DonaldJuddSomeAspectsofColorinGeneralandRedandBlackinParticular(1994) Material,space,andcolorarethemainaspectsofvisualart.Everyoneknowsthatthereismaterialthatcan bepickedupandsold,butnooneseesspaceandcolor.Twoofthemainaspectsofartareinvisiblethe basicnatureofartisinvisible.Theintegrityofvisualartisnotseen.Theunseennatureandintegrityofart, thedevelopmentofitsaspects,theirreducibilityofthought,canbereplacedbyfalsifications,andby verbiageaboutthematerial,itselfinrealityunseen.Thediscussionofscienceisscientificthediscussionof artissuperstitious.Thereisnohistory.

Therehasbeensomediscussionofspace,usuallyofproportion,bypastarchitects,andsomebyhistorians ofarchitecture.Thereissomebyrecentarchitects:practicalbyAlexander,practicalandactualbyKahn,a littlebyvanDoesburg,byMiesvanderRohe,byLeCorbusier,andbyWright.ThereissomeinJapanese andKoreanliterature,mixedwithanastrologyofplace,calledPungsuinKoreanandFengshuiinChinese, bothmeaningwindandwater,classedvaguelyinEnglishasgeomancy.Butthesubjectofspacein architecture,thenatureofarchitecture,isnotdeveloped.Judgingfromtheevidenceofthebuildingsby recentwellknownarchitects,spaceinarchitectureisnolongerknown.Itsnotunseenitsnotthere.Within theclothesthereisnoEmperor. Therehasbeenalmostnodiscussionofspaceinart,norinthepresent.Themostimportantanddeveloped aspectofpresentartisunknown.Thisconcern,mymainconcern,hasnohistory.Thereisnocontextthere arenotermstherearenotanytheories.Thereisonlythevisibleworkinvisible.Spaceismadebyanartist orarchitectitisnotfoundandpackaged.Itismadebythought.Thereforemostbuildingshavenospace. Mostpeoplearenotawareofthisabsence.Theyarenotbotheredbyaconfusionandanothingnessthatis enclosed.Ofcoursetheydontmissrealspaceanddontdesireit.Sometimeswhentheyaretravelingthey enteracathedral,recognizespace,andthankGodinsteadofthearchitect.Somepeoplerecognizeand wantwhattheyneverknewexisted.Afewpeoplehavesaidtome,andonewritten,thatmyworktogether madespaceofaroom,madearchitecture,andeventhatitmadeaspiritualspace.Spaceissounknown thattheonlycomparisonistothebeliefsofthepast. Afterafewthousandyearsspaceissounknownthatadiscussionofitwouldhavetobeginwitharock. Howlargeisit?Isitonalevelsurface?Doesitrestonthesurfaceordoesitperch?Ifitisntonalevel surface,thetiltedsurfaceapproachesasecondentity.Istherocksymmetrical?Ifnot,doesitfaceawayor towardthetiltedsurface?Isthetopoftherockpointed,rounded,flatbutsymmetricalwiththesides,flatbut broaderthanthesides,sothattherockisathickplaneparalleltothesurface,levelortilted?Thatis,in general,inwhatwaydoestherockcreatespacearounditself?Itisadefinitionofspace,acenterofspace, inonewayacoreofspace.Imnotinterestedinskinnyfigures,buttheyareGiacomettisearlyandunusual creationofspace.ArelatedcreationmadeearlierandbymanyarchitectsistheschemeoftheoldRussian churches.Thebase,thechurchitself,isahollowblock,whichisaformsofarinadvanceofthisdiscussion thatIwillnevergettoit.Thetopofthechurch,asingleoniondomeifthechurchissmall,oronelargedome andfoursmalleronesifthechurchislarge,islikethepointedrock,butofcourseisdefinite,acoreofspace inthesky,developingfromthesolidlyenclosedspacebelow,contractingabovetheroof,swellingintoalight volumeandcontractingtoapoint.TheKimbellMuseumisliketherockonatiltedsurface.Itisatthefootof alongslopeandinsteadoffacingaheadincontinuationoftheslope,asisexpected,itfacestheslope, whichbecomesasecondary,halfdefinedspace.InexceptiontothemeagerdiscussionofspaceMichael BenediktdescribestheslopetowardtheKimbellandrelatesittogeomancy.

Then,whatifasecondrockisplacednearby?Imnotdescribinghowaprimitivediscussionofspacebegan thousandsofyearsago,buthowaprimitivediscussionmightbegintomorrow,ifthiscivilizationwere advancedenoughtobearit.Howfarapartarethetworocks?Isonelargerthantheother?Tworocksof equalsizeandthespacebetweenthemisasituationwhichisverydifferentfromthatofasmallrockanda largerockwiththesamespacebetween.Dotherockshavethesameshapeorisonepointedandtheother round?Iftheyareonaslope,whichishigher,whichjoinstheplaneasanentity? Iftwoobjectsareclosetogethertheydefinethespaceinbetween.Thesedefinitionsareinfiniteuntilthetwo objectsaresofarapartthatthedistanceinbetweenisnolongerspace.Butthenthepasserbyremembers thatonewasthereandanotherhere.Thespacebetweencanevenbemoredefinitethanthetwoobjects whichestablishititcanbeasinglespacemorethanthetwoobjectsareapair.OfcourseIcantcontinue, Icantmentionwhatwouldhappenifastickwereputacrossthetwostones.Overtwohundredyearsago SamuelJohnsonkickedarocktoproveitsexistencefiftyyearsagoWallaceStevensdescribedtheeffect ofajaruponthewildernessthisyeartherearetworocksobviouslythisleisurelypaceistoofast. Inthiscentury,sincethedeclinebeforeitsbeginningofthetraditionalartofthediversecivilizations,within thesubsequentartmeanttobeinternational,thedevelopmentofspaceisonlythirtyyearsold.Untilthenan interestinspacewasnotoneofthemaincharacteristicsofinternationalcontemporaryart.Thiswasof coursebecausethegreatchangeattheturnofthecenturyoccurredconservativelyinpainting.The contradictionsofsimulatedspacewereprimary.Allsculpture,exceptforGiacomettis,beforeandincluding DavidSmithsthatofRodinandMaillolandBrancusiandArp,bothofwhoseworkIlikebetterthan Giacomettisistraditionalsculpture,whichisprimarilyonerockwithcomplications,orislowrelief,one planewithcomplications.However,anewaspectbeginsintheworkofBrancusiandArp,whichisthatof theworkasawhole.Artdoesnotchangeinoneline,notfromAtoBtoC,butfromVto5toL.Butitdoes changeithastochange,unlesssciencebecomesimmobilizedintoreligion.Iwasnotcompletelyalonein theearly60sindevelopingspaceasamainaspectofart,butfewartistswereinterestedandthenusually withinanearliercontext,theimageryinBontecousworkandtheremnantsofSmiths,thestandingposition