Contemporary Art and Colour - Exhibition - Essay Example

CONTEMPORARY ART AND COLOR-EXHIBITION Name Institution Professor Course Date Introduction The purpose of this essay is to explore and examine an event at the Barbican in London, “Color after Klein.” From this illustration, the essay will engage in the examination, investigation, and illustration of the importance of colour overtime in ART. In the course of achieving this goal, the essay will focus on discussing and analysing critical artists such as Dan Flavin, Donald Judd, Yves Klein, and Bruce Nauman. “Colour after Klein” comes out as one of the most spectacular shows with blazing experience. The show takes its name after the throbbing blue canvases by Yves Klein. In this context, it is appropriate to examine luminous light sculptures and burning neon among others in the course of elaborating the influence and importance of colour over time in the context of Art1. Background Colour is one of the easiest choices for the hard-up curator. There seems to be a lot of colour going around regarding painting and sculpture, as we as other artistic field. In spite of restricting yourself to a certain period, such as after Yves Klein, there seems to be no shortage of the stuff in installation, performance, and video art. It is essential to note that everyone likes colour2. There are diverse aspects of colour in the modern context: bright colours, dark colours, scratchy colours, and shiny colours. There are also primary colours at the disposal of the artists in the contemporary society, which relates to the zigzag strips of colour dashing from left to right, as well as back again. The kids also like the colours. The perception of colour proves to generate suspicion regarding the execution of the Colour after Klein at the Barbican. In this context, it is possible to engage in throwing any old stuff together and pretending to make a show of the element. The event or show did work well in spite of failing to achieve or work in accordance with the perceptions of the fashion practitioners. In most cases, exhibitions tend to work effectively and efficiently through bringing artists’ works or theme together, thus, the gradual establishment of an overarching narrative regarding the entire exhibition. During the show, the practitioners focused on avoiding the integration of the real truck of the method in pursuit of the targets and goals. Instead, colour did emerge as a technique during the event rather than a theme in the achievement of the goals and targets of the organisers. This technique undergoes vivid exploitation to create myriad effectives and implications at diverse or several tangents. The show did lack a real detailed thesis regarding the role of colour. Nevertheless, the show sought to demonstrate the fact that colour is powerful, thus, valuable in inducing lots of diverse effects or implications3. This element did not stop each of the works to demonstrate the implications and powerful nature of colour in the contemporary art. Isolating the works, as well as providing the splendid diverse of media was part of this process. In the next section, it is essential to evaluate the compositions and artistic features. Bruce Nauman: Neon Lights In this context, it is valuable to engage in highlighting the grey sheen of the kite-shaped pattern of the neon lights (white anger, red danger, yellow peril, Black Death). The pieces of art did work like a glassy marble with the reflective oil as the coating material. In this aspect, it is valuable to demonstrate the fact that all natural materials were essential in the provision of the subtle hints relating to the spectrum. In the case of Nauman’s neon lights, there was an expression of the all mechanical and seemingly transparent until the bubble-gum neon colours burst into light to reveal the seemingly commonplace slogans. Beyond the materials, the work’s message tends to demonstrate valuable meaning in illustrating the influence of colour in the contemporary art. Nauman sought to demonstrate much more clear social agenda in comparison to the opaque aestheticism as evident in the case of Richter’s piece of art. Nevertheless, the integration of colour was essential in vitalizing both pieces of art. In the case of Richter’s piece of art, the focus was on illustration of how colour disturbs and enlivens the grey surface. On the other hand, the Nauman’s piece of art focused on the illustration of exploitation of expectations, pleasures, and messages with diverse implications of colour. Yves Klein Yves Klein comes out as the artist, showman, and inventor who sought to invent colour in the modern or contemporary art. Klein was the French artist, showman, and inventor who focused on creating a hue, which did not exist before through illustration of the role and importance, as well as position of colour in the context of the modern or contemporary art. Klein did play a critical role in the course of altering the course of Western art through his valuable commitment to the spiritual uplifting power of colour with reference to gold, rose, and blue. In fact, Klein’s chromatic devotion was so profound that in 1960, Klein did patent the colour of his own invention, thus, the conceptualization of the international Klein blue. For all his influence on conceptual art, Klein did express his preoccupation with colour. As early as 1956, during his holiday in Nice, Klein did experiment with the polymer binder to facilitate preservation of the luminescence and powdery texture of raw yet unstable ultramarine pigment, thus, the eventual patenting of the formula leading to the generation of the International Klein Blue in 1960. In the course of exploring the role he did play, it is valuable to engage in remembering Klein’s stunts and attention-grabbing performance, thus, the demonstration of his sensualistic and provocative nature. These elements do account to his fondness of colour, as well as understanding the role and influence or position of colour in the development of the contemporary art. According to Klein, pure colour provides the opportunity for the artists to use art rather than paint the pictures in the development of the