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With Charmaine's feedback this morning 28/2, she suggested underwater, spatial themes to complement Rachel's audio.

(1 out of 2)

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With Charmaine's feedback this morning 28/2, she suggested underwater, spatial themes to complement Rachel's audio.

(2 out of 2)

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Jodhpur is fondly called the “Blue City” because many of the traditional housing (known as havelis) in the Old City are painted in shades of blue/indigo, with the belief that the colour helps to ward off both heat and mosquitoes. Scientifically, we’re not sure how effective that is, but visually and artistically, it makes a wonderful sight and a photographer’s dream come true.

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Rene Magritte

I thought this was quite interesting as a visual. It's like what we're trying to do? The idea of keeping a real thing that is not "naturally" supposed to be in the studio (aka the beach).

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ADJ H20 IR Effect Shot Blue Blue and White | Hawaiian Homecoming in 2019 | Pinterest | Water effect, Water lighting and Water

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ADJ H20 IR Effect Shot Blue Blue and White

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love-mind-matter:  Anna Veronica Janssens “Ripple” | A in 2019 | Pinterest | Art, Installation art and Water art

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love-mind-matter:  Anna Veronica Janssens “Ripple”

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Dip-Dyed Fingers - Black dip-dyed finger nail art designs have taken over the fashion world after designer Thom Browne debuted black tipped fingers at the 2014 New Yo...

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Daniel Gray

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Magdiel Lopez

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We've added some new functionality to the site, so that you can receive weekly email updates featuring the very best from the blog. To sign up to receive the new CR blog newsletter, simply enter your email address in the box on the right.

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Ambient sounds of large water bodies (if we need to use this, with Rachel's clips)

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Freesound - pack: beach North Sea by klankbeeld

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Freesound: collaborative database of creative-commons licensed sound for musicians and sound lovers. Have you freed your sound today?

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Free stock video of crashing, ocean, rocks

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One of many great free stock videos from Pexels Videos. This video is about sunset, water, waves.

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Free stock video of atmosphere, beach, grayscale

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One of many great free stock videos from Pexels Videos. This video is about waves, weather, wind.

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Free stock video of beach, nature, ocean

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One of many great free stock videos from Pexels Videos. This video is about seashore, shore, waves.

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The project by Matteo Pacella and Philippine Hamen showcase the name of 'new' elements incorporating to rebuild and enhance the purpose of the old.

The color blue was purposely used might be to link back to the origins of blue and how it was known to be a very high end color.

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[A Model]
Material (Polystyrene, Blue Foam)
Color (Intense Cyan Blue)
Purpose (bringing a different perception of the build space)

[OR]
Form (Constant Mutation)
Purpose (Demonstration of how color can transform the space)

[Point of View]
Ideation (Frustration/ A symbiotic act of a non-invasive intervention)
Purpose (To simply view the construction process restricted to the public)

[Prada's Men Catwalk]
Form (Simplicity and efficiency)
Ideation (organising as a "geometrically perfect field")
Purpose (Directional Flow & Visual Impact)

[Bluetube Bar]
Form (the continuity of a single element)

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I LIKE Blue

‘I Like’ is an original series on architecture and spatial intervention, developed in a collaboration between Canal 180 and award-winning atelier Like Architects.
A multicolored urban kaleidoscope that reveals some of the most amazing architectural interventions in the world, in a series of 11 episodes organized by color. ‘I Like’ color, chromatic experiments in a spatial exercise curated by Diogo Aguiar and Teresa Otto.

"I Like" é um programa original sobre arquitectura e intervenção espacial, desenvolvido numa colaboração entre o Canal180 e o atelier premiado Like Architects.
Um caleidoscópio urbano multicolorido, que desvenda algumas das mais surpreendentes intervenções arquitectónicas do mundo, numa série de 11 episódios organizados por cores. "I Like" color, experiências cromáticas em exercício espacial com curadoria do Diogo Aguiar e Teresa Otto.

