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Colors / Ash by Meghan Dailey

In aesthetics, languages, philosophy, religion, theory on May 29, 2013 at 22:34

From: Colors / Ash by Meghan Dailey, Cabinet Magazine, http://cabinetmagazine.org

The identity of ash as a color is questionable. Ash is not ashen—drained of color—but variously gray, whitish, black-like, flecked, dirty, streaked. It can be steely and cold, or the harsh, smoky yield of raging flames. Intangible, abstract, but also very much there, even if only in trace form, ash is an absolute result. Elsewhere, ash is a mood. It speaks of melancholy, New England maybe—turning leaves on ash trees under overcast skies in damp autumn air, that sort of thing. Ed Ruscha’s drawing Ash (1971), rendered in gunpowder and pastel, perfectly crystallizes its valences and free–floating (literally) signification. For Ruscha, words are ever the stuff of extended reflection, of puns and hidden meanings, presented as plain as day. I like to think that he must have enjoyed the particular convergence between word and medium (a combustible substance in its pre-asheous state).

One can experience ash by wearing it. The LL Bean catalog sells “Bean’s Sloggs,” an outdoor shoe available in color ash as well as color black, and also some men’s casual trousers in ash—just one among many barely distinguishable neutrals the company offers: taupe, beige, moss, peat, stone, timber, fatigue. The clothing and colors signify the outdoors, and are situated and named as part of nature’s continuum. But peat and stone are going to outlive the whims of consumer taste.

Read the essay

Reposted with permission from: Cabinet Magazine

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