Culture Making items tagged colorCulture Making:Main column content2009-01-07T20:43:49ZCopyright (c) 2009, Nate BarksdaleExpressionEnginetag:culture-making.com,2009:01:07Off H Siddiah Road, Bangalore, Indiatag:culture-making.com,2009:author/9.11832009-01-07T15:43:49Z2009-01-07T20:43:49ZNate Barksdalenatebarksdale@gmail.comNate: “An atypically abstract selection from my new favorite photo blog. Old bricks on new? New on old? And I'm not sure what exactly what's going on with the minimalist graffiti. The best explanation I can come up with is paint testing.”
]]>Franklin’s Footpath, by Gene Davis, 1972tag:culture-making.com,2009:author/9.11342009-01-07T15:43:49Z2009-01-07T20:43:49ZNate Barksdalenatebarksdale@gmail.comNate: “Wikipedia: "Gene Davis (August 22, 1920–April 6, 1985) was a US painter known especially for paintings of vertical stripes of color, and a member of the group of abstract painters in Washington DC during the 1960s known as the Washington Color School. Davis was born in Washington DC in 1920, and spent nearly all his life there. Before he began to paint in 1949, he worked as a sportswriter, covering the Washington Redskins and other local teams. Working as a journalist in the late 1940s, he covered the Roosevelt and Truman presidential administrations, and was often President Truman's partner for poker games. . . . Though he worked in a variety of media and styles, including ink, oil, acrylic, video, and collage, Davis is best known by far for his acrylic paintings (mostly on canvas) of colorful vertical stripes, which he began to paint in 1958. The paintings typically repeat particular colors to create a sense of rhythm and repetition with variations. . . . In 1972 Davis created 'Franklin's Footpath,' which was at the time the world's largest artwork, by painting colorful stripes on the street in front of the Philadelphia Museum of Art, and the world's largest painting, 'Niagara' (43,680 square feet), in a parking lot in Lewiston, NY. His 'micro-paintings,' at the other extreme, were as small as 3/8 of an inch square."”
]]>Turquoise tile, Lille, Francetag:culture-making.com,2009:author/9.10842009-01-07T15:43:49Z2009-01-07T20:43:49ZNate Barksdalenatebarksdale@gmail.com Nate: “I love the little flourishes of local architecture that you discover on Google Street View—particularly, of course, in neighborhoods that've been around for a century or more. Things you first notice as totally odd—like this turquoise tile in a window-arch—come up again and again as you click your way down the street.” Turquoise tile arch, Rue des Postes, Lille, France, Google Street View
]]>Cartonlandia, by Ana Serranotag:culture-making.com,2009:author/9.10672009-01-07T15:43:49Z2009-01-07T20:43:49ZNate Barksdalenatebarksdale@gmail.comNate: “
I love the color and use of flatness and space in this collage-like sculpture by the young L.A. artist Ana Serrano.”
]]>Tulip fields, Northern Hollandtag:culture-making.com,2009:author/9.10142009-01-07T15:43:49Z2009-01-07T20:43:49ZNate Barksdalenatebarksdale@gmail.comNate: “It's easy to fall into modern-mechanistic metaphors when we consider the scale and scope of industrialized agriculture, but I like how this stunning aerial view calls to mind an older cultural product: the woven tapestry.”
]]>An entirely open questiontag:culture-making.com,2009:author/9.7912009-01-07T15:43:49Z2009-01-07T20:43:49ZNate Barksdalenatebarksdale@gmail.comWe learn about and remember the inventions, equations, and colors that changed the world. But we can easily forget that at the time, which invention, equation, and color would prevail was an entirely open question. And then we can easily deceive ourselves into thinking that changing the world is a great deal easier than it actually is.
—Culture Making, p.193
]]>Azalea maze, Getty Center, Los Angelestag:culture-making.com,2009:author/9.5682009-01-07T15:43:49Z2009-01-07T20:43:49ZNate Barksdalenatebarksdale@gmail.comNate: “My memories of visiting the Getty Center on its hilltop, a year or two after it opened, are more of the harsh, angular warmth of Richard Meier's travertine-clad buildings and patios. The plants, in recall, were generic soutnern-California fringe, nothing like this stunning (and at the time controversial) water-maze of azaleas, which calls to mind both fingerprints and pond-ripples, each equally apt.”