You can find more episodes of ‘I Like’ here: vimeo.com/channels/ilikecolour
Produced by Canal 180: a TV channel based in Portugal focused on culture, art & creativity
canal180.pt/en/

Follow us @
facebook.com/canal180
twitter.com/canal180
vimeo.com/canal180

I LIKE Blue
Voice over: Rita Moreira
Editor: Ruben Monfort
Motion: Emanuel Lopes
Sound Design: AUAU Audio
Content Director: Nuno Alves
Executive Director: João Vasconcelos
Curated by LIKEarchitects: Diogo Aguiar and Teresa Otto

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Yves Klein- Artist who painted blue monochrome 

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Yves Klein- Artist who painted blue monochrome 

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Monochrome abstraction—the use of one color over an entire canvas—has been a strategy adopted by many painters wishing to challenge expectations of what an image can and should represent. Klein likened monochrome painting to an "open window to freedom." He worked with a chemist to develop his own particular brand of blue. Made from pure color pigment and a binding medium, it is called International Klein Blue. Klein adopted this hue as a means of evoking the immateriality and boundlessness of his own particular utopian vision of the world.

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I saw this link where it has different relationships of colour to others, like body, vision,science...
https://www.colormatters.com/color-and-marketing

I m still thinking of the proposed idea (which we may or may not continue ), there is one thing that I m thinking of is that blue doesn't plays a significant role in our proposed idea, as I can replace it with any other colour and it may works the same.

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What if we work with indigo as a material / Unique properties:
The indigo fades with time as a result of wear, but never loses its hue completely.

For example, a window shade.
Implementing the concept onto a place where the sun always hits, the opacity of the shade fades over time yet its main function never change, which is to provide shade.

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Swimming Pool by Leandro Erlich is an art installation with a permanent home at the 21st Century Museum of Art of Kanzawa, Japan. It has also had temporary installations at MoMAPS1 and the Venice Biennale.

Conceived in 1999, Swimming Pool allows visitors to look down into a seemingly full pool of water with fully clothed visitors walking around the bottom of the pool. From below, the blurry vision of looking up when underwater is recreated using a thin piece of glass with water running over top of it.

Complete with a climbing ladder, swimming pool is a fun and interactive installation that creates the illusion of being underwater whilst remaining completely dry.
[Sources: LeandroErlich.com, MoMAPS1, The Modern Artist, Bored Panda]

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The Swimming Pool Illusion by Leandro Erlich

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Swimming Pool by Leandro Erlich is an art installation with a permanent home at the 21st Century Museum of Art of Kanzawa, Japan. It has also had temporary installations at MoMAPS1 and the Venice Biennale. Conceived in 1999, Swimming Pool allows visitors to look down into a seemingly full pool of water with fully clothed visitors walking around the bottom of the pool.

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If we were to continue the concept of leaving the audience to interpret their own speculations... this could help us to brainstorm

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First thing that comes to your mind?
- Sea
- Sky
- Horizon

Keywords
Unreachable , Transportable , Strange , Exotic , Enchanting , Royal , Despair , Haunting , Unsettling , Liberating , Infinity , Suicide

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Vertical Submarine

Vertical Submarine is an artist collective consisting of three members, Fiona Koh, Joshua Yang and Justin Loke. The collective’s artworks are often societal commentaries, presented in a playful and interactive manner, whereby the viewer is invited to explore and uncover hidden meanings. The collective has won three awards since its formation in 2003, including the inaugural President’s Young Talents 2009 Credit Suisse Artist Residency Award. It has participated in local projects and exhibitions, including the Singapore Art Show 2007 and the annual Zouk event, Zoukout 2008 and 2009.

‘Paper Room’, one of the first collaborations by the three members, was created in response to a Land Art workshop conducted in Nanyang Academy of Fine Arts (NAFA) in 2003. The work is a record of their discussions leading up to the presentation of the work at the workshop. Resembling a production line, one of the artists records the discussion; the second types it out on a typewriter, on discarded office correspondences and documents, courtesy of NAFA; the third artist then pastes them on the wall, transforming the space.

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The idea of functionality is brought into question with the blue in porcelain lending it's iconic status as a backdrop.

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Chinese contemporary artist Li Xiaofang uses porcelain to make wearable art that pays homage to China's past while looking toward the future. Xiaofang takes hundreds of shards of porcelain, some dating back to the Song, Ming, and Qing dynasties, and puzzles them together into magnificent porcelain dresses. His wearable art acts as both a coat of armor and a sculptural masterpiece.

Xiaofang sews together the shards using thin metal wire, and each is lined with a leather undergarment. Looking at the artist's work, it's impossible not to marvel at the precision and care taken, not only to find the exact shapes to form the curves of the dresses, but also how the pattern and color of the porcelain are used to create new shades and silhouettes. But Xiaofang doesn't only limit himself to porcelain dresses, he's also experimented with creating suit jackets, pants, blouses, and even a military hat.