andthecompositionalelements,inChamberlainswork.Latertheinterestinthreedimensionalityandin spacedevelopedquickly,allkinds,alittle,alot.ThemostdevelopedwerethecanvasworksbyOldenburg, enclosingasoftspace,aflexiblespace,andtheglassworksbyLarryBell,whichcontainedavisiblespace, modifiedbyaphenomenologicalaspectthathasbecomeanimportantnewaspect,whichDanFlavinbegan somewhatearlierandBobIrwinsomewhatlater.ThisaspectwasbegunbyPollockinhisspecificuseof colorandmaterial.IthinkthatIdevelopedspaceasamainaspectofart.Thisaspectisnowwidespreadat alowlevel,whichwouldntmattermuchifanyonementionedthat,andistheprimaryaspectintheworkof thefewverygoodyoungerartists,who,sincespaceisinvisible,areinsufficientlyrecognized.Spaceisnow amainaspectofpresentart,comparableonlytocolorasaforce.Theotherartistwhohasthoroughly developedspaceisofcourseRichardSerra. Thedevelopmentofspaceiswithinthelastthirtyyears.Foronehundredyearsthemostpowerfulaspect hasbeencolor.Theonehundredyearsoftheprimacyofcolorisstillonlyabeginning.Basicallythepresent internationalartdevelopedfromthetraditionalrepresentationalartofEurope.Thenecessitiesof representationinhibitedtheuseofcolor.Anobjectispaleinthelightanddarkintheshade,allowingfull coloronlyinbetween,usuallyinsmallerareasthanthelightandshadeandusuallywellbackfromthe frontalplaneofthepicture,towherethefullcolorissubduedbyaerialperspective.Chinese,Korean,and Japanesepaintingisalsorepresentational,butwithoutthesimulationofunifiedspace,andisusually subduedtodepictspace.Japaneseprintsareanimportantexceptiontotheattritionofcolor,aswellas paintingsonscreensandtheillustrationofnovels,allflatandbright.Goyasaid:Inartthereisnoneedfor colorIseeonlylightandshade.Thesimulationofappearance,thedepictionofobjectsintheirspace, uponaflatsurface,asimulationofrealitythatmustbebelievedbytheviewer,isnotcompatiblewitha

developedinterestincolonThepaintingbyZeuxisthatthebirdspeckedatcouldnothavebeenlikethe paintingonAtticvases,flatareasofredandblack.Ithadtobeabetterversionorthekindofdepictioninthe frescoesofPompeii.Theredandblackofthevasepaintingiscolorthecolorinthefrescoesisan accompaniment.Romanesquepainting,whichhasclearandstrongandwellorganizedareasofcolor,has alwaysbeensafefrombirds.IcanimagineaRomanesquepainterbeinghorrifiedbyCimabuesmodulation intorepresentationoftheareasofcolor.Sincethepainterrepresentedtheuniverse,hemusthavethoughtit decadent(atthebeginningoftheRenaissance)torepresentanindividual.TheareasofcolorinGiottos paintingsareduetothepastandaremoreimportantthanthenewlymodeledfaces,feet,andhands. Despitethehighqualityofthesubsequentpainting,colorwasadeclininginterest.Butitistooparticular andespeciallytooimportantinorganizationtobecomeminor,justsecondary. Thediscussionofspacehasbeenleisurely,liketheexplorationinMarvellspoem,orlikethelawsuitover whoownedthesnowonPopocatepetl,whichtooktwohundredyears,whiletheknowledgeofspacewhich Ivemadegrewswiftly.Thisisagreatdealofknowledge,butnotwritten,knowledgeofapeculiarkindas visualart,madebyaperson,sometimesintelligibletootherpersons,notmadebysnakesorowls,probably notintelligibletointelligentbeingselsewhere,perhapsnottoourdescendantsintenthousandyears.The workisagreatdealofknowledgeaboutspace,whichisnecessarilyrelatedtothespaceofarchitecture. Thisknowledgeis,tome,particularandplentifullydiversetoalmosteveryoneitdoesntexistitsinvisible. IfeelthatIhavethesteamengine,butnotracks,orthegasolineengine,butnowheels.TheMexicans inventedthewheelfortoysbutneverthoughttousetheideafortransportation.Plentyofgoodideasin socalledearlycivilizationswereneverdeveloped.Civilizations,likeart,donotchangeinalineitsbestto avoidthewordprogress.Goodideasthatweredevelopedarenowignoredintheindustrialtransition,such astheknowledgeofspaceintraditionalKoreanandJapanesearchitectureortheknowledgeofurbanspace in18thcenturyEuropeancitiesand19thcenturyParis.Noneofthisquantityofknowledge,built,not written,isusedinnewconstruction.SeoulandOsakaarewastelandsinwhichtherearemonumentsand Parisisacuriositysurroundedbyadesert.Theearlierknowledgeisntregardedasknowledge,butas appearance,asstyle,andsocannotcontinue,cannotaccumulate,asscientificknowledgedoes.Thereare bookswithplansaboutearlierarchitectureandcitiesbuttheseplansareregardedasonlyhistoryandnot asrelevant.Thereisnodiscussionofspaceinartandarchitectureinthepresent. In1962Imadearightangleofwoodplaceddirectlyonthefloor.Thiswasprecededbyanotherfreelyplaced workandthatbyaworkwhichIconsideredthentobehighrelief,butwhichIconsidernowtobethefirst threedimensionalworktobeonthewall.Foralongtimeitwasonthefloor.Thesizeoftherightangleis determinedbytherightangleofablackpipe,whosetwoopenendsarethecentersoftheouterplanesof therightangle,whichispaintedcadmiumredlightredandblack,andblackasspace.Therightangle doesntstandorsitandalthoughitisvertical,122centimetershigh,thereisnowaytobelieveittobean abstractedfigure,oranabstractedobject.Allsidesareequal.Thereisscarcelyaninsideandanoutside, onlythespacewithintheangleandthespacebeyondtheangle.Theonlyenclosedspaceisinsidethe pipe.Thisslightlinearspacedeterminesthedimensionsofthebroadplanes.Theshellofthisnarrowspace passesthroughthebreadthoftheinnerangle,adefinitespacethroughageneralspace. Beforetherightangleanditspredecessor,allsculpturewasplacedonapedestalor,finally,inDavid Smithswork,stoodlikeafigure.Nothinghadeverbeenplaceddirectlyonthefloor.AsIvewrittenbefore,I thinktherewasasmallflatworkonthefloorbyLucasSamarasdoneatthesametimeorearlier.Sincenow itiscommonforworktobeplacedanywhereinaroom,itisimpossibleforpeopletounderstandthat placementonthefloorandtheabsenceofapedestalwereinventions.Iinventedthem.Butthereisno history.

