For his notebook, Mexican artist Abraham Cruzvillegas has compiled excerpts and notations from his personal sketchbook, as well as associative photographs. Cruzvillegas playfully picks up notions of sense, sensibility, reason, and fantasy—the four basic terms of the “human mind and soul” on which Johann Wolfgang von Goethe built his chromatic circle of 1809—and combines them with handwritten thoughts about the structural and creative aspects of artistic production. This notebook is a colorful collage of ideas opposing the appropriation of art by capitalism, against which Cruzvillegas reacts with collective, living, and “definitely unfinished” social sculptures—involving people, animals, and things—that come to ...

The resulting flickering light repeats at a constant frequency between 8 and 13 Hz matching the brain’s alpha waves present in deep relaxation, such as drifting into sleep. When a viewer closes their eyes, sits close to the machine and the turntable is started, the flickering light induces waves of color and repeating geometric patterns that form and re-form in the mind’s eye. Ian Somerville described the experience in a letter to Gysin: Visions start with a kaleidoscope of colors on a plane in front of the eyes and gradually become more complex and beautiful, breaking like surf on a shore ...

This issue is both *in* and *about* COLOR. Starting with ISSUE #10, we have reduced our format and we are printing in all of the available inks. The issue was published in time to inaugurate (finally!) our first physical space for The Serving Library in a storefront on the north side of the majestic India Buildings block in the heart of Liverpool’s once-colorful mercantile district. Bulletins around the edges of color come courtesy Lucas Benjamin on a green screen, Stuart Bertolotti-Bailey on ephemera, Umberto Eco on conditioning, Emily Gephart on a poetry hoax, James Langdon on kitchen cabinetry, Tamara Shopsin on swimming ...

You can color this book with colored pencils, watercolors, magic markers, pastels. Fall in love with the grid.

From the first human artistic expression in cave paintings until now, black has been constantly reinvented by art. Like other 20th-century artists (Rothko, Malevic, Klein) before him have done, Belgian Frederik De Wilde explores the nature of colors and produces monochromatic works, but focusing on black in a radical and scientific manner. In Hostage, as art historian Elise Aspord explains, he has created a material made up of a vertical alignment of nanotubes of carbon that can absorb almost all rays of light, thus giving a new universal reference for black. This work is the result of a close collaboration between ...

Pamela Rosenkranz peers into the evolutionary depths of the colour blue.

In this text written for the 2016 UNdocumenta film festival in Gwangju, Anne-Françoise Schmid investigates the relation between film and philosophy, and presents a series of mini film-scripts to explore the method of ‘without.’ Accompanied by images from Benoît Maire’s series Cloud Painting.

This inaugural issue of Selva: A Journal of the History of Art is dedicated to the French artists’ group Supports/Surfaces and, more broadly, to theorizations of painting in the aftermath of the uprisings of May 1968. Supports/Surfaces only existed as a formal association from 1970 to 1972 (there were already scissions as early as 1971). Its impact on French art was out of proportion to its relatively short lifespan, however: the group lent a common name and, briefly, a common sense of purpose to a circle of about a dozen artists, most of them painters, in effect producing a shared horizon ...

In form and content alike, Paris Arcades was to be Walter Benjamin’s most demanding project for a new method of gaining insight into history: a history in images reflecting the multilayered character of the past. Benjamin’s historical-philosophical approach was directed against the authority of dogmatic systems, taking the marginal, the peculiar, and the fault lines as its orientation. Benjamin outlines the importance of things, images, architectures, and experiences for historical insight using the figure of the ragpicker. The shadowy labyrinths and crowded merchandise backdrops of the Parisian arcades constituted for Benjamin the historically charged districts in which the metropolis was ...

Recess Presents Christine Sun Kim in conjunction with the Center for Experimental Lectures Feedback: (4-6 of 6) Seeing Voice The Seven-Tone Color Spectrum Recess in Soho 41 Grand Street, New York, NY 10013 March 15th: 7-9 pm March 16: 3-8 pm On March 15 & 16, Christine Sun Kim, in collaboration with the Center for Experimental Lectures, will initiate a conversation led by seven presenters, all of whom will give a lecture without using audible voice. This is the final event in Feedback, Sun Kim’s six-part Session at Recess. Throughout Feedback, Sun Kim, deaf since birth, has performed auditory investigations that initiate a slippage of audio into visual. Using non-vocal methods of ...

From 1969 to 2004, the Whitney’s Seminars with Artists program offered notable American artists the opportunity to discuss their practices informally with an intimate and diverse audience. This spring, the Whitney Education Department is pleased to collaborate with the Center for Experimental Lectures to re-launch and re-imagine this historic series by inviting Biennial artists to present public lectures that creatively explore the research and concepts underpinning their work. Wednesday, March 19, 2014 6:30 pm This evening, Biennial artist Zoe Leonard invites visitors to take part in a viewing in her installation on the fourth floor. This lecture will engage Leonard’s interest in the ...