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Manhattan Color Walk Map

Manhattan Color Walk Map

Manhattan Color Walk Map

Manhattan Color Walk Map

Manhattan Color Walk Map 

A special color installation by Color Factory in the garden at Cooper Hewitt, Smithsonian Design Museum, free and designed for all to enjoy.

The Color Factory Team traveled more than 50 miles and took more than 1,000 photos in a few weeks to create the piece. The color portrait of the city is a new kind of map, showing, showing the color and variety of stories that make New York City a reality And encourage visitors to think about how colors help define a place and promote our sense of unity. Each street represents a color, and each color has a different city behind it. New York City is a cosmopolitan city full of stories, but because busy lives often forget to pay attention to the interesting people and things around us, it allows us to explore the infinite possibilities of the city through the use of colors and reconnects people with each other.

My practice is through color to redefine the city areas.  Cities come in all colors. The progress of city development makes life more colorful. But in the process of urban development will bring many problems.  Color can play an important role in conveying information, creating specific moods. People use their way to express themselves. Colors subconsciously influence our thinking and reasoning. We always face with color choices, colors that are not always contradictory. They emphasize each other that reflect the best of each other cannot deny the connection between emotion and intensity: In fact, humans have recorded the psychological effects of color since the Middle Ages. People give each colour a specific meaning, but it doesn’t mean people need to express their feelings, their emotion through the same color. By asking people questions to express their feelings and emotions to create a dialogue which responses to the social issues, people can express themselves through color, and to help people think about what urban public space means to them. Therefore, let everyone explore this infinite city and add colors into the city life to and reconnect the interaction between people and urban areas.  

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Mademoiselle Maurice

She is a visual artist and is known for her paper origami work, rainbow color and monumental installations. Her work explores topics such as human nature, the relationship with the environment, and ecology. She used different models to create her work: birds, components, flowers, boats, wind origami, and painting. In origami works, she reflects on social issues. She sends a message of peace through this kind of street art. Her work is often displayed on random facades, creating a dialogue with passerby.  

Indonesia – Blue Village ，2019

Indonesia – Blue Village ，2019

  The whole village was painted blue, with paper-folded pigeons, flying together with the wind, to the central growth of flowers in the hexagon. Blue represents the sky, the color of the dove on behalf of the people yearning for peace, keep moving towards the same goal. Her work rejects the concrete gloom and the apathy of the people. She works with peace-loving locals and prefers to let people be a part of her work rather than let others see it.

Origami and street art, 2012, Paris

  Origami and street art, 2012, Paris

  Origami and street art, 2012, Paris

  She had previously lived in Japan and had taken part in various art projects, but was in a hurry to leave because of the Fukushima nuclear accident. But she decided to express her anger at Fukushima nuclear accident and her concern for people in her way. In 2012, she installed the first origami installation on the streets of Paris, writing NO and expressing the hope for nuclear peace.

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Katharina Grosse

Prototypes of Imagination

Prototypes of Imagination

Prototypes of Imagination

Prototypes of Imagination 

 She is widely known for her spectacular in situ paintings, in which explosive colors are presented directly in architecture, interior design and landscape, in the "prototypes of imagination, " Gross reveals how painting catalyzes the unfolding of multiple dimensions on a single surface. At the exhibition center, one of its installations is a sea scale painting on a piece of loose fabric. In this abstract illusion, the watercolor layer is full of vibrant, pulsating colors. She uses templates, folds and other tools to create new patterns. Using templates to filter or block out negative space completely, she creates opaque fields that are interrupted by solid geometry and Stencil transparency. The results sometimes recall photographs in which individual objects were placed on photosensitive paper to produce an image using only light. Here, paint replaced light because Gross saturated the exposed fabric with a glowing spectral haze. Each piece bears close traces of its own creation, such as paint smudges where templates have been removed, or drops of water suddenly cut off in their resistance to gravity. Beyond the limits of pictorial logic, Gross’ paintings are visual paradigms; just as forms seem to be realized, their edges bubble up, drawing the viewer into their kaleidoscope of fields.