The Beijing-based artist has seen his work exhibited at the Metropolitan Museum of Art and has engaged in collaborations with fashion giants like Lacoste and Alexander McQueen. A visionary in his field, his work was by the rapid development engulfing Beijing. "These blue shards, bathed in the sunny skies of socialism and caressed by the contemporary cool breezes blowing from the west throughout the capital, assume a bewildering array of postures as fashion items entering the new century," the artist once stated. "These are the blue-and-white costumes! These emanate the splendor once crushed! These are the illusions flowing with sorrow!"

Li Xiaofang uses hundreds of porcelain shards to create wearable art that speaks to China's history while marrying it to the present.

My Modern Met granted permission to use photos by Red Gate Gallery.

Related Articles:
Artist Gives New Life to Shattered Porcelain Fragments By Fusing Them with Gold Ceramic Cups Melt Into Puddles of Patterned Porcelain 15+ Times Artists Fixed Broken Objects and Made Them Better Than Before Layered Ceramic Plates Produce Beautifully Unique 3D Scenes

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Artist Uses Hundreds of Shards of Chinese Porcelain to Create "Wearable" Art

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A look at the work a Li Xiaofeng, who creates wearable art out of hundreds of shards of porcelain. A pioneer of contemporary Chinese art, Xiofeng's porcelain dresses have been exhibited at the Metropolitan Museum of Art and he's collaborated with Lacoste and Alexander McQueen.

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Annie Leibovitz, Vogue Dec'2003

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Blue - Water - Endless Motion
Blue - Water - Ripples - Rough Blurred Texture

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Annie Leibovitz, Vogue Dec'2003

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Annie Leibovitz, Vogue Dec'2003

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The New Look, The New Lady

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Line of thread connecting our proposal idea

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Line of thread connecting our proposal idea

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Charmaine mentioned today, referencing how Group 2 has had an underlying theme: which is to enable the student population interacting with the space, to slow down (aka pausing amidst their busy lifestyles - which, is derived from their connotations of what blue signifies).

We did talk about the interactivity between engaging the student body which in turns, adds to the medium. Why? Perhaps this could be something we have identified subconsciously.

To confuse the senses? Or, could it be a space of sorts, to unload their anxieties onto, before moving on with their day?

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along the lines of security and comfort.... and like a massive quantity of these things to hug, hump etc.

also is it just me, or is something missing when people lie down on the frass? it just feels so...

OMG BOLSTER STAND AKA BIKE RACK - to spend time cuddling and what not

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The color of blue, being utilised as a means to signify security, and a comfort factor.

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I Never Kissed a Dog

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I kept thinking about how blue light is literally found on all electronic devices that we utilise in school and since the school doesn't have an area like this at the moment, would it be possible for us to create a space that is entirely void of blue light? Like a physica space that could be for students to disconnect?

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Smartphones have made it possible to keep in touch with anyone 24/7 whenever, wherever. The accessibility to stay connected has facilitated employees to fit work activity into times and places outside of the workplace. While the digital age has aided employees to become more responsive to work demands, ironically, it has also led to unethical behavior at work, cyberloafing, and work injuries. According to a soon-to-be-published study in the journal Organizational Behavior and Human Decision Processes, blue light from a smartphone's display screen can inhibit melatonin production, leading to a poor night's sleep, and a decrease in work performance the next day.

The electric lights that illuminate from smartphones, blue light, are believed to be disrupting the nightly release of the hormone melatonin - a sleep aid - while activating neurons that boost alertness. Blue wavelengths, boost attention, reaction times, and mood, but they are the most disruptive at night, according to the Harvard Medical School. The artificial light throws the body's biological clock - or, the circadian rhythm - out of sync, resulting in the deterioration of sleep quality.

Influenced by light, circadian rhythms have an average length of 24 and one-quarter hours. The daylight helps keep a person's body clock aligned with the environment. People who stay up late are more likely to have a slightly longer circadian rhythm, while those who are "early birds" fall below the 24-hour mark.

