The Pixel as a Facsimile of Josef Albers' Square

-

These pixel configurations are from Tom R. Chambers' "Digital Suprematism - Geometric Abstraction" project, and they are in keeping ... a facsimile ... with Josef Albers' "Square".

Albers' teaching methodology, prioritizing practical experience and vision in design, had a profound impact on the development of postwar Western visual art, while his book Interaction of Color, published in 1963, is considered a seminal work on color theory. In addition to being a teacher, Albers was an active abstract painter and theorist, best known for his series Homage to the Square, in which he explored chromatic interactions with nested squares, meticulously recording the colors used. In this rigorous series, begun in 1949, Albers explored chromatic interactions with nested squares. Usually painting on Masonite, he used a palette knife with oil colors and often recorded the colors he used on the back of his works. Each painting consists of either three or four squares of solid planes of color nested within one another, in one of four different arrangements and in square formats ranging from 406×406 mm to 1.22×1.22 m. (Wp)

Chambers is sure that Mr. Albers would have appreciated the pixel and its relationship to the various color fields (settings) that are revealed in his (Chambers) project.






























Comments

Post a Comment

Popular posts from this blog

MY DEAR MALEVICH (MDM)

-
Image
MY DEAR MALEVICH (MDM) This homage to Kazimir Malevich is a confirmation of Tom R. Chambers' "Pixelscapes" as Minimalist Art and in keeping with Malevich's Suprematism - the feeling of non-objectivity - the creation of a sense of bliss and wonder via abstraction. Chambers' action of looking within a portrait (photo) of Kazimir Malevich to find the basic component(s), pixel(s) is the same action as Malevich looking within himself - inside the objective world - for a pure feeling in creative art to find his "Black Square", "Black Cross" and other Suprematist works. And there's a mathematical parallel between Malevich's primitive square ("Black Square") ... divided into four, then divided into nine ("Black Cross") ... and Chambers' "Pixelscapes" . The pixel is the most basic component of any computer graphic, and it can be represented by 1 bit (a 1 if the pixel is black, or a 0 if t
Read more

BLACK SQUARE DISPLACEMENT - Utilization of Kazimir Malevich's Artworks, 1900-1914

-
Image
BLACK SQUARE DISPLACEMENT - Utilization of Kazimir Malevich's Artworks, 1900-1914. Kazimir Malevich's "Black Square" is utilized as a transformational zone to displace his artworks, 1900-1914. These artworks were created prior to his Suprematism and "Black Square". Malevich might approve of this treatment since he became bored with most, if not all, art movements and their creations. More than likely, he looked back on his early artworks ... including his Cubist experimentations ... in the same manner, and probably wondered why he had not reached the Suprematist state sooner. To displace is to move or shift into a new position or place, both in a concrete and in an abstract sense. This shift in the following "Black Square Displacement" images transforms Malevich's artworks into abstractions that go beyond the art movements ... Impressionism, Pointillism, Symbolism, Post-Impressionism, Cloisonnism, Art Nouveau (Modern), Fauvism, Naïve Art (Primi
Read more