The Horse Trotted Another Couple of Metres, Then it Stopped 2018, Carriageworks, Sydney

The Horse Trotted Another Couple of Metres, Then it Stopped 2018, Carriageworks, Sydney

 The 8,000 square metres of canvas and spray paint are installed in Sydney's Carriageworks main public lobby. Before the canvas is finally painted, it glows perfectly white. As if it were a picture. In fact, it's a very literal painting, because it's made of canvas and paint However, in this case, there is no stretcher that can be stretched into a quadrilateral alignment, and there is no fully frontal window view at work, at a glance. Therefore, there is a dramatic element of time in the work, which gives it a sense of vitality, not only as a painting image, but also opening up new relationships with the world of space, architecture, fashion, drama, and urban life. In this way, the artwork reacts to Sydney's steam age transport revolutions in this way. Color variability is also part of the appeal to Grosse -- and she notes that her device compares day to natural light, and night to night, when spotlights are deployed for dramatic effect.

 Built space and painted space stand for spatial concepts that normally exclude one another. But in Gross’ work, through color, they occur at the same time. 

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Hard-edge painting

Hard-edge painting is a painting in which abrupt transitions are found between color areas. Color areas are often of one unvarying color.

Hard-edge painting is the development of gamut painting and is also an abstract painting that combines the shapes of color blocks. The picture patches have precise edge definitions and are therefore called. Hard-edged painting abandons the brushstrokes, light and darkness, color tone and other painting factors in its abstract works. It only uses clear arrangement of color blocks to convey emotions.

Compared with abstract expressionism, Hard-edge painting abandons the contrast between color and darkness and the effect of stereoscopic space,. Instead, it uses a large color plane that emphasizes color contrast and flatness, with clear edges and contours. Hard-edged abstraction is also different from geometric abstraction. It uses less geometric shapes and pure colors. The whole picture is a unit, and the shape seems to extend beyond the picture.

Karl Benjamin

Orange, Red, Umber, 1958, 52 x 36 inches

The painting style is very neat and defined, with distinct areas of colour with particular sharpness. The geometric aspect to the piece is done with clean cut lines creating geometric figures.

Benjamin explored a lot of color relations. He developed a rich color vocabulary and hard-edged shapes. The elongated forms in his paintings interlock in a continuous composition that seems to have no beginning or end. Orange, red and umber are linked, overlapping. Each time one of these zigzag colors appears to overlap with an adjacent zigzag, it folds back into place. These paintings have vivid color geometric shapes that are positioned around the entire canvas.

Ellsworth Kelly

Study for Meschers , 1951,  49.5 x 49.5 cm

Simple and cool. But not really that simple. The green and blue are under a balance.  He trials curved, layered and irregularly angled the blue and green shapes; he wanted the canvases to be on par with its surface, not just a silent carrier.

Spectrum Colors Arranged by Chance I

Spectrum Colors Arranged by Chance II

Spectrum Colors Arranged by Chance IV

A series of eight collages consisting of hundreds of square colors placed randomly on a white or black background The "spectral color by chance" is the product of a mathematical system: Each 18th of a sheet of numbered paper lays a different hue on a 40-inch-40-inch grid. For each of the eight collages, Kighley used a different process, using only one color at a time and never knowing the result.

Green/White, 1968, 69.9 × 112.7 cm

His work shows a modest technique that emphasizes lines, bright colors and forms. At first glance, the painting appears to be a whole triangle. The painting consists of two distinct, monochrome canvases, which are mounted on top of each other: a large, inverted green trapezoid, placed vertically above a smaller white triangle, on a canvas. The canvas itself becomes the composition, forming a new geometric composition.

