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I like film...(open thread)

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Malevich Transparent Cross
M-A APO 50 & Thambar-M   E100
Philip's argument on Josef Albers and ethics, well-taken, sent me back to reconsider Malevich's iconic Black Cross (1915) from the perspective of Albers's transparency of opaque colors.

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3 hours ago, Ernest said:

Tab Timeline
M-A APO 50  E100 & ADOX Color Implosion
Lightening up with a little Kandinsky melody.

Melodious is most definitely the word here. Stravinsky-like, with even a hint of jazz thrown in. A wonderful progression in your plays of transparency and your examinations of the Albers method. This is sublime.

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45 minutes ago, stray cat said:

Melodious is most definitely the word here. Stravinsky-like, with even a hint of jazz thrown in. A wonderful progression in your plays of transparency and your examinations of the Albers method. This is sublime.

 Fun! They capitalized on white in compositions:  Malevich, Kandinsky, and Albers, for starters.  The audacity of white on white in Malevich’s White Square (1918).  The whole Suprematist scheme to launch abstract painting.  What is ironic in my color study is that it reads “abstract,“  but the color fields are common surfaces with texture.  Klaus clued me into a Liesbrock book Josef Albers in America: Works on Paper,  which will arrive tomorrow.   One significance of the work on paper is that it allowed Albers to use color without brushstrokes on canvas. I had a chance to see four Albers paintings on canvas at the Los Angeles County Museum of Art six weeks ago, and I paid particular attention to his brushstrokes: very subtle, emphasizing the color, which was particularly vibrant.  I was hoping that you would pick up on this Tab Timeline in terms of musical notation because I thought that the colors looked more like a  sheet of music,  pairing music and photography as you have mentioned in the past. I can only imagine how Trent Parke’s The Black Rose would play with a film score.  We can only shudder at the thought of Night and Fog directed by Resnais  without Hanns Eisler’s music. 

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Oh my, oh my, so well done, Rog. I, being as usual ignorant of most things, had never heard of Malevich. Now I am completely hooked so thank you for this take on his Black Cross and sending me in his direction. I read that Malevich felt that the cross symbolised decision, similar to standing at a crossroads deciding where to go. Black and white resonate with me and probably many of you as symbols of good and evil, the ups and downs in life, the Jin and Jang etc. So a black cross or intersection seems to me to speak of a difficult choice, one so complex and severe that one may wish that there were another way instead of only right-left and back-forward. Your Transparent Cross, to me, shows this other way because it implies a third dimension. It is as if we're viewing not a cross but a cubist pyramid from above. And if that is true, well then there actually is such another option. Think outside the box and rather than fall down a rabbit hole, climb up, up away from the harsh reality of the two-dimensional crossroads and see where you go :D

17 hours ago, Ernest said:

Malevich Transparent Cross
M-A APO 50 & Thambar-M   E100
Philip's argument on Josef Albers and ethics, well-taken, sent me back to reconsider Malevich's iconic Black Cross (1915) from the perspective of Albers's transparency of opaque colors.

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