Jamie Banks
@jamiebanks_1
Jamie Banks
It harkens back to the early days of the web when people had fewer notions of how websites " should be .”
from A Brief History & Ethos of the Digital Garden by Maggie Appleton
Modernism and
Kandinsky’s paintings from this time are huge, emotive colored masses that are judged independently of shapes and lines; these no longer serve to delimit them, but instead, overlap freely to produce paintings of tremendous energy.
from Wassily Kandinsky - A Portrait of Kandinsky the Artist by Art In Context
“The keyboard is color, the eyes are hammers, and the heart is a piano with several strings. The musician is the hand that plays, feeling one note or another in order to create vibrations in one’s soul.”
from Wassily Kandinsky - A Portrait of Kandinsky the Artist by Art In Context
The houses and churches were painted with such glittering colors that he thought he was inside a picture when he entered them.
from Wassily Kandinsky - A Portrait of Kandinsky the Artist by Art In Context
He would subsequently reflect on this encounter: “The brochure advised me that it was a haystack. I had no idea what that was. This non-recognition was excruciatingly distressing for me. The painter, in my opinion, had no right to depict incoherently. I had a distinct impression that the painting’s subject was absent. And I was surprised and perpl
... See morefrom Wassily Kandinsky - A Portrait of Kandinsky the Artist by Art In Context
Kandinsky the painter believed that the aim of art was to transmit the artist’s uniqueness and inner vision, which necessitated the elevation of objective reality.
from Wassily Kandinsky - A Portrait of Kandinsky the Artist by Art In Context
The scene might call to mind a time gone by, the passage of time, and our eventual decay. But what if you shifted your focus from the barn to the background—the field, the hills beyond. What might you see? What might you learn?
Perhaps you’d notice how the native vegetation took over the fallow field in the first ten years, and the new species of tr
... See morefrom Learning How to Un-See — Cliff Guren by Cliff Guren
But eventually I stumbled upon a trick: I would draw instead the outline of the negative space around it. Though I couldn't have articulated it at the time, what this method did was improve the quality of my looking. I would never be able to get away from my preconceptions about what an arm or a leg looks like, but the shape formed by its negative
... See morefrom Learning How to Un-See — Cliff Guren by Cliff Guren
But learning how to think with visual information (not just react to it) requires a different way of seeing, one that enables you to pause the instinctual labeling and stereotyping of the visual images you’re processing and see the individual elements in the image
from Learning How to Un-See — Cliff Guren by Cliff Guren