Oneofthemanydestructiveassumptionsnowisthatallideashavenooriginatorstheyaremutationsinthe publicdomain.Theuseandmeaningoftheideasarevague.Butsomeoneinventsideas.Someonewants somethingnew.Initsinventionanideaisclearandinitsdiffusionitisvague.Thisiseasytosee.Itseasy toseethatChamberlaininventedStellasreliefs.Anewideaisquicklydebased,oftenbeforetheoriginator hastimeandmoneytocontinueit.IngeneralIthinkthishashappenedtoallofmywork,butespeciallyto theuseofthewholeroom,whichisnowcalledaninstallation,whichbasicallyIbegan.OldenburgsStore wasastorebutitcouldbecalledaninstallation.BobWhitmansperformancesoccurredininstallations. SeveralyearslaterYayoiKusamamadeafreestandingroomandLucasSamarasalso.In1967inLos AngelesaworkofCarlAndres,8Cuts,coveredthefloorofthegallery.Ofcoursein1923Lissitzkybuiltthe ProunRaumandinthelate20sSchwittersbuilttheMerzbau.Oneworkoccupyingawholeroomisstill aliveandnewintheworkofafewartistsRoniHorn,MichaelSchulz,IlyaKabakovbutmanyartists degradetheidea,forexampleBarbaraKruger,whoismyfavorite,becauseshealsodegradesredand black.Againthereisnodiscussionandcriticismofworksthatoccupyrooms,whichisareasonwhyitis possibletohaveblandandtritework,withoneortwomeagerandobviousideasspreadoverawholeroom, usuallyinwriting,withoutspace,whichisafteralltheoriginoftheform. Myworkwiththewholeroombeganwithpartofit.In1965Imadeaworkthatextendedfromthefloortothe ceiling.Thisextendedthedefinitespacebetweentheunitstothosebelowandabove.In1966Imadesix galvanizedironunitswhichextendedfromwalltowall,sothatthecomersbecamedefiniteandthewhole endoftheroomarticulated.In1969therewasananodizedaluminumwork,nowdestroyed,whichwason thefloorandagainstthewall,alsowalltowall.Andinthesameyearaworkmadeofcoldrolledsteel,now destroyed,with11unitsthatextendedfromcornertocornerthelengthoftheroom.AlsointhatyearImade aworkofmanygalvanizedironunitswhichoccupiedaboutathirdofanotherwiseemptyroom,aworkin relationtothewholeroom.ThisisnowinTexas.In1970Imadewhatisusuallydescribedasa galvanizedironwallwhichwentaroundthreesidesofaroom.Thisisawholeroom.ItsinTexas.InPortland in1974webuiltaverylargevoluminousplywoodworkaroundthreesidesofthespace. In1960verylittlethatwastraditionallythreedimensionalwasplacedonthewall,onlythelowreliefsbyArp, whicharebetterthanusuallythought.NoneofthelargereliefsbySchwitterswereinNewYorkCity.Later, OldenburgmadelowreliefsofplasterforhisStoreandlaterBontecoumadehighreliefsandlateragain Chamberlainmadehighreliefs.Nooneisinterestedinthissequenceofdevelopment,asnooneis interestedinthedevelopmentofawholeroomasonework.Arthistoriansofthepastareatleastinterested inchronology.Arthistoriansofthepresentarenot.Itstoorealandinterfereswithtreatingthepresentas thepast,butwithlesssubstance,asubjectoftheirspeculation. Lowandhighreliefarebasicallypainting,possessingthesameproblems,aswellassomeoftheirown. AfterImadethefirstworksplacedonthefloor,knowingthenewrelationshiptoasurface,throughatleast 1963Ididntthinkanythingcouldbemadewhichcouldbeplacedonthewall.ThenIrealizedthatthe relationshiptothewallcouldbethesameasthattothefloor.Theworkonthefloorwasnotlyingflatupon it,thereforeitwasnotlowreliefonthefloor,norheapeduponit,thereforeitwasnothighreliefonthefloor. Thisdiscussionseemslongbutitsbrief.Mostrelationshipsandexceptionscantbementioned,butone exceptionisthatIdontconsiderCarlAndresworksonthefloortobelowrelief,regardlessofbeingflat.My workonthefloorwasanewform,creatingspaceamplyandstrongly.Therelationshipcouldbethesameto thewall.Itwasnecessaryfortheworktoprojectsufficiently,atleastasmuchasitsheightandwidth.I nevermadethisminimum,whichwouldbeacube.Thefirstsuchwork,in1964,washorizontal,madeof leftoverplywoodsemicircles,anditprojectedfurtherthanitsheight.Thesameyearasmallworkthat projectswasconstructedbyanearbyfactory.In1965,thefactorymade,thenandnowacondemnationto

hell,averticalworkoftenunits,eachshortinrelationtoitsdepth,alltogetherlong,and,asIsaid,with spacesequaltothosebetweentheunitsatthefloorandattheceiling,withluck.Thenecessarydifference wasthattheworknotbeflattened,loworhigh,tothewall,whetheritbesmallorlarge.Thisinventionisstill notunderstood,orratheritiscompletelylostDerivationsareeverywhere,butarealwaysloworhighrelief, newinappearanceonly.Thesmallandmediumsizedworksonthewallhavebeenthoseinwhichithas beenmostpossibletodevelopcolor. Thediscussionofcolorisgreaterthanthediscussionofspace,andunlikethemissingparticularitiesof space,itdescribestoredundancytheparticularitiesofcolor.Primarilythishasbeenbecausewiththe creationofscienceinthe17thcenturythestudyofcolorhasbeenpartofscience.Andlikeastronomyit hasbeencursedwithitsownastrology.Thediscussionofcolorhasnotbeenleisurely,likethatofspace. Insteadofmillennia,thespeedhasbeeningenerations.Thereisahistoryofcolor,firstinphilosophyand theninscience.Aristotlesaidthattherewasinthecategoryofsubstanceanentitythatmighthavean aspectofthecategoryofquality:materialwasprimary,colorwassecondary.Healsosaid,toquote Copleston,thatmatterisatoncetheprincipleofindividuationandunknowableinitself.Thereisahistoryof colorinart.Everyothergenerationhasanewideaofcolor.However,thisisagenerationwithoutideas.At thepresentspaceandcolorhaveincommoncompleteneglect.Despitetheprimaryimportanceofcolorfor morethanahundredyearstherearenownotheories.Thelastphilosophyofcolor,whichiswhatitwas,as wellasbeingfactual,andthemixturemaybeunavoidable,atleastinart,wasthatofJosefAlbersinThe InteractionofColorof1963.InPartI,Albersbegins: IfonesaysRed(thenameofacolor) andthereare50peoplelistening, itcanbeexpectedthattherewillbe50redsintheirminds. Andonecanbesurethatalltheseredswillbeverydifferent. ThatisaphilosophyanditdoesnotagreewithwhatAlberswastaughtintheBauhaus. Iknewasachildthatcertaincolorsweresupposedtoproducecertainfeelings.Ididntunderstandwhya bullshouldbemadatred.JohannesIttenandKandinskytaughtintheirimportantcolorcoursesatthe Bauhausthatcolorsalwaysproducethesameemotions,andalsothatcolorsalwayscorrespondtocertain shapes,thetwotogetheragreeingontheemotion.TheideathatIlikebestisKandinskysthatapentagon combinesasquare,whichisred,withtriangles,whichareyellow,tomakeorange.Theideashouldbesent toWashingtonsothatthenewlypaintedPentagoncouldbethefirsttousecolorinwar.Thesquareis deaththetriangleisvehemence.Thecircleisblueandisinfiniteandpeaceful.AswithGodandpatriotism, Ididnttaketheattributionsofcolorseriouslyenoughtocontemplate.Idontremembersuchideasbeing discussedinthe50sorafter.Incontrast,thetermswarmandcoolarestillusedasdescription,butalso asthermometersoffeeling.Themorevagueanidea,thelongeritlastsindecayitbecomesevenmore vagueandlasting. Abasicproblemforanartistatthebeginningisthatwhilecoloriscrucialintheirwork,itsdevelopment beingaforce,theinformationaboutcolorisextensiveandoccursinmanyforms,partlytechnicalandpartly philosophical.Thetechnicalinformationisirrelevantanduninterestinguntilitisneeded.Thephilosophy seldomfits.Thereisalimittohowmuchanartistcanlearninadvance.Anartistworksonlystepbystep intotheunknownwhiletheparticularknowledgeofcolorexistsandisvasttheparticularsoftheworldare infinite.Thisisoverwhelminginanurgentsituation.Colorisveryhardtolearn,sinceitishardtoknowwhat isuseful.Theparticularsmustbetheartistsown.Nevertheless,colorshouldbetaughttothebeginning artist,first,asknowledgewhichmayberelevant,second,asknowledgeofthehistoryofart,whichisthe

historyoftheactivityandofthehistoryofcolorinthatactivity,andthird,asdaytodaynewknowledgefor thenewartist,whoshouldonlybetaughtfromthebeginningasanartist.Thathelpshouldbestepbystep asitisneededinacompletelyindividualeffort.Thissoundsobviousbutfewunderstandhowmuchofa processitistomakeart.Itisverymuchbuilding,asIsaid,stepbystep.Theseremarksaboutart educationseeminnocuousbuttheyimplyarevolution.Forexample,noonebutadaily,actual,working artistofsomeworldlystanding,asthingsarenow,shouldteachart.Otherwiseitslikeanonplumber teachingplumbing.Noonebutsomeonewhoisbeginningasanartistshouldbetaught.Whylearnto plumb,ifyourenotgoingto? Artistscannotteachthehistoryoftheiractivity.Theyseldomcanteachtheactivityoftheirownactivity. Theyhavenoconnectionswiththoseinterestedinartandwiththepublic.Theycannotexplaintheiractivity. Thisispartofwhatiswrong.Thisispartlywhytheintegrityofartissteadilyless.Therecannotbean educationofartiststhatisdistant,distorted,andinstitutionalizedwiththeexpectationthatinfiveorten yearsagoodartistwillresult.Theresultisanotherinstitutionalizednewteacher. ThelastrealpictureofrealobjectsinarealworldwaspaintedbyCourbet.Afterthatnoonewassosure abouttherealworld,sothatwhenitcametokeepingacolororanundescriptiveshapeatthecostof accuraterepresentation,thelatterlost.FromManetonwardtheconcernsofpaintingitselfdeveloped quickly.Thisistheconventionalhistoryofrecentpainting.Nothinglikethishappenedinsculpture,since beinginspacetherewasnoconflict,andtherewasnocolor.Itwasconservativeandwasnotbotheredby theproblemofhowtheworldisknown.Thetroubleandcostofitsmakinghadtohavebeenafactor.The historyoftheincreasingemphasisonthemeansofpaintingisverylargeanddetailed.Morethanthe socalledform,ortheshapes,coloristhemostpowerfulforce.Inretrospect,andonlyso,theexpansionof colorislogicaluntilthe1960s,concludingwiththepaintingofPollock,Newman,Still,andRothko.Theneed forcolor,themeaningofthatneed,morethananything,destroyedtheearlierrepresentationalpainting, whetherinEuropeorAsia.Intheworkofallofthewellknownpainters,colorisamplifiedbeyondanything seenforcenturies,evenintheworkofMunch,whoseworkisnotconsideredabstract.Intheworkof mostMatisse,Mondrian,Malevich,Leger,thefourjustmentionedcoloristhedominantaspect,asblack andwhitephotographsshow.Colorisanimmediatesensation,aphenomenon,andinthatleadstothework ofFlavin,Bell,andIrwin. Allexperienceisknowledge:subjectiveexperienceisknowledgeobjectiveexperience,whichisscience,is obviouslyknowledge.Colorisknowledge.AsAlberssays,itisverysubjective,evenhardtoremember. Colorisalsoobjective.InPartVIIIAlberssaystopastearedcircleandawhitecircleonablacksheetof paperandthenstareattheredcircle.Then,lookatthewhitecircle:itisgreenorbluegreen,the complementaryofred.Allowingforeverythinghumanbeingsubjective,thisisabsolutelyobjective.Coloras knowledgeisverydurable.Ifinditdifficult,maybeimpossible,toforget.Aconsiderableeffortinthepainted sheet,aluminumworkthatImadewastoforgetthecolorsandtheircombinationsthatIhadlikedandused inmyfirstpaintings,thoseinturnsometimesderivedfromMondrian,Leger,orMatisse,orearlierEuropean painters.Newmanofcoursefacedthisdefinitionanddurabilitywhenhepaintedthethreepaintingshecalled WhosAfraidofRed,YellowandBlue.Hedidntgosofarastochallengered,yellow,blue,andwhite. Mondrianscolorsareoneofthefactsandwondersoftheworldtherearentsevenanymore.Perhapsifthe fourcolorswereequalinextenttheywouldnolongerbelongtoMondrian.Thepreponderanceofwhitetothe brightcolorsisofcoursethedeterminingratio. Itsashametoprovideargumentsinsupportofmuseums,butin1947IlivedinPhiladelphiawherethereis one.Initthereistheleftpanel,thecrucifixion,byRogervanderWeyden.ThecolorsIrememberareblue, notsoft,andred,highandslightlyrosy.InmypresentvocabularytheyaresimilartoRALFarben3027, Himbeerrot,andRAL5013,Kobaltblau.InartschoolIusedtheminalittlepaintingandtheyremainedvan

