Textile Tuesday
Auch wenn es sich wie Wochenende anfühlt, da wir einen Feiertag im Land haben, es ist Dienstag und somit gibt es ein neues Thema bei Textile Tuesday:
Black / Schwarz
Even if it feels like week-end, because we have a holiday-day, it is Tuesday and therefore there is a new subject with Textile Tuesday:
Black / Schwarz
Je nach Betrachtungsweise kann man darüber streiten, ob Schwarz wirklich eine Farbe ist. Physikalisch gesehen entsteht Schwarz bei der Abwesenheit von Licht jeglicher Wellenlänge. Da Farbe lediglich eine Sinnesempfindung des Gehirns und die Wellenlänge eine physikalische Eigenschaft ist, ist es angebracht, von Schwarz als Farbe zu reden. Kulturell steht Schwarz in der westlichen Welt für Trauer, für das Böse, für Bedrohung, aber auch für Individualität und Eigenständigkeit. Als politische und gesellschaftliche Symbolfarbe steht Schwarz in Anlehnung an die ehemaligen Priestergewänder für den Katholizismus, aber auch für Anarchismus. Sie dient oft als Zeichen für Coolness (vgl. das Styling im Film "Matrix"). In China war die Farbe Schwarz Symbol für Dunkelheit, Ehre, Tod, Winter und Norden (vgl. Fünf-Elemente-Lehre). Im Maoismus repräsentierte sie die Konterrevolution (im Gegensatz zu Rot).
Ende der 1940er Jahre begannen amerikanische Künstler wie Robert Rauschenberg, Mark Rothko oder Frank Stella, sich intensiv mit der Farbe Schwarz zu beschäftigen. Die schwarzen Gemälde entstanden vor dem Hintergrund einer Aufbruchstimmung im New York der Nachkriegszeit, die neben der Kunst auch Musik, Theater und Literatur erfasste und zu einem neuen Selbstverständnis und einer grundsätzlichen Neupositionierung der amerikanischen Kunst führte. Maler wie Robert Motherwell, Willem de Kooning und Jackson Pollock begründeten zusammen mit Barnett Newman, Mark Rothko und anderen die erste Generation der New York School, die sich von den Einflüssen der europäischen Tradition lossagte und die Kunst des 20. Jahrhunderts fortan maßgeblich prägen sollte. New York wurde - neben Paris - zum Zentrum der künstlerischen Avantgarde.According to approach one can argue about whether Black really a colour is. Physically seen originates Black with the absence of light of any wavelength. Because colour is merely one sensory sensation of the brain and the wavelength a physical property, it is right to talk from Black as a colour. Culturally stands Black in the western world for grief, for the Bad, for menace, but also for individuality and independence. As a political and social symbolic colour stands Black in support of the former priest's garments for Catholicism, but also for anarchism. She often serves as a token for Coolness (cf. the styling in the film "Matrix"). In China the colour was Black a symbol for darkness, honour, death, winter and the north (cf. five-element apprenticeship). In the Maoism she represented the counter-revolution (in contrast to Red). n the end of the 1940s American artists started to deal like Robert Rauschenberg, Mark Rothko or Frank Stella, intensely with the colour Black. The black paintings originated before the background of an atmosphere of departure in New York of the post-war period which also grasped music, theatre and literature beside the art and led to a new self-image and a basic new positioning of the American art. Painters like Robert Motherwell, Willem de Kooning and Jackson Pollock founded together with Cash-nicely Newman, Mark Rothko and other the first generation New York School which renounced from the influence of the European tradition and should decisively stamp the art of the 20-th century from now on. New York became - beside Paris - the centre of the artistic avant-garde.