Christopher M. Barnes, Klodiana Lanaj, and Russell Johnson, a team of researchers at the University of Washington, have shed light on the effects smartphone use has on sleep and work engagement the next day. The researchers conducted two studies to observe if using smartphones after 9 p.m. would more negatively affect sleep, and in turn, leave people feeling tired in the morning, affecting their performance. They specifically wanted to see if employees who used smartphones to do a bit more work at night would ironically be more disengaged at work the next day due to lost sleep.

Eighty-two mid- to high-level managers were asked to complete multiple surveys per day for two weeks in the first study. The researchers conducted a "within persons" analysis, which means they compared each participant's daily data only to that person's own data on other days. The findings proved to be consistent with the researchers' hypothesis that late-night smartphone usage affected sleep, and as a result, made employees less engaged at work the next day.

In the second study, 161 employees were recruited from a variety of occupations, including both managers and non-managers, to complete the same set of surveys. However, the researchers added the addition of measures of late-night usage of TV, laptop computers, and tablets, according to the Harvard Business Review Blog Network. The harmful effects of smartphones on the participants' sleep and work performance were seen even after the researchers accounted for the other electronic devices. Smartphones were associated with the most powerful effects compared to the other devices.

"There are downsides to having employees use smartphones - direct ones for the employees and less direct but still troubling ones for workplaces. Smart managers will look for creative ways to minimize the problems without giving up the mutual benefits of smartphones," the researchers wrote in their blog post.

These two studies further support the American Medical Association's policy recognizing "that exposure to excessive light at night, including extended use of various electronic media, can disrupt sleep or exacerbate sleep disorders, especially in children and adolescents."

While it may seem impossible that employers will rely less on smartphones to communicate with their employees, Leslie Perlow, a Harvard professor, offers a possible solution. She believes employees should have a predictable time off, meaning they should agree that evenings and normal sleeping hours are the most important times to disconnect from smartphones. Doing so will allow employees to psychologically disengage from work and reduce their exposure to blue light.

Employers who wish to increase work productivity in the office can also become part of the solution. The authors of the study suggest for the creation of new norms as to when employees are expected to respond to work email and when they are not. Rather than having employees feel pressure to check their emails late in the evening, Barnes and colleagues believe employers should set a delivery delay such that it can arrive the next morning. "With this approach, managers who are traveling or working odd hours can still communicate at their convenience but minimize the negative effects on others," the researchers said.

Smartphone users are reminded to not let their devices decide when it's time for lights out.

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Why You Should Disconnect From Your Smartphone After 9 PM: Blue Light Blocks Melatonin, Leads To Poor Sleep And Work Performance

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Smartphones have made it possible to keep in touch with anyone 24/7 whenever, wherever. The accessibility to stay connected has facilitated employees to fit work activity into times and places outside of the workplace. While the digital age has aided employees to become more responsive to work demands, ironically, it has also led to unethical behavior at work, cyberloafing, and work injuries.

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The Cyanotype - Photographic Processes Series - Chapter 4 of 12

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For anyone who's ever had menstrual products marketed to them, whether on TV, the internet, or in magazines, one particularly vexing question has always been why companies represent menstrual blood with a weird, clinical blue liquid in period product commercials. Using something that looks like actual blood to stand in for menstrual blood has been, in every preceding decade of tampon and pad advertisement, as completely off-limits as full-frontal nudity. Recently, Libresse, a UK-based menstrual hygiene brand produced a campaign for Bodyform pads that featured not a blue liquid to demonstrate the product's absorbent properties, but a red one. This follows the innovation of Always in 2011, which debuted an ad in America showing (gasp!) a red spot on a pad. These may seem like a small step to take, but in the history of visual representation and menstruation in modern culture, it's an enormous one.

Discomfort about menstrual blood has deep cultural roots that have led to the use of mystery blue liquid in menstrual hygiene product commercials. In many ways, we're still carrying the consequences of ancient beliefs about menstruation and its "impurities", from Pliny the Elder's belief that it could spoil crops and kill bees, to medieval European myths that periods were a contaminant. Menstruating people throughout human history have been ostracized, regarded as unclean, and forbidden from access to areas as diverse as religious institutions and their own households. Period taboos continue to have strong holds worldwide; the existence of "period huts" in certain parts of Nepal, for instance, resulted in tragedy in 2016 when a woman forced to stay in a hut at a distance from her family home overnight while she was menstruating died of unknown causes.
BodyformChannel on YouTube
Menstrual blood isn't subject to the same taboos as other blood, as visual media in American history show. A medium level of bleeding from wounds has been a part of modern media without much comment for most of the 20th century. Menstruation, however, was so out of the question that it didn't even feature on the Hays Code list, or Hollywood's censorship bureau which was in effect from 1930 to 1968. Depictions and usage of menstrual blood in visual work have largely been the province of the art world since the 1970s, as female artists like Judy Chicago have tried to reclaim it and make it a respectable, powerful or even unremarkable substance, rather than an automatic taboo.