derWeydens.Ipaintedoverthem.IdontknowwhereIsaw,perhapsonlyinbooks,GerardDavidslight grayandcobaltblue,whichisnot5013.GiorgionesandTitiansdeepblueandorangebrownisvastand inescapable.ElGrecoisinterestingofcoursebecausehewasfromCrete,fromwhichTheophanesearlier wenttoRussia,andsobecauseoftheinfluenceoftheRomanesqueuseofcolorinlargeareas.ElGrecos colorsareofonetype,oftenglazed,andmatchwherenothingissuspectedtoexist:alizarincrimson, viridian,aclearyellowandultramarineblue.Exceptfortheyellowthesearealldark,buttheyareallclear, likestainedglass.ThePhiladelphiaMuseumofArtalsohasmanypaintingsbyMondrian.Thefirstmuseum thatIlovedforartandhatedforarchitecturewastheNelsonGalleryandAtkinsMuseuminKansasCity, whichhasoneofthebestcollectionsofChineseart.ThegraygreenceladonfromKoreaisanotherdurable color,ofcourseaglaze,whichisanotherimportantaspect.Alsovirtuallyglazed,butbyoil,isthe brownblackofthetreesandthehighgreenblueoftheskyinRalphBlakelockspaintings. ColorinarchitecturebeganandendedwithDeStijl.Earlierandlateritisdecorationoritistheusuallyquiet colorsofmaterials.ThecolorsofthebronzeandthetintedglassofthebuildingbyMiesvanderRohein NewYorkCityformasdefiniteaschemeasanywithbrightcolors.Thequestioniswhetherarchitecture shouldalwaysbequiet,withnaturalmaterials,usuallygrayortan,orwhetheritshouldalwaysbebrightly coloredorpartlycolored.Inthepresentnoisyandclutteredsociety,urbanandrural,theobvious recommendationistoavoidcolor.Asseeninbrightsignseverywhere,colorbecomesfurtherjunk.But withoutcolor,whichisalmostalwaysonsigns,mostcitiesarejunkanyway,thenewesttheworst. WithinDeStijl,vanDoesburgwasbyfarthemostinterestedincolorinarchitecture.Hewantedanew activity,thatofcolorist,toapplytoarchitecture,whichwasalwaysmoreconservative,asinthe collaboration,asvanDoesburgconceiveditbetweenhimselfandJ.J.P.OudinDeVonkin1917and18 andwithJanWilsinDeLangein1917.ButOudsaidthatvanDoesburgwasnotbeingpractical,which meantthattheneighborswouldbeoffended.VanDoesburgdesignedtheinterioroftheCafeAubettein Strasbourgfrom1926to28withinwhathenowconsideredacollectivewithJeanArp,Sophie TaeubergArp,andPaulHornasarchitect,buttheownersmodifiedittothepublicscomplaintswithintwo years.BasicallyvanDoesburgwasapplyingplanesofcolor,atanangle,whichhethoughtharmoniousand dynamic,totheorthogonalstructureofthearchitecture,whichhethoughtordinary.Asidefromtheever discouragingpublic,thisdivisioncouldnotcontinue.Colorhastobepartoftheusuallyrightangular architecture.Sofarthishasnotbeendone.TheuseofcolorbyRietveldisverynicebutdoesnotexceed decorationbymuch.TheworkofLuisBaraganisapossibilitybutIhaventseenitandthephotographsare moreprettythaninformative.VanDoesburgthoughtofthepaintedwindowframesofDeLangeasplanesof colormovingacrossthefacade.Hewaswishful,butthisandothersarestillgoodideas. Mondrian,Malevich,vanDoesburg,andothersmadeortriedtomakeartandarchitectureaspartofanew civilization,whichobviouslyitwas,andobviouslystillis.Theyaregenerallydisparagedasbeingidealistic andutopian,Mondriansphilosophyaside.Whyisitidealisticevenwhatdoesthatmean?towanttodo somethingnewandbeneficial,practicalalso,inanewcivilization?Isitpracticaltoletthecivilization becomeasgrossasitisbecoming,toletitbecomestagnant,andtheninafewhundredyearstrytoaerate it?Bythenitwillbecompletelyinert,sothatnothingcanbedoneandnothingevenimaginedtobedone. Noonewillrealizethatthereisntacivilization.Asusualthecivilizationwillbeconvincedofnotbeingone byitscollapse.Whyshouldeverythingbecommercial?Justexisting,evenwell,isnotsupposedtobe civilized.Andagain,whatdoescommercialmean?Thathasawiderange.AsImentioned,Oudarguedto vanDoesburgthathewasbeingpractical,thathewasbuildingwhatcouldbebuiltinthecircumstances, partofwhichweretheneighbors.Thisisnotpractical,butconventional.Thejudgmentoftheneighborsis baseduponmeagerknowledgeandisdeterminedbytheirnarrowtimeandplaceandespeciallybytheir ideaofstatusinthesociety,partofthenarrowness,whichisthegreatestmythofthistime.Anyway,the ignoranceoftheneighborshasawiderange,fromthatofthefewrichtothenotasrichtowhatisnowcalled

themiddleclassintheUnitedStates,butislower,tothosewhoknowonlyathousandwordsandcant read,againintheUnitedStates.Shouldartandarchitecturebemadeforaclassorforeachclass?The neighborshaveformedatasteamongthemselves,strangelyworldwide,whichisexploitedbybusiness.A townnearbyinWestTexas,whichhasawellrestoredfort,isvisitedbytourists,whosometimesremain. Theseareallofaclassandtheyslowlyremakethetownintowhattheirscantyandsentimentalknowledge makesthemthinkatownoftheOldWestshouldlooklike.Shouldtheybeencouraged?Iftheknowledgeof artistsandarchitectsisdiscredited,andofscience,andonlytheveryslowlygrowingknowledgeofthegreat mass,ifitgrows,narrowclassbyclass,istobeacteduponthenitwillbehundredsofyearsbeforeareal civilizationdevelops,ifever,becausecommerce,inaccordancewiththeneighborstaste,willhavedesigned everythingintheworldandthepeopleaswell.Clintonsaidrecently,Youhavetochangethebehaviorofthe wholecountry.Peoplehavetochangetheirlives. FrankLloydWrightwrotethatahousewithaviewshouldbebuiltbelowthetopofahill,notonthetop,out ofthewind,primarilytobeunobtrusiveinthelandscape.Thesameadviceappliestocolor.Innewand