Remarks on color
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Artist, critic and poet Eve Wood has a ribald sense of humor and for decades has had a distinctive presence in the Southern California art world. This is her first monograph, featuring a collection of off-beat, imaginative color studies populated with birds, animals and irreverent, sometimes naughty personae. Short, laugh-out-loud prose accompanies each of the portraits(...)
Remarks on color
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Artist, critic and poet Eve Wood has a ribald sense of humor and for decades has had a distinctive presence in the Southern California art world. This is her first monograph, featuring a collection of off-beat, imaginative color studies populated with birds, animals and irreverent, sometimes naughty personae. Short, laugh-out-loud prose accompanies each of the portraits and vivid scenes. Her dog sleeps on a Ukranian-gold and blue rug; her raven vacuums the house; absurd characters from movies and art stand in for obnoxious or dreamy colors; and the birds – so many birds – sing of freedom.
Colour Theory and Design
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"Interaction of color" is often presented as an overarching theory of color, but it is actually a method of learning how to better see and understand color—many of the color exercises illustrated in "Interaction of color" were devised by Albers’s students: cutting and pasting, looking, pondering, and learning. This workbook companion is a teaching tool designed to enable(...)
Interacting with color: A practical guide to Joself Alber's color experiments
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"Interaction of color" is often presented as an overarching theory of color, but it is actually a method of learning how to better see and understand color—many of the color exercises illustrated in "Interaction of color" were devised by Albers’s students: cutting and pasting, looking, pondering, and learning. This workbook companion is a teaching tool designed to enable readers to engage in the kinds of tactile creativity and exploration that characterized Albers’s own classroom. Focusing on eight of the most important lessons in "Interaction of color", this book invites readers to learn by doing, using only simple materials. Core instructions for each exercise are enhanced by additional tips, references to Albers’s original text and illustrations, and stories about how Albers presented the ideas in class. The book and exercises are sufficiently nuanced to challenge and inspire seasoned artists, designers, and educators while also being readily accessible to younger readers and less-experienced practitioners.
Colour Theory and Design
Le répertoire des couleurs
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Nouvelle édition du répertoire publié en 1905 par la Société des chrysanthémistes. 1385 nuances réparties en 365 planches s'adressant par-delà les frontières à tous les amateurs de couleurs. Imaginez, en 1905, les membres de Société des chrysanthémistes en sévères habits noirs consacrant une énergie patiente et méticuleuse à la réalisation d'un répertoire complet(...)
Le répertoire des couleurs
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Nouvelle édition du répertoire publié en 1905 par la Société des chrysanthémistes. 1385 nuances réparties en 365 planches s'adressant par-delà les frontières à tous les amateurs de couleurs. Imaginez, en 1905, les membres de Société des chrysanthémistes en sévères habits noirs consacrant une énergie patiente et méticuleuse à la réalisation d'un répertoire complet des teintes que peuvent aborder les pétales des fleurs et les feuillages des arbres.Au-delà de la prouesse technique, l'objet réalisé est d'une modernité déconcertante. Ses 1385 nuances réparties en 365 planches s'adressent, par-delà les frontières à tous les amateurs de couleurs.
Colour Theory and Design
Chromophobia
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The central argument of "Chromophobia" is that a chromophobic impulse – a fear of corruption or contamination through colour – lurks within much Western cultural and intellectual thought. This is apparent in the many and varied attempts to purge colour, either by making it the property of some 'foreign body' – the oriental, the feminine, the infantile, the vulgar, or the(...)
Chromophobia
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The central argument of "Chromophobia" is that a chromophobic impulse – a fear of corruption or contamination through colour – lurks within much Western cultural and intellectual thought. This is apparent in the many and varied attempts to purge colour, either by making it the property of some 'foreign body' – the oriental, the feminine, the infantile, the vulgar, or the pathological – or by relegating it to the realm of the superficial, the supplementary, the inessential, or the cosmetic. Chromophobia has been a cultural phenomenon since ancient Greek times; this book is concerned with forms of resistance to it. Writers have tended to look no further than the end of the nineteenth century. David Batchelor seeks to go beyond the limits of earlier studies, analysing the motivations behind chromophobia and considering the work of writers and artists who have been prepared to look at colour as a positive value. Exploring a wide range of imagery including Melville's 'great white whale', Huxley's reflections on mescaline, and Le Corbusier's 'journey to the East', Batchelor also discusses the use of colour in Pop, Minimal, and more recent art.
Colour Theory and Design
books
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Featuring abundant photo and video materials, illustrations and animated sequences, this unprecedented multimedia publication comprising a book, a CD-ROM and a set of colour cards examines relationships between colour and light as visual phenomena.
Colours between light and darkness
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Featuring abundant photo and video materials, illustrations and animated sequences, this unprecedented multimedia publication comprising a book, a CD-ROM and a set of colour cards examines relationships between colour and light as visual phenomena.
books
October 2008
Colour Theory and Design
What color is the sacred?