Menstrual blood tends to be classified alongside feces and urine as a human waste product that requires disposal, culturally speaking. Despite the fact that menstrual blood and tissue are entirely sterile until it comes out of the body, the products of menstruation continue to be considered dirty, hence the many, many euphemisms we use to refer to them.

If you look at the history of menstrual ads themselves in Western society, dating to the end of the 19th and beginning of the 20th century, using euphemisms is the order of the day. The first marketed products to help menstruating people were rubber aprons or bloomers, simply called " sanitary" products. The development of "sanitary" wording, which avoids any reference to menstruation, periods, or blood, continued for decades, from marketing to the sale of period products. Brands such as Kotex and Modess emphasized the discretion of their sale models: people could put money in a tin and take pads from boxes without needing to address a salesperson, or purchase pads "disguised" in wrapped boxes.

And that didn't change when television increased the reach of the advertising world. The trope of a menstrual product ad that never mentions or even alludes to "that time of the month," but rather shows women running worry-free while wearing white trousers, is a long-standing joke. Part of the reticence to actually show or mention menstruation came from America's long legal history of restricting "obscenity" in advertising, a Puritanical touch that resurfaced in 2016 with the furor over (relatively tame) THINX period underwear ads on the NYC subway. Under these laws, advertisers had to play on the right side of the line to avoid being banned or facing complaints.

It was in the 1990s that the "blue liquid" idea emerged in television advertising, to reflect both a changing landscape and a clash in ideology. After Courtney Cox, in a Tampax ad in 1985, became the first person to say "period" onscreen, American advertisers now felt capable of showing pads onscreen, but needed to balance the need to demonstrate the products' absorption with the audience's possible cultural disgust reflex at seeing any menstrual blood-like substance. Their solution? Blue liquid. As different commentators have noted, other color combinations - pink, purple, yellow or brown, even orange and green - have associations with different organic bodily fluids or functions. By contrast, blue is uniquely clinical and evokes cleaning products, like bleach or dishwashing liquid, emphasizing a sense of 'cleanliness' and hygiene rather than one of dirtiness (or even natural-ness). It could show absorption and create a sanitary atmosphere instead of reminding people about, well, blood. (A commenter on Feministing noted in 2008 that the tendency of diaper advertisers to also use blue liquid to stand in for urine led to some confusion about what pads were meant to "do" among her childhood male friends.)

The debut of liquid that bears resemblance to blood (it's still a sanitary red liquid, after all) in period product ads instead of inorganic, lab-brewed blue liquid represents a new point in a long journey of de-mystifying and re-imagining menstrual flow. At the end of the day, menstruation happens to a full half of the population once a month - we need to accept that it's not dirty. And frankly, that blue stuff looks a lot more alarming than blood itself.

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This Is The Actual Reason Pad Commercials Use That Weird Blue Liquid

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For anyone who's ever had menstrual products marketed to them, whether on TV, the internet, or in magazines, one particularly vexing question has always been why companies represent menstrual blood with a weird, clinical blue liquid in period product commercials.

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As the story goes, Yves Klein 's love affair with the color blue began when the artist was seduced by the deep cerulean skies of the French Mediterranean. "He was obsessed by the luminosity of the blue sky in Nice," Daniel Moquay, the manager of Klein's archive and second husband to Klein's widow Rotraut Klein-Moquay, told me over the phone from France. "He tried to have a blue as powerful as this." For Klein, color-particularly the most vivid shade of blue-represented a kind of freedom, an antidote to what he saw as the restrictive limits imposed by lines.

Color enabled viewers to "bathe in a cosmic sensibility," Klein said. He would sometimes refer to the literary critic and philosopher Gaston Bachelard, who wrote: "First there is nothing, then there is a deep nothing, then there is a blue depth." Discovering, in collaboration with a chemical retailer, a polymer binder that could fix his blue pigment so that it didn't lose any of its intensity on the road to becoming paint, Klein dubbed the shade International Klein Blue (IKB) and set about making objects of various forms with it: textured canvases, sculptures composed of sea sponges soaked in pigment, horizontal fields of the powdery blue substance.