emptyland,inwellcultivatedland,asinTuscany,andeveninsuburbanlandapproachingvisualmisery,itis wrongtoconstructobtrusivebuildings.Whethertheyareobtrusiveornotdependsonthepresenceor absenceoftreesandonwhetherthelandisflatorhigh.Abrightbuildinginthedesertseemsamistake.In thepoldersperhapsnot.ThebestargumentforbrightlycoloredbuildingsarethoseofSt.Petersburgand PushkinorTsarskoeSelo,pinkorturquoise.ThewhiteoftheoldchurchesinRussiaisconspicuousin summer,likethelargewhiterabbitswithoutsnowwhichIoncesawinJanuaryinthearchipelagooff Stockholm,andthenthechurchesareevanescentinwinter.Thecolorisnotdisagreeablepartlybecauseit isonisolatedbuildingsandpartlybecauseitoccursonflatlandamongtreesoramongyellowandtan buildings,whereitcannotbeseenfromfaraway,exceptfortheWinterPalace.Thebuildingsofthecityof St.Petersburgimprovetheland,whichisseldomthecase.InTuscany,thecultivationimprovestheland, whichisalsorare.Theyellowocherandredocherofthebuildingsfitsverywellandthelandeventolerates castlesonthehilltops.InKoreaanoldvillageisbeautiful,withthatchedroofs,orwithblacktilesonthe roofs,andwithtilesontheadobewalls,lyingquietlyintheland,lookingliketheland.InbothKoreaand Japanthetilesontheroofareoftenredorblueplastic.InJapanthetraditionalhighthatchedroofisoften replacedbythesameshapeincoloredmetal,includingtheoldcrosspiecesattheendsofthepeak. Ingeneral,brightcoloraddstothebedlam.Butthen,justasthecontinuousnoiseinsomecities,especially NewYork,isthoughtless,soistheuseofcolorandmaterials.Itisusualforabuildingtohavehalfadozen materialsonthefacadeorinthelobby,whichisasexcruciatingasthegarbagetruckbeepingbackwards andgrinding.Whatifsomeonethoughtaboutthecolorofabuildingorofthecolorsofatownorcityasa whole?Buttheanswertothisquestionwillnotarrive.Thereisnosignofrealcolorinpresentarchitecture, mostofitcalledpostModern,inwhich,ifthereisalittlemorecolor,itissmalldecorationbecomelarger. Colorismisusedinthisarchitecture,asisitsmoreorlessprefabricatedconstruction,thesourceofthe style. Manycitiesarebuiltwithinafewyears,orareasofcitiesarebuiltthataresohugeastobecities themselves,usuallybuiltbrutallyinregardtotheland.InHongKongnotjustahillsideisbulldozed,asin LosAngeles,itsthewholehillthatisremade.ThescaleofeverythinginEastAsiaisgreateritswhatNew Yorkmusthaveseemedlikeinthe20s.Ofcoursethebuildingsaremindlesslyrepetitive,relievedbykitsch whenthereismoney.AlongthesouthernshoreoftheHanRiverinSeoultheremustbeahundredhuge slabsofapartmentbuildings,identical,numbered,probablybecauseitseemsexotic,inhugeArabic numbers.Thedwellersmustlikethis.Ithinkitshell.Theycantdesirediversity.Butthisisoneofthemost importantanddifficultproblemsinarchitectureandurbanplanning.Diversitywascreatedinsmallprojectsin the20sand30s,forexamplethatbyBruderFrankinHamburg,builtfrom1929to1931.Thegreatest diversitybuiltdeliberatelyandatoncethatIhaveseenistheZecheZollvereinnearEssen,builtintheearly

30s.But,likecolor,diversitydisappearedincommercialism,evenwhenthemoneywaspublic. Primarilydiversityshouldbeproducedbytheplanofthestreetsandbuildings,whichmakethefundamental structure,whichincludesthequestionsofwheretolive,towork,gotoschool,andwheretoignoreartand music.Butsecondarily,notjustasdecoration,notevenaslargedecoration,notevenasaparallelactivity, colorshouldbepartofthenecessarydiversity.Inarchitecturecolorispartofarchitectureitisntpartofart. Theintegrityofeachisdamagedbybeingmixed.IntheGesamtkunstwerkmoreisless. Ittenwrotein1916:Formisalsocolor.Withoutcolorthereisnoform.Formandcolorareone.Itnever occurredtometomakethreedimensionalworkwithoutcolor.ItookIttenspremise,whichIhadnotread, forgranted.Sculptureitselfwasadistantideatome,thatitbeonlywhiteorgraywasanotionofthe academy.Thisiswhysomuchofthisessayisaboutspace.Colorandspaceoccurtogether.Iconsider black,gray,andwhitetobecolor,asLeonardodid,despite,ashesays,philosophers,anddespite MondrianandvanDoesburg.Asidefromthescientificviewoflightascoloranditsabsenceastheabsence ofcolor,whichistrueofcourse,itisalsotruethatthewholerangefromwhitethroughthecolorstoblack canbeseeninlight.Colorasthespectrumandcolorasmaterial,sotospeak,arenotthesame.Blackcan beseeninthelight.Andalso,again,allmaterials,grayandtan,arecolored. IdidnotstudysculptureIstudiedpaintingandmadepaintingsuntil1961.IlikedDavidSmithssculpture butconsidereditaverydifferentaspectofart.SculptureinNorthAmericaneverreachedtheinventionof painting.EvenSmithsworkwassomewhatbackward,backwardeveninrelationtothesculpturebyArp, althoughhewasolder.TonySmithssupposedinfluenceisaninstanceoftheignoranceofchronology.The firstworkthatIsawofhiswasfourbyfourbyeightfootblackboxeswhichwereseparatebutcouldbe placedtogethertoformacube.Thesewereplywoodmockupsforweldedmetal.ThiswasinMarch1964at theWadsworthAthenaeum.Theworkwasnotinterestingandtheblackcontradicted,bymakingvague,the volumeofthework.Before1964SmithwasknownonlyasafriendofPollockandNewmanandasan architectonLongIsland.ThethreedimensionalworkthatIbeganin1962wasnewandthecompleteuseof colorwasnew. WhileIwasmakingthefirsttwoworksandtherightangleIrealizedthattherehadbeennosuchwork before.Iwaspuzzledbythem,especiallythefirst,thereliefthatisntarelief.IhadmadewhatIwanted.The paintingsweredifficult:eachonehadaspectsthatIwantedandaspectsthatIdidnt,usuallyopposed.The threedimensionalworkeliminatedorsolvedthecontradictions.Forexample,thepaintingswerelarge rectanglesofcolor,usuallycadmiumredlight,withlines,paintedorsometimesincised.Thelines,cutor