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Artists have long been captivated by the color blue. Sam Francis called blue the “color of speculation, as it is full of shadow,” while Louise Bourgeois ruminated that the color blue “means you have left the drabness of day-to-day reality to be transported into … a world of freedom where you can say what you like and what you don’t like.” Pop-psychology (and interior design) like to single out blue for its “calming” effect and its ability to activate our parasympathetic nervous system: there is no danger present with the color blue.
This exhibition, curated by James Evans, brings together an array of artists who use blue in their paintings to very different ends. In works like Ludwig Sander’s Sky I (1960) and Theodoros Stamos’s Infinity Lake (1980), blue is so thoroughly massaged into the paintings’ picture plane and structure that it becomes much more than just a compositional element. On the other hand, works such as Irene Monat Stern’s Untitled...More
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Press Release
Artists have long been captivated by the color blue. Sam Francis called blue the “color of speculation, as it is full of shadow,” while Louise Bourgeois ruminated that the color blue “means you have left the drabness of day-to-day reality to be transported into … a world of freedom where you can say what you like and what you don’t like.” Pop-psychology (and interior design) like to single out blue for its “calming” effect and its ability to activate our parasympathetic nervous system: there is no danger present with the color blue.
This exhibition, curated by James Evans, brings together an array of artists who use blue in their paintings to very different ends. In works like Ludwig Sander’s Sky I (1960) and Theodoros Stamos’s Infinity Lake (1980), blue is so thoroughly massaged into the paintings’ picture plane and structure that it becomes much more than just a compositional element. On the other hand, works such as Irene Monat Stern’s Untitled...More