‘ I never thought of colour charts at all when I was working on them. They were really an experiment. I wanted to show how any colour goes with any other colour. Above all, I wanted to learn about colour relationships. Many of the works of this period start from chance encounters, such as shadows on a staircase, the reflections of the sun on the River Seine and the exposed sides of buildings that showed the abstract black patterns where the chimneys had been. After the experiments with arranging colours by chance came my first works using the actual colour spectrum as a source’.  -- Ellsworth Kelly (Spectrum I, 1953).

Frank Stella

Harran II, 1967

Close up of Harran 11, 1967

Damascus Gate (stretch version), 1970

He explores color geometrically, using a wider range of colors, which are applied to lines or curves. In these paintings, the arcs within the boundaries of a square sometimes overlap, sometimes side by side, filling the colors with concentric circles cut by straight lines. The paintings are named after the ring cities of the Middle East he visited in the early 1960s. The irregular polygon canvas and protractor series further extend the concept of shape canvas. Stella uses bright colors to explore the optical effects of tones as they approach. When colors are adjacent to each other, different bands and color blocks seem to bend or contract. The colored circles seem to roll around the static box.

Gobba，zoppa e collotorto, 1985

K.144, 2013

As Stella began to blur the distinction between painting and sculpture, color was still important. As his work became more and more three-dimensional, Stella used color to add depth. The artist's use of colour challenges our conception of how colour is represented on canvas and in sculptural forms, drawing the connections between painting, architecture and movement.

The sculptural form comes from different colored cones, columns, French curves, waves and decorative architectural elements.

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David Batchelor

Parapillar 7 (Multicolour)， 2006 ，Steel support with plastic, metal, rubber, painted wood and feather objects， 267 x 78 x 78 cm

Batchelor is interested in reconsidering colour theories from a contemporary context, His dazzlingly saturated objects reconsider the tension between form and the very materiality of color.

He completed the work with different color brushes, fly swatters, and metal. In this way, he makes people feel the shape and color of the objects and makes the observers see that they are a little different. As he said, he hopes the illumination suspends their objecthood to some degree and makes the viewer see them a little differently – see them as colors before seeing them as objects.

I think it was a great inspiration for my work. Because I’m interested in color, but how does color exist in our everyday life? How To make a public resonance is a question I have been thinking. Batchelor’s work often uses color to attack form, to break it down a little or begin to dissolve it. Through these methods to prevent colors from being completely detached from their everyday life. He uses daily objects to build his installations. He piles them up, sorts them out, stacks them, assembles them, and gives them a new life. In this way to express people’s familiarity with the surplus materials hidden in modern life, and it resonates with people in this way.

Brick Lane Remix I, 2003, Shelving Units, found light boxes, fluorescent light, vinyl, acrylic sheet, cable, plugboards, 204 x 435 x 38 cm.

Colour Chart 38, 2011, 165 x 120 cm

Flatlands, 2013, installation shot, Spike Island, Bristol

Flatlands,2013, installation shot, Spike Island, Bristol

The vast majority of Batchelor’s drawings and paintings are much simpler than the diagrammatic drawings, and take the form of shape under with a thick black line has been drawn. When I saw Colour Chart 38, the blob painting, I think it is interesting: the shape of pure orange color rests on a thick black line which is under a strange balance. The orange blob is like a poured liquid with a soft boundary which is moving on a black table. Batchelor’s work is to make art in two dimensions: triangles, squares, pentagons, hexagons, and other figures, instead of remaining fixed in their places, using this form, they look like they are moving freely on the black line. In Flatland, under the two- dimensional art, these colors do not worry about how best to represent the real world – they just represent themselves. He said he wants to ‘imagine an abstract form that could never exist, a sculpture of more or less unsupported color.’

October No. 1, Spring 1976, 2012-2013, Felt pen on paper, 230 x 180 mm or 230 x 360 mm.