artistic features. From this perspective, colour was one of the most valuable elements in the creation of meaning in the artistic field rather than the means to the development of art. Colour does provide the platform for the creation of the spiritual and alchemical experience, which is beyond time, thus, the journey in pursuit of immaterial4. Out of all the colours Klein sought to use, ultramarine blue comes out as the most important colour, which did play a critical role in determining and improving the image of Klein as one of the most influential contemporary artists. Unlike many other colours, which engage in the creation of opaque blockages, ultramarine shimmers and glows, thus, the platform to contribute to the opening up to the immaterial realms. Evidently, Klein’s blue monochromes do not come out as paintings, but experiences, thus, utilization of such colours to act as passageways leading to the void. Yves Klein did foster a valuable reputation as the most influential, prominent, and controversial French artist through his consideration to use a single colour. The role and influence of this global artist is an illustration of the platform for the development and implementation or coining of the term or show Colour after Klein. The show provides the platform for understanding and elaborating on the role and influence of the colour in enabling the artists in the modern society to engage in the creation of artistic pieces. These elements prove to be valuable in demonstrating the position of colour rather than time in the artistic field. Klein did set seven or eight monochrome paintings with the ability and potentiality to greet the visitor on entering. Donald Judd Donald Judd comes out as one of the most influential American artists who sought to course of transforming the aspect of the modern art, especially the contemporary sculpture. Judd did become one of the exponents of minimalism through sharing numerous principles with this artistic period. This is highly evident in the use of the industrial materials towards creating abstract works, which emphasise on the purity and influence or position of colour in the contemporary art, forms, materials, and space. Judd did prefer to describe his own work as the simple expression of the complex thought. In the course of expressing the role and influence of colour, Judd’s perception tends to believe that what you is what you see. Colour provides the platform and opportunity for the artists to connect with their target audiences. According to Donald Judd, in the traditional art, the necessities of representation did inhibit the use or utilization of colour in the artistic field. Colour cannot be pure when shadows have to suggest rounding. It is the obligation of the artist or painter to concentrate on the exploitation of pure colour, thus, the platform for the creation of the contemporary experience in art5. Judd did play a critical role in bringing colour back to where is has always been at home, thus, the utilization of the domain of the ready-made colours of nature as evident in the case of green grass, blue sky, and patterns on the flowers and animals. Colour tends to work in the domain of nature and fabricated objects, thus, the creation of the world of design. Colour only comes to belong to the domain of art when it goes the opposite direction as the one Klein sought to utilize in the creation of the artistic experiences. Colour provides the platform for the artists to catch the eye of the target audiences in its pure form. In other instances, it is possible to lighten the object with constant artificial light from all sides, as well as opportunity for lighting itself like in the case of Dan Flavin’s neon tubes. Dan Flavin In this context, it is essential to note that Dan Flavin is one of the most influential American artists who did facilitate the development and growth of the minimal art in the presence of Donald Judd, Carl Andre, Sol LeWitt, and Robert Morris. These artists sought to adopt and implement diverse products and regular trade materials in the course of creating simple serial forms. The aim of the approach was to facilitate the destruction of the illusion of the image in symbolic and expressive content in the artistic field. Dan Flavin focused on the utilization of the commercial fluorescent tubes in the normed dimensions and colours, thus, the platform for the creation of an unmistakeably unique oeuvre with the ability and potentiality to distinguish him from other proponents of the minimal art. According to Flavin, integration of light and colour is essential in the course of bringing art closer to the daily and consumer activities. Flavin’s role and influence sought to build on the utilization of colour as evident in the case of Klein. From this perspective, it is valuable for the contemporary artists to understand the role and influence of colour in the creation of art experience. Conclusion Conclusively, the research essay sought to explore and examine an event at the Barbican in London, “Color after Klein.” According to the findings of this essay, colour continues to play a critical role in the creation of artistic experience. In this essay, it is evident that Yves Klein comes out as the founder or pioneer of the use of colour in art. This did provide the platform for the artists such as Judd, Flavin, and Nauman in the course of transforming the piece of art. These artists did play a critical role in positioning colour in the modern art. Bibliography Alison, Jane, and Nuit Banai. 2005. Colour after Klein: rethinking colour in modern and contemporary art. n.p.: London : Black Dog Publishing, 2005. Batchelor, David. 2000. Chromophobia. n.p.: London : Reaktion, 2000., 2000. UNIVERSITY OF MELBOURNE's Catalogue, EBSCOhost (accessed June 13, 2016). Cohen, Jeffrey Jerome, and Lawrence Buell. 2013. Prismatic ecology : ecotheory beyond green. n.p.: Minneapolis : University of Minnesota Press, [2013] Johnston, Lawrence. Neon. Film. Johnston, Lawrence. Canberra ACT Australia: Wildbear Entertainment, 2016. Mclver Kristin, n.d. “BLINDED: The visible source of invisibility.” http://www.kristinmciver.com/display.asp?entityid=7190 Read More

