ARTBOOK BLOG

RECENT POSTS

DATE 4/25/2024

The Strand presents Joshua Charow launching 'Loft Law'

DATE 4/21/2024

Time & Space Limited presents "Memory as Various: Bernadette Mayer's 'Memory'"

DATE 4/13/2024

Unnameable Books presents "Reading from Bernadette Mayer's 'Memory'"

DATE 3/31/2024

Behold the photographic work of Jay DeFeo, born OTD in 1929

DATE 3/30/2024

Seminary Co-op presents the Chicago launch of Danny Lyon's 'This Is My Life I'm Talking About'

DATE 3/23/2024

On view now! 'Surrealism and Us'

DATE 3/20/2024

Sublime punk protest in 'Velvet Terrorism: Pussy Riot's Russia'

DATE 3/15/2024

A gorgeous and compelling new exploration of bodega culture from rising star, Tschabalala Self

DATE 3/15/2024

Vintage girl power in ‘Las Mexicanas’

DATE 3/14/2024

Celebrate Pi Day with 'Einstein: The Man and His Mind'

DATE 3/12/2024

Kindred Stores presents Anita N. Bateman on 'Where is Africa'

DATE 3/12/2024

Hot book alert! ‘God Made My Face’ is NEW from Dancing Foxes Press and Brooklyn Museum

DATE 3/11/2024

Artbook @ MoMA PS1 presents the launch of 'Richard Nonas'


IMAGE GALLERY

Featured image, "5912" (2008), is reproduced from
CORY REYNOLDS | DATE 2/26/2013

Color, Liberated: James Welling

Featured image, "Farnsworth Steps" (2006), is reproduced from Aperture's new release, James Welling: Monograph. In the published conversation with Eva Respini, Welling delivers a beautiful explanation of his changing relationship to color: "A few years ago I started teaching a color seminar. I had become interested in how we see color—the phenomenon of color as a lived experience. My 2005 Hexachromes were a direct result of wanting to show how the three color receptors in our eyes work. I did this by photographing a stationary plant, and—as shadows moved across it—I made multiple exposures on the same piece of film, using red, green, blue, cyan, magenta, and yellow filters. When the shadows did not coincide, the additive and subtractive colors were made visible, creating a rainbow effect. I went to the Glass House thinking I would do the same, but there was no wind to produce moving shadows. So, I began to put overlapping filters in front of the lens. As I worked on the Glass House, the color became more vibrant. Interestingly, I kept seeing the bright colors of the photographs in my daily experience. I would print an unnatural orange or a purple, and I would go outside and see the same colors in a shadow or in a flash in the sky, or on a car. As I became sensitized to unnatural colors, I realized that they were not unnatural—I just hadn't noticed them. Becoming attuned to color has led me to think that we actually see more color than we normally perceive. I guess in some way I'm trying to liberate color."

James Welling: Monograph

James Welling: Monograph

Aperture
Hbk, 9.5 x 11 in. / 256 pgs / illustrated throughout.





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DATE 8/13/2023

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