The starting point for Cruz-Diez´s chromatic investigations is the unstable nature of colour. His work combines colour theory, science, kinetics, mechanical engineering, and the painter´s craft, and it defies easy categorization.
For more than five decades, Carlos Cruz-Diez (born 1923) has experimented intensively with the origins and optics of colour. His wide-ranging body of work includes unconventional colour structures, light environments, street interventions, architectural integration projects, and experimental works that engage the response of the human eye while insisting on the participatory nature of colour.
http://www.mfah.org/exhibitions/past/carlos-cruz-diez-color-space/
Carlos Cruz-Diez: Colour in Space and Time features more than 150 works created from the 1940s to today, including paintings, silk-screen prints, and innovative chromatic structures; room-size chromatic environments, architectural models, and videos; and a virtual re-creation of the artist´s studio. The exhibition introduces international audiences to Cruz-Diez´s extensive production and places his theoretical and artistic contributions to 20th-century Modernism in a broader context than they have traditionally been seen.
This exhibition was organized by the Museum of Fine Arts, Houston, and the Cruz-Diez Foundation, Houston.
February 6, 2011
- July 4, 2011
Carlos Cruz-Diez: Color in Space and Time Virtual Tour from Carlos Cruz-Diez on Vimeo.
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Carlos Cruz-Diez: El color en el espacio y en el tiempo at Museo Universitario Arte Contemporáneo - MUAC in Mexico City runs until February 10, 2013.
Sharon Waxman discusses questions of ownership of cultural objects and reads from new her book, Loot: Stolen Treasures of the Ancient World.
Why are the Elgin Marbles in London and not on the Acropolis? If such stunning art objects have admittedly come to Western museums through the heavy hand of 19th century cultural exploitation, do these museums have an ethical responsibility to return them? What if such return harmed these objects because their home country is too poor to maintain, house and protect? What ethical standards should Western museums follow when they obtain art objects from Third World countries? Sharon Waxman addresses these questions and presents her book, Loot: Stolen Treasures of the Ancient World.
Why are the Elgin Marbles in London and not on the Acropolis? If such stunning art objects have admittedly come to Western museums through the heavy hand of 19th century cultural exploitation, do these museums have an ethical responsibility to return them? What if such return harmed these objects because their home country is too poor to maintain, house and protect? What ethical standards should Western museums follow when they obtain art objects from Third World countries? Sharon Waxman addresses these questions and presents her book, Loot: Stolen Treasures of the Ancient World.