not,wereanelementontopoftherectangle,anadditiontoit,asecondlesserelementwithintherectangle. Thebreadthofthecoloredrectangleandthenarrownessofthelinescouldneverbecomeonlyoneelement, onewhole.Therightangleandthesubsequentrectangularvolumesonthefloor,allthesamered,werelarge planes,morethanone,whoseedgesweredefinitelines.Theiredgeswerenottheboundariesofoneplane onawallbutwerethequiettransitionfromoneplanetoanother,quietbutmoredefinitethantheboundaries, sinceitwasundeniablethattheywereat90degreestoeachother.Thenewworkseemedtobethe beginningofmyownfreedom,withpossibilitiesforalifetime.Thepossibilitiesandthelifetimearenowwell along. Thenarrowandlazynatureofartcriticismmakesitdifficulttoknowthediversityofmywork,orofanyones, butifthelistofexhibitionsatthebackofthecataloguesisrelatedtowhattheexhibitionscontained,the diversityisobviousandthesubstantialpriorinventionproven. In1904JuliusMeierGraefewrote:Theincomprehensibilityofpaintingandsculpturetothegeneralpublic hasbeenshroudedinaveilofpretentiousexposition.Alloftheworksinthemanyexhibitionsweredifficult andexpensivetoconstruct.Artistsarenotsupposedtothinkaboutmoney,butIpaidforthework,either

directlyorfinallybecauseanadvancewasadebttothegallery.Toconstructworkinthreedimensionsisto bedamnedtoambivalencewithinthesociety.IhadintendedtobelikeAlbertPinkhamRyder,working quietlyandcheaplyalone.Almostallofthebestworknowisthreedimensional,asIsaidbefore.Idontsee howtheartistscanpayfortheirworkwhichmeans,howcanartcontinue?Thesituationseemshopeless. Torepeatinsomedetail,colorandthreedimensionalspacewereplaceddirectlyonthefloor,asone. Neitherexistedbefore.Adirectrelationshiptothesupportingstructurehadnotexistedbefore.Despite somegeometricpaintinginNewYorkrelatedtoMondrian,whichwasignored,despiteAlbersandReinhardt, whoweredisparaged,despiteNoland,whowaspraised,thegeometry,color,space,andtherelationshipto thesupportwerecompletelynew.Myattitudetowardgeometrywasnew.Itwasnotatallrelatedto Mondriansattitude,whichwassoclearanddeveloped,likered,yellow,blue,andwhite,thatIlongthought thatallgeometrybelongedtoMondrian.Geometryandmathematicsarehumaninventions.Iuseasmall, simpleportioninmyworkformypurposes.Fourunitsinarowareonlythat.Theyarenotpartofinfinity, eitherendlessoraboveorwithin.Theyareasmall,finiteorderthatIaminterestedin.Theyarenottheturtle thatsupportstheworld.TherearealotofrectanglesintheworldandonethatIhavemadeexistsasoneof them.Theideaofarectangleexistsonlyasanidea,whichiseasyforrectanglesanddifficultformost ideas.Theideaofanautomobilebecomesuncertaintheideaofthesocietycantbeclarifiedasanidea theideaoftheuniverseisprettymuchacollectionoffacts.ThisiswhyPlatoproposedtheForms. WhenIwasmakingthepaintingsandthefirstthreedimensionalworksIknewhowfarIhadtogoandhow newtheworkhadtobetobemyown.Pollock,Newman,Mondrian,andallfirstrateartistsestablishthat distance.Thenegativeforce,likeLockesuneasiness,isthatitisnotpossibletounderstandborrowed colorsandformssufficientlytomakenewfirstratework.Manyartistsinthe60sandatthepresentthink thatitisenoughtogonextdoor,eventotheneighbors.SomeinNewYorkinthe60slookedatPollockand theothersandmadepassableworkforayearsandthenoncesecuredidwhattheywantedtodointhefirst place,asdidWarhol,ortheydidntknowwhattodo,asStelladoesnt.Theyweremadebythehigh situationinNewYorkandthentheyhelpedtodestroyit,whichingeneralisthestoryofartappreciationin NewYork.Earlier,forexample,butbetter,theworkofGustonandKlinewasmadebythesituation.Most workwasnotunusualenoughtobeanyonesmostwasnotsufficient.Itwasnotenoughtovarythe predictableitwasnotenoughtorenovateoldbrushwork. Pollock,Newman,Rothko,andStillwerethebestartistsandcouldnotbematchedinpainting,which thereforecouldnotcontinueatthatlevel.NolandandespeciallyLouisaregoodartistsbuttheirworkisnot equal.IdidntthinkwhenIsaidthirtyyearsagothatpaintingwasfinishedthatitwouldbesothoroughly finished.TheachievementofPollockandtheothersmeantthatcenturysdevelopmentofcolorcould continuenofurtheronaflatsurface.Itsadventitiouscapacitytodestroynaturalismalsocouldnotcontinue. PerhapsPollock,Newman,Rothko,andStillwerethelastpainters.IlikeAgnesMartinspaintings. Someday,notsoon,therewillbeanotherkindofpainting,farfromtheeasel,farfrombeyondtheeasel, sinceourenvironmentindoorsisfourwalls,usuallyflat.Colortocontinuehadtooccurinspace. Thesubjectofcolorinregardtomyselfandtoeveryoneelseisobviouslytoolargeforthisessay.Ithinknow thatIintendedtowriteaparticularbook,insteadthisisageneralessay.IwantedtobeginwithAristotleand tocontinuewithNewtonanddiscussallthecolortheoriesandcircles.IwantedtodiscussGoetheandM. E.Chevreul,whosebookIvehadforthirtyyears,inadvertentlyonloanfromEdClark,andAdolfHoelzel, whotaughtattheStuttgartacademywhenIttenwasastudentthere,whotaughtthatcolorshavefeelings. Likethehistoryofthenationtaughtinschool,whichnevercontinuesbeyondthegloriousbeginning,Iwould neverhavereachedtheingloriouspresent,inwhichthereismyownwork,whichisofmoreinteresttome. Imgoingtoneglectallofmyworduntilsomeof1983whichismadeofaluminumsheetpaintedoncolors. Colorwillalwaysbeinterpretedinanewway,sothatIhardlythinkmyuseisfinal,infactIthinkitisa