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Over the past thirty years, visionary anthropologist Michael Taussig has crafted a highly distinctive body of work. Playful, enthralling, and whip-smart, his writing makes ingenious connections between ideas, thinkers, and things. An extended meditation on the mysteries of color and the fascination they provoke, What Color Is the Sacred? is the next step on Taussig’s(...)
What color is the sacred?
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Over the past thirty years, visionary anthropologist Michael Taussig has crafted a highly distinctive body of work. Playful, enthralling, and whip-smart, his writing makes ingenious connections between ideas, thinkers, and things. An extended meditation on the mysteries of color and the fascination they provoke, What Color Is the Sacred? is the next step on Taussig’s remarkable intellectual path. Michael Taussig is professor of anthropology at Columbia University.
Colour Theory and Design
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For decades, scientists who heard about synesthesia hearing colors, tasting words, seeing colored pain just shrugged their shoulders or rolled their eyes. Now, as irrefutable evidence mounts that some healthy brains really do this, we are forced to ask how this squares with some cherished conceptions of neuroscience. These include binding, modularity, functionalism,(...)
Synesthesia: a union of the senses
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For decades, scientists who heard about synesthesia hearing colors, tasting words, seeing colored pain just shrugged their shoulders or rolled their eyes. Now, as irrefutable evidence mounts that some healthy brains really do this, we are forced to ask how this squares with some cherished conceptions of neuroscience. These include binding, modularity, functionalism, blindsight, and consciousness. The good news is that when old theoretical structures fall, new light may flood in. Far from a mere curiosity, synesthesia illuminates a wide swath of mental life.
Colour Theory and Design
Bleu: histoire d'une couleur
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L'histoire de la couleur bleue dans les sociétés européennes est celle d'un complet renversement: pour les Grecs et les Romains, cette couleur compte peu; elle est désagréable à l'oeil. Or aujourd'hui, partout en Europe, le bleu est de très loin la couleur préférée (devant le vert et le rouge). L'ouvrage de Pastoureau raconte l'histoire de ce renversement, en insistant(...)
Bleu: histoire d'une couleur
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L'histoire de la couleur bleue dans les sociétés européennes est celle d'un complet renversement: pour les Grecs et les Romains, cette couleur compte peu; elle est désagréable à l'oeil. Or aujourd'hui, partout en Europe, le bleu est de très loin la couleur préférée (devant le vert et le rouge). L'ouvrage de Pastoureau raconte l'histoire de ce renversement, en insistant sur les pratiques sociales de la couleur (étoffes, vêtements, vie quotidienne, symboles) et sur sa place dans la création littéraire et artistique, depuis les sociétés antiques et médiévales jusqu'à l'époque moderne. Il analyse également le triomphe du bleu à l'époque contemporaine, dresse un bilan de ses emplois et significations, et s'interroge sur son avenir.
Colour Theory and Design
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On ne le dit jamais assez. Le bleu est la couleur préférée de tout un chacun. Loin devant le vert et le rouge. Du pastel à l'indigo, du marine à l'outremer. On connaît le bleu de Vermeer ; il y a aussi celui de Philippe de Champaigne, celui des portraits-charge sous le Second Empire, des reproductions des poilus dans les tranchées de 14-18, celui des Gauloises... Quels(...)
Bleu l'histoire d'une couleur
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On ne le dit jamais assez. Le bleu est la couleur préférée de tout un chacun. Loin devant le vert et le rouge. Du pastel à l'indigo, du marine à l'outremer. On connaît le bleu de Vermeer ; il y a aussi celui de Philippe de Champaigne, celui des portraits-charge sous le Second Empire, des reproductions des poilus dans les tranchées de 14-18, celui des Gauloises... Quels que soient le sexe, les origines sociales, la profession ou le bagage culturel, le bleu écrase tout. Et le vêtement en est la principale manifestation, des uniformes au jean. Mais il n'en pas toujours été ainsi. Au contraire. Dans l'Antiquité, la couleur bleue est délaissée, voire méprisée. Il faudra presque attendre le roi Arthur pour voir s'imposer le bleu royal. C'est dire si le bleu revient de loin. C'est précisément cette revanche d'une couleur, amorcée au Moyen Âge, que retrace Michel Pastoureau, historien et directeur d'études à l'École pratique des hautes études. Les pratiques sociales (des symboles au lexique, des habits à la vie quotidienne), l'oeuvre des teinturiers, la palette des peintres, la naissance du bleu politique et militaire... Toute une cosmogonie douce, tantôt discrète, tantôt morale. Un ouvrage remarquable, riche en couleurs...
Colour Theory and Design
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Cet ouvrage s'intéresse à la longue histoire du noir dans les sociétés européennes. L'accent est mis autant sur les pratiques sociales de la couleur (lexiques, teintures, vêtements, emblèmes) que sur ses enjeux proprement artistiques.
Noir : histoire d'une couleur
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Cet ouvrage s'intéresse à la longue histoire du noir dans les sociétés européennes. L'accent est mis autant sur les pratiques sociales de la couleur (lexiques, teintures, vêtements, emblèmes) que sur ses enjeux proprement artistiques.
Colour Theory and Design