The reading and experience of color is so important to art. For this issue of The Art Section, I have asked three of our writers to write about color. I am gratified by the perspectives they present here.

 

Fritz Holtzman, who speaks and educates about color as part of his job at the Albers Foundation, is an artist who explores color in his art. Here, he writes about the work he made on an expeditionary residency program at the Arctic Circle. I am delighted that Holtzman has shared with TAS his work and writing for this issue.

 

Erin Lawlor, an artist with whom I shared a studio last September at the Mark Rothko Centre in Daugavpils, Latvia has written about the white paintings of Bram Bogart, a Belgian artist known for his intensely colored works. This exhibition at Saatchi in London, Witte De Witte, featuring work the artist made between 1952 and 2006 with a restricted palette, reflects Bogart's interest in the monochrome. De Witte was a Dutch painter of the seventeenth century known for his paintings of the large white interiors of Dutch churches. Through this essay on Bogart's monochromes or near monochromes, Lawler reflects on color. I enjoyed the continuum of Bogart on De Witte to Lawlor on Bogart.

 

Marjorie Och is an art historian who has written about the meaning of color and how paintings were viewed in the Renaissance. I appreciate this way of reading paintings, and Och's reaffirmation of the historical and visual connections between color and meaning.

 

Additionally, TAS is presenting a view of documenta 14 from Tanya Augsburg, an interdisciplinary feminist performance scholar, critic, and curator. She brings a fresh perspective to this exhibition in "Unlearning in Kassel." I appreciate her reportage and analysis of this exhibition. Augsburg gives us some of the context that is missing from the curation. For those of us who cannot attend this is much appreciated.

 

With appreciation to all The Art Section writers and readers,

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My best,

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Deanna

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