Warren Neidich

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Rainbow Brushes (2008)

  • Each Rainbow Must
  • After Peter Paul Reubens 1636
  • Each Rainbow Must
  • Each Rainbow Must | Detail
  • Each Rainbow Must Retain the Chromatic Signature, It... | Installation Shot
  • After Jackson Pollock 1953
  • After John Everett Millais 1856 #2
  • After Anonymous 1430-1440, Jacob von Ruisdale 1670, Anonymous 6th Century
  • After Anonymous 1430-1440
  • Jacob von Ruisdale 1670
  • Anonymous 6th Century
  • After John Everett Millais 1856 #2 | Performative pull acrylic paint on paper | 36,5 x 37,5 cm
  • Each Rainbow Must Retain the Chromatic Signature, It... | Installation Shot
  • After Ellsworth Kelly 1990 Diptych
  • After Jackson Pollock 1953, J.M.W. Turner 1831-1835 | 106 x 106 cm, 2008
  • After Franz Marc 1913, Hans Memling 1474-1479, Carl Gustav Carus 1832 Diptych
  • After Franz Marc 1913, Hans Memling 1474-1479, Carl Gustav Carus 1832 Diptych
  • After J.M.W. Turner 1833-1835
  • After J.J. Scheuchzer 1731
  • After William Bradford 1877
  • After after J.J. Scheuchzer 1731
  • After John Everett Millais #2 1856
  • Installation View, Yeosu Biennial Korea
  • Installation View, Yeosu Biennial Korea
  • Installation View, Yeosu Biennial Korea
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Each Rainbow Must Contain the Chromatic Signature, it..., Magnus Müller Gallery, Berlin, Germany, 2008
Acrylic on paint brush, three framed color crayon on paper | Paintbrushes: 31,2 x 32,8 cm

Rainbow Brushes (2007-08) consists of a series of thirteen and fifteen-inch paintbrushes that have been made through an action the artist refers to as "Performative Pulls". The colors found in a section of a rainbow that appears in an already existing painting in the history of European Art are first matched on paper with acrylic paint. For instance, the work entitled After Peter Paul Rubens, 1636, was made from the rainbow found in Ruben's painting Rainbow Landscape, 1636-1638. The paper is laid flat on the ground and a brush is pulled through it, leaving its traces or afterimage on the bristles. The brush is then hung on the wall. According to the science of optics, a rainbow is a physical phenomenon made up of seven colors arranged in a specific order. However, painted rainbows from different periods in art history appear quite different as they express the varying cultural and experiential circumstances under which they were created. These same changing conditions are reflected in the construction of the mind of the artist. Therefore, the representation of each rainbow is the result of the projection of this mind upon the canvas, which acts as a screen illuminated by that particular condition of the mind. The installation of these brushes highlights these differences and expresses the history and cumulative affects of cultural history on the mind as represented through the optics of art history.

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