bookmark: sofia borges

Posted on Posted in art biz, The Biz, Theory: narrative

all the standard spaces reviewed the work… that is expected for a Mack publication.

from mack: https://www.mackbooks.us/products/the-swamp-br-sofia-borges?

>> In 2016 Borges wan the British First Book Award with her full authorial (works, poems, text and graphic design) and first book: THE SWAMP

The award announcement and official launching by Mack happened at PhotoLondon 2016, together with a solo show of the artist. With an edition of 1.000, the book got officially sold out a few months after.

AND >> Lives and works in New York City, USA.
Born 1984 in Ribeirão Preto, Brazil.

Sofia Borges is a conceptual artist who uses photography, assemblage and performance to delve into philosophical questions surrounding the artifacts of culture, in special the museological object, and their relation to matter, to the transmutation of the meaning of that matter throughout time, and to being, consequently, intricate and liquid manifestations of culture [ she wrote; i quote ]

NOTED: https://sofiaborges.carbonmade.com/projects/5908812

her words..

Leaf & Frank +

Posted on Posted in art stuff, book shelf, studio table, visual mindTagged , ,

Robert Frank ( November 9, 1924 – September 9, 2019 ), June Leaf  (August 4, 1929 – July 1, 2024) 

success feeds through interaction . it’s a very fortunate artist who gets to share their life fully with another .

steidl’s ink factory –One form of the atelier. [ g-d couldn’t spell-find ] Home to book forms of both Robert Frank and June Leaf. August 2026 that is changing — [ jul16 steidl news ]

The group can be small, but it must be . In an ideal artworld every0ne is an artist. Your daily minimums are fullfilled by nearest. The scroll unrolls — you mark out portions with increasing fluency. 

The days when the group was a photo lab are gone. The print dryer doesn’t exist. 

work unrolls — The harder part of working is finding others to work with not on your work but on the work they make  that  makes your work .. their work amplified their life.. The coral reef.

Worlds, manners of stimulation — tiktoking between observation and conception — construction and marshalling. 

Steady-state studios over decades in New York and Mabou proved art accumulates within a space. Physical memory. Leaf: “I have discovered that thought is infinite” 1975 — “It is impossible to do the same story every day.” She worked daily, relying upon visual intuitions, much like Robert. Her first training was physical as a ballet dancer. “When I see a drawing it’s like a locomotive or something powerful into which I just put back the machine.” Along her craft path, she learned and built a forge. She builds her drawings/paintings as sculpture. As if forging a multipart art world.

Art has no singularity — all is wireframe. The lucky live within an accepting world that nourishes … Artists do more when living with other artists … 

Fn,  [own] because of so many uses of “hyper-personal” use by Foster. Master’s degree in 1991 from Brown University.[Looking closely and nudging others toward a shift in perception have become life’s work for Foster ] ~b. 1965

synthesis over analysis

Posted on Posted in as written, book shelf, Theory, webionaire

Harris Shutter.

  1. Clarkson ME, Vickerstaff T (1948) Brightness and hue of present-day dyes in relation to colour photography. Phot J 88b:26Google Scholar
  2. Drew JT, Meyer SA (2008) Color management: a comprehensive guide for graphic designers. RotoVision SA, SwitzerlandGoogle Scholar
  3. Foley JD, van Dam A, Feiner SK, Hughes JF, Phillips RL (1997) Introduction to computer graphics. Addison-Wesley, ReadingzbMATHGoogle Scholar
  4. Gatter M (2004) Getting it right in print: digital pre-press for graphic designers. Laurence-King Publishing, LondonGoogle Scholar
  5. Hunt RWG (2006) The reproduction of colour, 6th edn. Wiley, ChichesterGoogle Scholar
  6. Maloney LT (1986) Evaluation of linear models of surface spectral reflectance with small numbers of parameters. J Opt Soc Am A 3(10):1673–1683CrossRefGoogle Scholar
  7. Morovic J (2008) Color gamut mapping. Wiley, ChichesterCrossRefGoogle Scholar
  8. Sharma G (2002) Digital color imaging handbook. CRC Press, Boca RatonCrossRefGoogle Scholar
  9. Westland S, Ripamonti C (2004) Computational colour science using MATLAB. Wiley, ChichesterCrossRefGoogle Scholar

Color vision is based upon the responses of three classes of cones in the retina, each of which has broadband sensitivity but maximum sensitivity at different wavelengths. A consequence of this is that color reproduction is trichromatic – the use of three primaries allows a wide range of colors to be reproduced. Color-mixing behavior can be broadly classified as either additive or subtractive. The optimum primaries of the subtractive color system are cyan, magenta, and yellow. The use of cyan, magenta, and yellow subtractive primaries allows a surprisingly large – albeit limited – gamut of colors to be reproduced. In practical printing systems, black is also used so that CMYK is ubiquitous in printing. Extended gamuts can be achieved using more than three or four primaries and systems based on six or more primaries are becoming quite common. https://link.springer.com/referenceworkentry/10.1007%2F978-3-319-14346-0_13

  1. 1Chandler, A. R., “Beauty and Human Nature” (New York: Appleton-Century-Crofts, 1934).
  2. 2Allesch, G. J. v., Psychol. Forsch., 6, 1 (1925).
  3. 3Spearman, C., “Creative Mind” (London: Nisbet, 1930).
  4. 4Ishihara, S., “Tests for Colour-Blindness” (London: H. K. Lewis, 1948).
  5. 5Rabkin, E. B., “Polychromatic Plates for Testing Colour Vision” (Ukrainian Hirschman Ophthalmic Institute, 1939).
  6. 6Farnsworth, D., J. Opt. Soc. Amer., 33, 568 (1943).
  7. 7Kendall, M. G., “Rank Correlation Methods” (London: Griffin, 1948).
  8. 8Clarkson, M. E., Davies, O. L., and Vickerstaff, T., “Colour Harmony” (I.C.I. Pub., 1950).
  9. 9C.R. Comm. Inter. de l’Éclairage (Cambridge: Cambridge University Press, 1931).
  10. 10Moon, P., and Spencer, D. E., J. Opt. Soc. Amer., 34, 234 (1944).
  11. 11Birkhoff, G. D., “Aesthetic Measure” (Cambridge, Mass.: Harvard University Press, 1933).
  12. 12Littlejohns, J., J. Roy. Soc. Arts, 81, 592 (1933).
  13. 13Munsell, A. H., “An Introduction to the Munsell Color System”. In “A Grammar of Color” (Mittineague, Mass.: Strathmore Paper Co., 1921).
  14. 14Moon, P., and Spencer, D. E., J. Opt. Soc. Amer., 34, 93 (1944).
  15. 15Eysenck, H. J., Brit. J. Psychol., 31, 94 (1940).
  16. 16Graves, M., “Design Judgment Test Manual” (New York: The Psychological Corporation, 1948).
  17. 17Eysenck, H. J., Amer. J. Psychol., 54, 385 (1941).
  18. 18Eysenck, H. J., “The Scientific Study of Personality” (London, Routledge, 1952).

US5679141A [patent for magenta]