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Whitescapes by David Batchelor

In aesthetics, art, literature, philosophy, poetry, society, space on September 8, 2012 at 19:19

 

From: Whitescapes by David Batchelor, Cabinet Magazine, http://cabinetmagazine.org

To mistake the colorful for the colorless or white is nothing new. However, it is one thing not to have known that Greek statues were once brilliantly painted, it is another thing not to see the color when it is still there. This seems to speak of a different psychological state, of a different level of denial. Not perceiving what is visibly there: psychoanalysts call it negative hallucination. But we have to tread carefully here, and we should be especially careful not to get drawn into seeing color and white as opposites. White was sometimes used in Minimalism, but it was mostly used as a color and amongst many other colors. Sometimes it was used in combination with other colors and sometimes it was used alone, but even when used alone it remained a color; it did not result, except perhaps in LeWitt’s structures, in a generalized whiteness. In these works, white remained a material quality, a specific color on a specific surface, just as it always has done in the paintings of Robert Ryman. Ryman’s whites are always just that: whites. His whites are colors; his paintings do not involve or imply the suppression of color. His whites are empirical whites. Above all, his whites are plural. And, in being plural, they are, therefore, not “pure.” Here is the problem: not white; not whites; but generalized white, because generalized white, whiteness, is abstract, detached, and open to contamination by terms like “pure.”

Read the essay

Reposted with permission from: Cabinet Magazine

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