Pierre Soulages
Morro Castle is one of the first of what Cooper calls “the daunting and reductive” black paintings, the first series of paintings that Stella did, from late 1958 into 1960. Luke quotes Swiss artist Franz Fedier: “Morro Castle seems to me to be a key painting in Stella’s work, because it contains everything that becomes important in the following paintings of the black series. It also combines what was separated in two pictures from the transitional period, Coney Island and Grape Island (both from 1958): the striped ground and the thing in the middle. The thing in the middle is a dark rectangle—the actual and unmediated message that the paintings contain.” Cooper points out that Stella, radically, thought of the spaces of unpainted canvas between the black stripes “as not being part of the painting.” In 1984 Stella said, “Ideally, a good way of looking at the stripes would be that they become so real, so real that they’d be able to separate themselves from the canvas, and just be.” In a 1966 film about him, Cooper notes, Stella complains “that viewers had focused so much on the thin lines of bare canvas that they ‘didn’t see the part I had actually painted at all.’”
Ende der 1940er Jahre begannen amerikanische Künstler wie Robert Rauschenberg, Mark Rothko oder Frank Stella, sich intensiv mit der Farbe Schwarz zu beschäftigen. Die schwarzen Gemälde entstanden vor dem Hintergrund einer Aufbruchstimmung im New York der Nachkriegszeit, die neben der Kunst auch Musik, Theater und Literatur erfasste und zu einem neuen Selbstverständnis und einer grundsätzlichen Neupositionierung der amerikanischen Kunst führte. Maler wie Robert Motherwell, Willem de Kooning und Jackson Pollock begründeten zusammen mit Barnett Newman, Mark Rothko und anderen die erste Generation der New York School, die sich von den Einflüssen der europäischen Tradition lossagte und die Kunst des 20. Jahrhunderts fortan maßgeblich prägen sollte. New York wurde - neben Paris - zum Zentrum der künstlerischen Avantgarde.According to approach one can argue about whether Black really a colour is. Physically seen originates Black with the absence of light of any wavelength. Because colour is merely one sensory sensation of the brain and the wavelength a physical property, it is right to talk from Black as a colour. Culturally stands Black in the western world for grief, for the Bad, for menace, but also for individuality and independence. As a political and social symbolic colour stands Black in support of the former priest's garments for Catholicism, but also for anarchism. She often serves as a token for Coolness (cf. the styling in the film "Matrix"). In China the colour was Black a symbol for darkness, honour, death, winter and the north (cf. five-element apprenticeship). In the Maoism she represented the counter-revolution (in contrast to Red). n the end of the 1940s American artists started to deal like Robert Rauschenberg, Mark Rothko or Frank Stella, intensely with the colour Black. The black paintings originated before the background of an atmosphere of departure in New York of the post-war period which also grasped music, theatre and literature beside the art and led to a new self-image and a basic new positioning of the American art. Painters like Robert Motherwell, Willem de Kooning and Jackson Pollock founded together with Cash-nicely Newman, Mark Rothko and other the first generation New York School which renounced from the influence of the European tradition and should decisively stamp the art of the 20-th century from now on. New York became - beside Paris - the centre of the artistic avant-garde.
Pierre Soulages
Morro Castle is one of the first of what Cooper calls “the daunting and reductive” black paintings, the first series of paintings that Stella did, from late 1958 into 1960. Luke quotes Swiss artist Franz Fedier: “Morro Castle seems to me to be a key painting in Stella’s work, because it contains everything that becomes important in the following paintings of the black series. It also combines what was separated in two pictures from the transitional period, Coney Island and Grape Island (both from 1958): the striped ground and the thing in the middle. The thing in the middle is a dark rectangle—the actual and unmediated message that the paintings contain.” Cooper points out that Stella, radically, thought of the spaces of unpainted canvas between the black stripes “as not being part of the painting.” In 1984 Stella said, “Ideally, a good way of looking at the stripes would be that they become so real, so real that they’d be able to separate themselves from the canvas, and just be.” In a 1966 film about him, Cooper notes, Stella complains “that viewers had focused so much on the thin lines of bare canvas that they ‘didn’t see the part I had actually painted at all.’”
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