Hey, a question for anyone who could be in the know? Looking over the frameworks (which is really helpful), there is all this color symbolism. Can anyone remember, that was all based off a text she found, right? She’s not making those up herself? Because it feels like a very different project depending on that. And does anyone know if there is any system for relating color symbolism to the shapes or materials?
Two for the floor, if anyone’s interested, both tangential:
1. Is symbolism useful in art today?
2. Do you think that art students should still be taught Greenberg? It’s certainly relevant to current art dialogue, but is it relevant to larger societal issues, or art’s role in the world today? Is the dialogue off-track? And if not, where would you start a contemporary art history course?
when i saw that color-symbol list, i was reminded of that symbols list at the beginning of A Heartbreaking Work of Staggering Genius. And that scene in A Mighty Wind where the couple starts talking about their homebrew religion based around color (WINC, i think it’s called).
i am enjoying this work and site, but it wants more time than i’ve been able to give it, so far. i’m digging the strange, mock-antiquated feel of how she’s putting a lot of it across.
I think I remember Anne saying in a lecture that she found the list (or a few lists) of colors and their meanings. I’m not 100% convinced that the list was “found” though. Either way, I think we’re supposed to assume that the list belongs to “Central Collective” rather than Anne Thompson.
Regarding Greenberg: I’m not his biggest cheerleader by any stretch, but I think it definitely has a place in Art education. Learning Greenberg seems critical to understanding the ideas/logic informing both Modernism and Postmodernism. At the very least, he is polarizing enough to generate some really interesting and worthwhile discussions.