Although he called his blue canvases "monochromes," and they were indeed cast in a single color, it was the rich variations of effect these works create when you sit with them for a while that interested Klein, according to Dominique Lévy, the dealer of his estate in North America. They are an "opening to the infinite possibility," she says. "It's about all the light and all the color depending on how you place yourself, how you position yourself."

Blue is also inexorably associated with Klein because it was a likely cause of his untimely death from a heart attack in 1962, when the artist was just 34 years old. "He got lucky because there was a new chemical, a paste which didn't change the pigment, but really gave the pigment the richness of it and nothing else," Moquay says of Klein's pigment fixer. "What he didn't know was that those types of chemical were difficult to breathe." He cites Niki de Saint Phalle as another French artist who suffered from using plastics.

Yet Klein was a much more complex, controversial, and often contradictory figure than this singular legacy suggests. To focus exclusively on his blue objects, for instance, would be to miss what was for many his most preposterous work: "The Void," a 1958 exhibition in which he presented the empty interior of a gallery and nothing else. "People thought it was a joke," Moquay says. "But the void is something extremely important." Klein also made abstract reliefs of planetary surfaces; compositions using fire, for which he burned his canvases with flames; and his "Anthropometry" performances, in which nude female performers covered themselves in blue paint and imprinted their bodies onto white canvases in front of live audiences. He was also a lover of pink and gold (evoking the gold and rosy cross of Rosicrucianism, a faith that Klein felt a strong affinity to, alongside his received Catholic faith).

"The Void," in particular, conveys something of Klein's interest in Eastern philosophy, cultivated during an early trip to Asia when he trained to become a master of judo, his first love. A concern with emptiness and the disavowal of the self-central tenets of Zen Buddhism-pervades many of his works, not least his Monotone-Silence Symphony (first performed in 1960), a performance in which an orchestra plays a single note for 20 minutes, followed by a 20-minute period of silence, to a large audience. Remarkably, despite the resonance with John Cage's 4'33" (1952), there is little evidence to show the two artists were aware of each other.

"People ask why we don't put it on the internet," says Moquay of Klein's symphony. "We're not talking only about the song, we're talking about the silence. It's really something-to be with a community for 20 minutes of very deep silence. When you get to 10 minutes, when you have saliva going through your throat, it makes a noise. Suddenly you are meditating with hundreds of people."

For Lévy, Klein's monotone sounds relate to his monochrome compositions in the way that they call on listeners and viewers to find the nuances and variations in a single note or hue. "When you hear all these instruments playing, you forget that it's a monotone," she says. She sees in Klein's work resonances with today's obsession with transcendental meditation, which is based on 20-minute periods of silent introspection. "I see how relevant he is today because of his atemporality," she says. "It's nothing to do with the self. His work is much more existential, sublime, meditative."

Yet for all of Klein's interest in the selflessness of Eastern philosophies, and his explicit advocacy of artists moving away from art as self-expression, it's hard not to read a certain egotistical flair in the branding of a shade of blue with his name. Moreover, there is a muscular virulence to the way Klein talked about his work. He referred on several occasions to his role as an artist in inseminating the world with his sensibility. When the Russian cosmonaut Yuri Gagarin described the earth's blueness as seen from outer space, Klein declared that he had saturated the whole globe with I.K.B. His blue sculptures, he said, were portraits of the viewers who, "having voyaged in the blue of my pictures, return totally impregnated in sensibility, as are the sponges."

The use of nude female models as sensual instruments in his "Anthropometry" performances has also provoked feminist criticism, though one of his models reported that she was respectfully treated throughout and was honored to participate in the work. The performances can arguably be read not as action paintings in which women become passive instruments, but as performances in which creator (in this case Klein's female performers), artwork, and audience become one. "Bodies transcend bodies," Lévy says. "They're more about abstract shape."

One can see how Klein-with his interest in the perfect gestures of judo, his devotion to the Christian faith (with its belief in the sacrament as a form of worship), and his concern with Eastern philosophies-came to insert real human bodies into his work. "Judo helped me to understand pictorial space and the discovery of the human body in a spiritual space," Klein once said. In his short career, however, Klein would begin to move away from the physical realm altogether. While his intense blue canvases with their curved edges were intended to disappear or recede into space-an effect that has prompted some to consider Klein a forerunner to James Turrell-his "Immaterials" did away with the object entirely.

