resume industry - relevant (that kind of color coordination is for the experts).
Its multi-referent title provides a key to the many past and recent situations of violence and discrimination layered within this body of work, and an ongoing visual scholarship that views racism through the
language of color theory and abstract aesthetics.
«ABSORBED BY COLOR: Art in the 20th Century» presents an
overview of color theory and its manifestations in the 20th century.
The artist's background in neuroscience and
study of color theory both support and stimulate the nature of the work she creates.»