October, Front Cover

October, pp.18-19: Ceci n'est pas une pipe

October,  pp.36-37: Western Primitives

In his book Chromophobia(2000), he identifies color as an anarchic, disruptive force, a language of the formless that operates at the limit of language. The color could create a world without language. It is equally hard to contemplate

In Batchelor’ work October, an art theory’s foremost journal. He starts with using color to disrupt the language of the journey. Then he uses black to disrupt the language, you can’t see the words through the black, but he uses the shapes of translucent color sharing the space of the words, pressing down on the top of the words. The colors and words are independent, but each drawing relating both in this series and elsewhere. 

The cover, colorful shapes with a mountain of the black rising triangle.  All colors radiate from the central O of October. It is like a volume, but to be content to stay on the page.   

With the soft-edged circles and two black triangles, it seems like the color circles are tumbling happily down pages and interrupting by the black triangles. These pages partake more absolutely of Batchelor’s two-dimensional formal art painting. 

Some of the pages, which with triangles of color balance like the shards of puzzles. The supports are formed by the texts, so they have a balance between the color and the words. The drawings are language. The languages are drawings.

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David Batchelor

“If I use colors to begin to dissolve forms, I also use forms to prevent colors from becoming entirely detached from their everyday existence” ——David Batchelor

David Batchelor's work is concerned above all things with color, he is interested in drawing, painting, abstraction and the monochrome. His work focus on  Contemporary Art, so he always considers how the audience sees and respond to color in this advanced technological age, so he uses conventional materials such as pencil, ink, commercial lightboxes, neon tubing, warehouse dollies, acrylics, plastics and so, on to produce extraordinary installations, drawings and painting.

Reef  2016 Cast acrylic, concrete 130 x 90cm

This work is interesting because Batchelor uses irregular sections of transparent, opaque or mirrored Perspex offcuts and set them vertically in simple grey concrete bases.  Various basic forms – circles, squares, triangles which are leaving irregular, perforated planes of flat color，the shapes are open in the sense of being visually porous as well as often transparent or reflective.  But these irregular shapes make colors spill easily from one object to another in an irregular way and extended about various individual works. People can form color by themselves in different shapes. But all the colors are under the color theory because all the colors are under control and float in the constant state.

Glowstick, 2016, Stainless Steel, LED Lights, DMX Controller

 David Bachelor has explored the vivid colors of the modern city for a long time. The color is around the edges of a dark silhouetted form. The dark form is a regular frame, but  supporting structure is made in an irregular group. Each frame is programmed to emit a single color light, and each work combines ten different colors that interact and blend to produce a multicolor spectrum of subtly merging colors. 

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James Turrell

Twilight Epiphany, 2012

Twilight Epiphany, 2012

Twilight Epiphany, 2012

The colorful LED lights change the white ceiling of the Skyspace, conflating the rich tones of cast light with the naturally-occurring to change the colors of the sky.

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James Turrell

The light inside,1999

The light inside,1999

‘The light inside’ relating to artificial blue light create a space with white lines of light and walls of blue that make the mind wander off the real world. You don’ know where you will go after crossing the white line door. Blue is a mysterious, unknown color because of the sky, ocean, the universe they are all blue, no matter it is dark blue or light blue. So this work is ideal for museums. 

Key Lime, 1994

Key Lime, 1994

“Key Lime”  is also an entire room, but the difference here is that the room is all in black rather than white(compare with ‘Raemar Pink White’). The audience need to find it, they have to make their way down a dark hallway, feeling the way in complete blindness, searching for the key. James uses color as the guideline when the audience is finding their key. Maybe the light is a little bright in the darkroom but it looks like the star lights up the darkness.