When Klein traveled to America in 1962, he gave an "Immaterial" to the artist Ed Kienholz, who later wrote about the work and his meeting with the French artist. "An Immaterial is a very difficult work," he wrote. "In its final distilled aspect, it is probably pure art because nothing physical exists." Klein would collect money from the buyer of an "Immaterial" in exchange for a receipt. Klein, as Kienholz has it, "would then divest himself of the money by 'throwing the gold,' which meant actually...dropping it in the ocean from a boat, etc. The buyer-collector then completed the gesture by burning the receipt so that artist and owner each had nothing but the art experience."

Klein would pass away later that year, before throwing Kienholz's gold, but his widow Rotraut would complete the "Immaterial" on behalf of her late husband. Klein's disavowal of the physical world-and his early departure from it-would ultimately become crystallized in his image Leap into the Void, a manipulated photo shot by Harry Shunk in 1960, in which the artist appears to take a triumphant dive off the side of a building into empty space. The image was distributed around Paris on the cover of a fake newspaper.

Whatever you make of Klein-mystic or self-marketer, visionary or trickster-he was a passionate and bold artist, who helped to break down the division of art and life. And as Peter Schjeldahl has pointed out, he kept Paris on the art-world map at a time when the center of gravity had shifted to New York. He "rescued French art from an insular preciousness into which, but for the brawn of works by Jean Dubuffet, it had sunk after the Second World War," Schjeldahl writes.

While Japanese collectors and museums have displayed a strong interest in Klein's work, U.S. interest is relatively behind, Lévy claims. "He's not yet completely understood," she says, "especially the magnitude of his revolution. He worked with performance and sound before a lot of American artists." She cites David Hammons as one of many contemporary artists who have been influenced by Klein.

It is perhaps the great irony of his legacy that Klein has become associated primarily with a material pigment, when he was concerned first and foremost with cosmological space-the experience of Earth's expansive blue sky. "He is not a painter," Moquay says. "He is someone who had a vision of life that is completely different. It takes time for you to realize and you agree that why not-maybe he is right. Maybe we do not live our daily lives exactly as we should."

All artworks © Yves Klein.

Jenna Gribbon, Luncheon on the grass, a recurring dream, 2020. Jenna Gribbon, April studio, parting glance, 2021. Jenna Gribbon, Silver Tongue, 2019

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Yves Klein's Legacy Is about Much More Than Blue | Artsy

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As the story goes, Yves Klein 's love affair with the color blue began when the artist was seduced by the deep cerulean skies of the French Mediterranean. "He was obsessed by the luminosity of the blue sky in Nice," Daniel Moquay, the manager of Klein's archive and second husband to Klein's widow Rotraut Klein-Moquay, told me over the phone from France.

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This is an example of a product that blocks your identity from facial recognition.

“Facial Weaponization Suite
protests against biometric facial
recognition–and the inequalities
these technologies propagate – by
making “collective masks” in
workshops that are modeled from
the aggregated facial data of
participants, resulting in amorphous
masks that cannot be detected as
human faces by biometric facial
recognition technologies.”

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Facial Weaponization Suite protests against biometric facial recognition-and the inequalities these technologies propagate-by making "collective masks" in workshops that are modeled from the aggregated facial data of participants, resulting in amorphous masks that cannot be detected as human faces by biometric facial recognition technologies. The masks are used for public interventions and performances.

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International intellectual movement, which was centred mainly in Paris and occupied with the problems of thought and expression in all their forms. The Surrealists perceived a deep crisis in Western culture and responded with a revision of values at every level, inspired by the psychoanalytical discoveries of Freud and the political ideology of Marxism. In both poetry and the visual arts this revision was undertaken through the development of unconventional techniques, of which Automatism was paramount.

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Artistic and literary movement launched in Zurich in 1916 but shared by independent groups in New York, Berlin, Paris, and elsewhere. The Dadaists channelled their revulsion at World War I into an indictment of the nationalist and materialist values that had brought it aboutThey were united not by a common style but by a rejection of conventions in art and thought, seeking through their unorthodox techniques, performances, and provocations to shock society into self-awareness. The name Dada itself was typical of the movement’s anti-rationalism.

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"Out of the Blue" by Olivier Lamboray