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WORKS /
WORKS.ColorCompensation−3 HistoryShow minor edits - Show changes to markup February 02, 2017, at 11:41 PM
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Using permanent markers, I draw lines in various colors on the surface of the top and side panels of a clear acrylic case set on a pedestal. The standardized neutral transparency case typically designates the containment of an artwork or artifact within a museum setting and conditions our viewing habit of peering into each case. In this particular work, my intervention subverts the purpose of the case as “a thing itself that is not an object to view” but as a plane through which to gaze at something else contained within. Here, what is contained is 201 color cards whose colors are altered when viewed through the random colors applied on the case. Viewing the color cards through my color drawings becomes an exercise of “mixing colors” by perception alone. The case functions like a “color compensation filter.” The light that passes through the case is no longer neutral, since the lines I had drawn transformed the clear case into multi-color gels. It is a manner of alluding to the fact that we cannot view the world with the assumption of pure nature. Human intervention and demarcation is visible everywhere. Whatever we see with our naked eye has to pass through the filter—the chaos or order—of the artifice we have created and constructed. to:
Using permanent markers, I draw lines in various colors on the surface of the top and side panels of a clear acrylic case set on a pedestal. The standardized neutral transparency case typically designates the containment of an artwork or artifact within a museum setting and conditions our viewing habit of peering into each case. In this particular work, my intervention subverts the purpose of the case as “a thing itself that is not an object to view” but as a plane through which to gaze at something else contained within. Here, what is contained is 201 color cards whose colors are altered when viewed through the random colors applied on the case. Viewing the color cards through my color drawings becomes an exercise of “mixing colors” by perception alone. The case functions like a “color compensation filter.” The light that passes through the case is no longer neutral, since the lines I had drawn transformed the clear case into multi-color gels. It is a manner of alluding to the fact that we cannot view the world with the assumption of pure nature. Human intervention and demarcation is visible everywhere. Whatever we see with our naked eye has to pass through the filter—the chaos or order—of the artifice we have created and constructed. \\ February 23, 2011, at 02:03 AM
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Copyright © 2009 TOYOSHIMA Yasuko. All rights reserved.\\ to:
Copyright © 2011 TOYOSHIMA Yasuko. All rights reserved.\\ Changed lines 43-44 from:
I randomly draw various lines with colored permanent markers on a clear acrylic surface. to:
Using permanent markers, I draw lines in various colors on the surface of the top and side panels of a clear acrylic case set on a pedestal. The standardized neutral transparency case typically designates the containment of an artwork or artifact within a museum setting and conditions our viewing habit of peering into each case. In this particular work, my intervention subverts the purpose of the case as “a thing itself that is not an object to view” but as a plane through which to gaze at something else contained within. Here, what is contained is 201 color cards whose colors are altered when viewed through the random colors applied on the case. Viewing the color cards through my color drawings becomes an exercise of “mixing colors” by perception alone. The case functions like a “color compensation filter.” The light that passes through the case is no longer neutral, since the lines I had drawn transformed the clear case into multi-color gels. It is a manner of alluding to the fact that we cannot view the world with the assumption of pure nature. Human intervention and demarcation is visible everywhere. Whatever we see with our naked eye has to pass through the filter—the chaos or order—of the artifice we have created and constructed. Deleted lines 44-60:
My intervention disturbs an empty transparent area that promised 'Nothing is there, just protecting artworks, such as a clear filter. This in itself is not an object for gazing at'. The colors are divided in my drawing. Changed line 62 from:
Copyright © 2009 TOYOSHIMA Yasuko. All rights reserved.\\ to:
Copyright © 2011 TOYOSHIMA Yasuko. All rights reserved.\\ May 01, 2010, at 06:43 PM
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色調補正−3 Color Compensation−3 (2006-) to:
色調補正−3 (2006-) Added lines 15-16:
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Color Compensation−3rd (2006-) to:
Color Compensation−3 (2006-) I randomly draw various lines with colored permanent markers on a clear acrylic surface. Added lines 46-56:
My intervention disturbs an empty transparent area that promised 'Nothing is there, just protecting artworks, such as a clear filter. This in itself is not an object for gazing at'. Changed lines 63-64 from:
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Copyright © 2009 TOYOSHIMA Yasuko. All rights reserved. Changed lines 67-72 from:
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Copyright © 2009 TOYOSHIMA Yasuko. All rights reserved. February 19, 2009, at 06:59 PM
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色調補正−3 Color Compensation−3 (2006-)\\ to:
色調補正−3 Color Compensation−3 (2006-) Changed lines 31-32 from:
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Color Compensation−3rd (2006-) February 17, 2009, at 05:04 PM
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色調補正−3 Color Compensation−3 (2006-)\\ to:
色調補正−3 Color Compensation−3 (2006-)\\ February 16, 2009, at 10:49 PM
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The colors are divided by my drawing. to:
The colors are divided in my drawing. Added line 34:
February 14, 2009, at 12:54 AM
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In the box, the light is not neutral since it is Intervened by my drawing. to:
In the box, the light is not neutral since it is intervened by my drawing. February 14, 2009, at 12:53 AM
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色調補正−3 Color Compensation−3 (2006-)\\ to:
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色調補正−3 Color Compensation−3 (2006-) to:
Color Compensation−3rd (2006-) February 14, 2009, at 12:52 AM
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December 23, 2008, at 09:25 PM
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April 27, 2008, at 07:43 PM
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April 27, 2008, at 06:41 PM
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