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James Turrell

Raemar Pink White,1969

Raemar Pink White,1969

Raemar Pink White,1969

Raemar Pink White,1969

“Raemar Pink White” is a room painted entirely white. Directly in front of you is a rectangle, its sharply pointed corners in marked contrast to the lack of hard edges anywhere else. While you stand in front of the room, the rectangle appears white light, an iridescent pink leaking around the edges, sending a softly fading rose color across the surrounding white walls. It makes your heart feel peace, because of the iridescent pink. Maybe make you want to sleep. Sometimes I don’t use too much pink in my work. It is difficult to make a balance between pink and other colors. For me, I will focus more on the pink one.

Raethro II, 1969

Raethro II, 1969

Raethro II(blue), 1969

‘Raethro II’ is another work from 1969, feels more compelling, contemporary, and mystifying. a hole filled with blue light has been carved into a corner of the room. We don’t know if the light comes from the outside or from the inside of the hole. 

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Olafur Eliasson

Colour reflection amplifier, 2018

Colour reflection amplifier, 2018

Colour reflection amplifier, 2018

The color reflection amplifier identifies the color of the surface. The artwork  Eliasson did let people stand a different angle to feel a different color form.  Although it makes me feel uncomfortable because when I look at it, I feel like playing a roller coaster.  I am being sucked into a vortex of color.

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Jerry Zeniuk

Color is essential in the painting of Jerry Zeniuk. Since then his paintings developed from a monochrome plane, in which several colored layers have been put on top of each other, using contrasting color planes next to each other. Recently, his painting uses different color circles or dots to use color to create a specific pictorial space.

Untitled No. 319, 2012, oil on linen, 160 x 160 cm

Untitled No. 320, 2012, oil on linen, 160 x 160 cm

Untitled No. 320, 2012, oil on linen, 160 x 160 cm

The work ‘ Untitled No. 319’, ‘Untitled No. 320’ and ‘ Untitled No. 321’, The colored dots draw on the whitish colored or raw canvas. My first impression about these three works is the artist uses contrasting color in his work and put them into a visual harmonious equilibrium.

Untitled No. 295, 2007, oil on linen, 60 x 60 cm

Untitled No. 296, 2007, oil on linen, 60 x 60 cm

In the work, ‘ Untitled No. 295 & 296’, he used multiple colors together. I think when the public see this work, it is comfortable. Because the balance between combined colors is harmonious which is I really want to achieve in my work which is matching multiple colors into strong harmonious spatial effect and visual impact.

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Color in Art

Wassily Kandinsky was one of the first artists who was able to express how different colors affected emotions. Kandinsky believes that artistic experience is related to feelings, and different colors can affect emotions. Yellow may disturb, and blue may make the audience feel good. Kandinsky's view of color is similar to that of John Wolfgang von Goethe, in which different colors can convey certain emotions. Warm colors, like red, yellow and orange are usually considered vivid colors and can sometimes be harsh. The cool colors, like green, blue and purple are considered more calm and soft. He also discussed neutral colors, black, gray and white. White is silent and quiet, black is completely impossible. Gray can go in any way.

I think the color on the artworks evokes a double effect: the purely physical effect on the eye, the audience attracted by the beauty of the color. The other effect is deeper, causing the vibration or a sense of inner resonance of the soul because color can influence our emotion. 

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This land is no man’s land，  Mary Lou Dauray

The power of color is inescapable. Color can affect people’s moods, behavior, and thoughts. As Wassily Kandinsky proclaimed, “Color provokes a psychic vibration. Color hides a power still unknown but real, which acts on every part of the human body.” I agree with that because color influences our emotion. For example, red can increases heart and creates a sense of emergency. When people see some red things, they will feel energetic. Green is representative a sense of calmness. For our eyes, it is the easiest color to process. So when people are in the park or in the mountain, they feel relaxed. In Dauray’ s work, ‘This land is no man’s land’, she used red and green as the main color, mix them under harmony, people’s eyes are easy to process the painting, and the audience will feel energetic and calmness at the same time. She used the impact of complementary color. Different color has different meanings, but if we can use it under the principles, we will get positive colors.

