Color Plates

Color Plate A

No. 1. Joseph Scanlan, Pay Dirt, post-consumer data, dimension varies (3 tons) installation at Ikon Gallery, Birmingham, U.K., 2003. Scanlan patented a "Plant growth medium," which he displays in an art context in various configurations, including in potting-soil commercial packaging. (See article by Robert Thill.)

© Joseph Scanlan. Photo © Chris Webb and Ikon Gallery

No. 2. Wolfgang Strauss and Monika Fleischmann, the Interaction field of Energy_Passages, Feldherrnhalle/Odeonsplatz München. Visitors' movement reveals portable sonic data and visual echoes on-screen.

© Wolfgang Strauss and Monika Fleischmann

No. 3. Franc Solina, a pop-art portrait generated by the installation 15 seconds of fame.

© Franc Solina

Color Plate B

Katherine Lubar. No. 1: Shapes, acrylic on panel, 2001. The color intervals constitute a minor 2nd. No. 2: Morning, acrylic on panel, 2000. These color intervals would normally equate to a minor 2nd, but because of the strong contrast in tone, they could be perceived as a major 7th. No. 3: Lamp, acrylic on wood, 2001. The color interval here works as a minor 3rd. No. 4: Light through the Window, acrylic on canvas, 1999. A major 3rd combination. No. 5: Light in Corridor, acrylic on panel, 2000. The pink operates as a red and is a perfect 4th away from the turquoise. The red-orange of the background is a minor 2nd from the pink/red. No. 6: Double Window, acrylic on panel, 2002. This is not an exact tritone, but is very close. No. 7: Purple Wall with Yellow Light, acrylic on panel, 2002. The perfect 5th is one of the highest consonances in both music and color. No. 8: Bright Day, oil on canvas, 1998. If we apply the wavelength method of determining the starting color of this "chord," we have orange-red—yellow—blue, which equates to a minor triad. However, if we use the tonal method, we would get blue—yellow—orange-red, a traditional major chord.

All images © Katherine Lubar