beginning.Infinitechangemaybeitsconstantnature.Colorisoppositetotheprojectionoffeelingdescribed toGoethe,HoelzelandItten.TheidealismofMondrianisverydifferent.TheattitudeofAlbersisdifferent again.Noimmediatefeelingcanbeattributedtocolor.Nothingcanbeidentified.Ifitseemsotherwise, usuallytheassociationiscultural,forexample,thelightblueandwhite,supposedlythecolorsofpeace,of thecopsandtheUnitedNations.Iftherewereanidentifiablefeelingtoredortoredandblacktogetherthey wouldnotbeusabletome. Colorislikematerial.Itisonewayoranother,butisobduratelyexists.Itsexistenceasitisisthemainfact andnotwhatitmightmean,whichmaybenothing.Orrather,colordoesnotconnectalonetoanyofthe severalstatesofthemind.Imentionthewordepistemologyandstop.Color,likematerial,iswhatartis madefrom.Italoneisnotart.Ittenconfusedthecomponentswiththewhole.Otherthatthespectrum,there isnopurecolor.Italwaysoccursonasurfacewhichhasnotextureorwhichhasatextureorwhichis beneathatransparentsurface. InthesheetaluminumworksIwantedtousemoreanddiversebrightcolorsthanbefore.AsIwilldescribe later,therearemanycombinations,someoldasIlisted,andsomemyownfromearlierwork.Iwantedto avoidbothofthese.Iespeciallydidntwantthecombinationstobeharmonious,anoldandimplicativeidea, whichistheeasiesttoavoid,ortobeinharmoniousinreaction,whichishardertoavoid.Iwantedallofthe colorstobepresentatonce.Ididntwantthemtocombine.IwantedamultiplicityallatoncethatIhadnot knownbefore.Thiswasverydifficult.Theconstructionoftheworkinpanelslimitedtheuseofratio,the extentofonecolortoanother,butthisisperhapsjustaswell. Afterafewdecadesthediscussionofcolorissounknownthatitwouldhavetobeginwithaspot.Howlarge isit?Isitonaflatsurface?Howlargeisthat?Whatcoloristhat?Whatcoloristhespot?Red.Ifasecond spotisplacedonthesurface,whatcolorisit?Black?Whatifbothspotswerered,orblack?Howfaraway istheblackspotfromtheredspot?Enoughforthesetobetwodiscretespots,oneredandoneblack?Or nearenoughfortheretobeapairofspots,redandblack?Orapartenoughforthistobeuncertain? Whatiftheredandblackspotsarenexttoeachother?Andofcourse,whichred?cadmiumredmedium, andwhichblack?ivoryblack.Theredcouldalsobecadmiumredlight,themedium,cadmiumreddarkor alizarincrimson.Inaway,sidebyside,theredandtheblackbecomeonecolor.Theybecomeatwocolor monochrome.Redandblacktogetheraresofamiliarthattheyalmostformanewunity.Everyeasilyknown colorpairedwitheitherblackorwhiteformssuchamonochrome:orange,yellow,blue,green.Becauseof theblackandwhite,alsoapair,thesepairshaveasomewhatflatquality,aresomewhatmonochromatic. Thecontrastingpairsarejustaswellknown:redandblue,redandgreen,redandyellow,blueandgreen, blueandyellow.Somearenot:redandorange,yellowandorange.Thislistisfinite,sinceitisofprimaries andsecondaries.Theotherpossiblepairsareinfinite,asiscolor,whetherinthespectrumormaterially mixed.Allcolorsofthesamevalue,suchaslightyellowandlightgreen,makepairs.Allvaluesofthesame colormakepairs.Fullcolorspair,suchascadmiumredmedium,cadmiumorangemedium,andcadmium yellowmedium.Agroupofcolors,withoutanadjectivelikefull,thatIespeciallylikeisofcoursecadmium redlight,ceruleanblue,chartreuse,andpermanentgreen.In1964anotherworkonthefloorwaspainted chartreusewithhalfofaninsetironpipesprayedcreamyellow,asomewhatsharpandacidcoloropposed toonewhiteandfull.Wordstodescribecolorsarescarce.Thereallyacidcolors,clear,sharp,anddark,are pthalocyanineblueandgreen.Alsoclearandsharpandnotasdarkaretheseeminglystainedcolorslike thoseusedbyElGreco:alizarincrimson,ultramarineblue,andviridian.ThesealsooccurintheHoursof JeanneDEvreuxopposedtogrisaille.Thesomewhatsoftcolorscorrespond.Thesearefullbutseemtohave whitemixedinthem,whichtheydont:cadmiumredmedium,cadmiumyellowlight,emeraldgreen,and especiallycobaltblue.Dullorgrayedcolors,theochers,theoxides,allformpairs,unitedbyvalue.And,as inthechartreusework,therearepairsopposed:cobaltblueandceruleanblue,cobaltblueandcadmiumred

light. Therearealsomonochromatictriads,redandblackandwhite,andtherearecontrastingtriads.Thereare sequentialtriadsofcolorandvalue:cadmiumredlight,medium,anddark.Andthencolorbecomes complicated:red,Black,andcadmiumyellowlight,medium,ordark.Thenperhapsredandblackandthe pair(AB)or(BC)or(AB)(BC)(CD)or(AB)(CD)(EF).Theschemesforthelargeworkswithcolored panelsareverycomplicated.Oftentheyrequireallpossiblecombinationsoffourcolorsoreightcolors.The colorscannottouchsidebysideorendtoend.Intheworktherelationshipsofthecolorsaredifferently intelligible.Oneaboveanothertheyareeasytoseeasapairdiagonallytheyarenot.BasicallyIwantthe pairsandthesequencesandthepossibilitiestobeonlycolor.Thestructureispartofthewhole.Chaos wouldnotachievewhatIwant.Itrequiresagreaternumber,whichifgreatenoughbecomesorder.First,the partswouldtouch,andsecond,thecolorswouldnotbedistributedmoreorlessevenly.Butmainlythe initialselectionofcolorsprohibitsrandomness.Inanoteof1965Iwrotethatform,whichIdontlikeso muchasaword,andcolorshouldbeintelligentwithoutbeingordered. Colorofcoursecanbeanimageorasymbol,asisthepeacefulblueandwhite,oftencombinedwitholive drab,butthesearenolongerpresentinthebestart.Bydefinition,imagesandsymbolsaremadeby institutions.ApairofcolorsthatIknewofasachildinNebraskawasredandblack,whichabooksaidwas thefavoriteoftheLakota.InthecodicesoftheMaya,redandblacksignifywisdomandarethecolorsof scholars. ThepaintingofthegenerationinEuropeafterMondrianandMatissewasobscuredbyWorldWarII,as everythingcivilizedisobscuredbywar,whichisaconsequencedelightfultosoldiers,sothatthecontinuity andtheinnovationofthenewartwasnotconsidered.TheartistwhoespeciallydevelopedcolorwereOlle Baerling,whoalsodevelopedspaceinhissculpture,andRichardPaulLohse.IntheUnitedStates,where artisalwaysobscure,partlybecauseofthepermanentmilitary,inadditiontoAlbers,fromBottrop,and Reinhardt,therewasespeciallyAlJensen,formGuatemala,fromamongtheMaya.