 In M.E. Chevreul’s book, The principles of harmony and contrast of colors and their applications to the arts, he also reports the viewpoint that when opposite colors are placed together, this causes a vibration to the audience.

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Sea of Hull, Spencer Tunick2017

This is a performance art in the city center, with nearly 3,200 “blue volunteers” walking through the city of Hull. People stood on the bridge, in the park, on the street. The simulative wave is expressed by different shades of blue. Residents and tourists in the city are enthusiastic to participate in this activity, everyone is very happy. Through this activity, the artist hopes to blend the marine industry and the urban background of the city. These blue metaphors of sea level, he hopes that through this activity can make people aware of the threat that sea level rise poses to the city. I think the public participation of this event is relatively high, and everyone can let go of their shame, and applying blue paint on their bodies and walk on the street is also a challenge for themselves.

Plop Egg， Milo Moire 2014

The Swiss female artist Milo Moyle stood on the stairs and used the private parts to discharge the eggs which are with different color pigments. The dropped eggs were filled with brightly colored and dropped on the canvas paper placed on the ground. This performance art performance pushes Jackson Pollock's expressionist painting approach to a new level of the physical body. Through this performance art, the liberation of women's thoughts is expressed and the creativity of female artists is revealed. Finally, this work presents the same fire color, red, orange, and yellow. I think this is also the important position of contemporary women in the society that the artist wants to express and the power of women.

The power of colors cannot be denied, more so, as it is the sole instance of life on earth. Although sight and the human brain has helped in identifying colors and their delights, it's interesting to note what colors mean to us in totality. Each color has its own meanings.  Artists use color to transport their emotion and communication with the audience.  Picasso said, “Colors, like features, follow the changes of the emotions.” So most of the artwork, for example, performance art, public art, etc. They have their own color which artists want to attract people attention and can influence people. 

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Piet Cornelies Mondrian 

It is advocated to form the "beauty of form" with geometric shapes. The works are composed of vertical and horizontal lines, various squares of rectangles and squares, against the use of curves, completely abandoning the objective image and life content of art. He used red, blue, yellow to fil the work.

Mondrian was influenced by Ostwald who conducted a study of color science and proposed the Ostwald color system. In this system, he believes that all colors can be obtained by rotating the mixture of "black" (B), "white" (W) and "solid color" (F) according to a certain area ratio, and W+B+F=100 (%). So in order to describe a specific color, as long as the specific values of the three variables are given, this makes the color allocation not have to rely entirely on vision but has a scientifically similar quantitative method. Then he placed the solid, black, and white at the vertices of the regular triangle in a similar way to the three-phase phase diagram, forming an "equal hue triangle." This makes the entire system orderly and extremely convenient when matching colors. 

Under this theory, matching well and creating serene and comfortable designs.

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Campbell’s Soup Cans，Andy Warhol1962

Andy Warhol's soup cans are almost identical, the names on the soup cans are different, and the 32 soup cans are very organized. I think this can show that Andy Warhol is a very organized person. I think his work is a good expression of the background of the times. All products are mass produced in the factory, representing a consumer culture in the United States at the time. As Bonda’s words about Pop Art may be even more accurate, he regards it as a "mirror of American reality." 

I think that works of art need to be based on the background of the times. Whether the social environment is good or bad, artists can express their thoughts and emotions through their works.

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Yayoi Kusama

She is a Japanese contemporary artist. Her work is based on conceptual art. She wants to use her work to show her ideas about feminism, surrealism. I really like she prints with brightly colored polka dots. Sometimes people can only notice things with bright color. When they see it they will think what is it? They will come and want to get more information about these colored polka dots. Because I think people always hope they can become more energetic in the modern world. I want people to feel energetic and hope when they see my work. Some people think her work is boring. But her artworks about colored polka dots, flowers. I think it is a kind of born again. People only live a once time, but they never disappear, like the circle which is always circulatory.