Bruce Nauman: Neon Lights In this context, it is valuable to engage in highlighting the grey sheen of the kite-shaped pattern of the neon lights (white anger, red danger, yellow peril, Black Death). The pieces of art did work like a glassy marble with the reflective oil as the coating material. In this aspect, it is valuable to demonstrate the fact that all natural materials were essential in the provision of the subtle hints relating to the spectrum. In the case of Nauman’s neon lights, there was an expression of the all mechanical and seemingly transparent until the bubble-gum neon colours burst into light to reveal the seemingly commonplace slogans.

Beyond the materials, the work’s message tends to demonstrate valuable meaning in illustrating the influence of colour in the contemporary art. Nauman sought to demonstrate much more clear social agenda in comparison to the opaque aestheticism as evident in the case of Richter’s piece of art. Nevertheless, the integration of colour was essential in vitalizing both pieces of art. In the case of Richter’s piece of art, the focus was on illustration of how colour disturbs and enlivens the grey surface.

On the other hand, the Nauman’s piece of art focused on the illustration of exploitation of expectations, pleasures, and messages with diverse implications of colour. Yves Klein Yves Klein comes out as the artist, showman, and inventor who sought to invent colour in the modern or contemporary art. Klein was the French artist, showman, and inventor who focused on creating a hue, which did not exist before through illustration of the role and importance, as well as position of colour in the context of the modern or contemporary art.

Klein did play a critical role in the course of altering the course of Western art through his valuable commitment to the spiritual uplifting power of colour with reference to gold, rose, and blue. In fact, Klein’s chromatic devotion was so profound that in 1960, Klein did patent the colour of his own invention, thus, the conceptualization of the international Klein blue. For all his influence on conceptual art, Klein did express his preoccupation with colour. As early as 1956, during his holiday in Nice, Klein did experiment with the polymer binder to facilitate preservation of the luminescence and powdery texture of raw yet unstable ultramarine pigment, thus, the eventual patenting of the formula leading to the generation of the International Klein Blue in 1960.

In the course of exploring the role he did play, it is valuable to engage in remembering Klein’s stunts and attention-grabbing performance, thus, the demonstration of his sensualistic and provocative nature. These elements do account to his fondness of colour, as well as understanding the role and influence or position of colour in the development of the contemporary art. According to Klein, pure colour provides the opportunity for the artists to use art rather than paint the pictures in the development of the artistic features.

From this perspective, colour was one of the most valuable elements in the creation of meaning in the artistic field rather than the means to the development of art. Colour does provide the platform for the creation of the spiritual and alchemical experience, which is beyond time, thus, the journey in pursuit of immaterial4. Out of all the colours Klein sought to use, ultramarine blue comes out as the most important colour, which did play a critical role in determining and improving the image of Klein as one of the most influential contemporary artists.

Unlike many other colours, which engage in the creation of opaque blockages, ultramarine shimmers and glows, thus, the platform to contribute to the opening up to the immaterial realms. Evidently, Klein’s blue monochromes do not come out as paintings, but experiences, thus, utilization of such colours to act as passageways leading to the void. Yves Klein did foster a valuable reputation as the most influential, prominent, and controversial French artist through his consideration to use a single colour.

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