V. Some people are working in digital. I think a lot of people are making digital prints, that’s for sure. Its Bill Brandt that made it very clear. He said it’s really the results that count. There are cycles of color popularity. You can see this easily with products such as home furnishings and clothing. For a while, hunter green or mauve will be the popular color, then the trend will shift. An interesting trend I have noticed recently is the use of Web color in television advertising.
Color trends can be used to add appeal to a site and can also be used to represent a period of time. You can take your site visitors back to the 60’s with avocado or fluorescent colors. Turquoise and yellow are reminiscent of the 50’s. Sepia tints denote times of long ago. One final thought though, good color choices are appealing outside of any trend. Hanna, Marta, Canadian museum of Contemporary Photography, Ottawa, an exhibition catalog “Evergon 1971-1987”, 1988 (2) Peter Max is a multi-dimensional creative artist.
He has worked with oils, acrylics, water colors, finger paints, dyes, pastels, charcoal, pen, multi-colored pencils, etchings, engravings, animation cells, lithographs, serigraphs, silk screens, ceramics, sculpture, collage, photography, video, xerox, fax, and computer graphics. He loves all media; even including mass media as a “canvas” for his creative expression.Fisher, Hal, Gay semiotics, a photographic study of visual coding among homosexual men, published 1977 http://www. queerculturalcenter. org Solomon-Godeau, Abigail, “Photography after Art Photography”
Manguel, Alberto, “Reading pictures: ahistory of love and hate”, 200, Alfred A. Knopf, Canada Sharpe, Debora T, “The psychology of color and design”, 1974, Fith Printing, NY 1980 Evergon, Artist’s Statement written for an Ontario Arts Council grant application, 1995 William J. Mitchell, The Reconfigured Eye: Visual Truth in The Post-photographic Era (Cambrige, Mass. The Mitt Press, 1992) Evergon, an essay for the exhibition catalog “Evergon 1987-1997”, National Museum of Photography, Bradford, England, 1997
Born in 1946 in Niagara Falls, Ontario, Canada, Evergon lives, teaches and works in Montri?? al. Dating back to his studies at the Rochester Institute of Technology, New York in the early 1970s, he has consistently used photography as an artistic medium. He belongs to that generation of artists who transgressed traditional photography, allowing it to incorporate hand-made touches and staged fictions. Moreover, in line with the artistic tendencies of his time, his work investigates personal sexuality and social constructions of gender.
Having exhibited widely in North America in the 1970s, Evergon began showing internationally in the early 1980s. He received recognition in the late 1980s with his first retrospective, Evergon 1971-1988, at the National Gallery of Canada in Ottawa. Since the 1990s, Evergon has continued with two new bodies of work, Ramboys and Manscapes – Truckstops and Lovers Lanes. He is represented by Galerie Trois Points, Montri?? al, Galerie St-Laurent+Hill, Ottawa, S. P. I. N. Gallery, Toronto and Jack Shainman Gallery in New York
For the exhibition Growth & Risk Evergon was showing four photographs from his recent body of work Manscapes – Truckstops and Lovers Lanes THE EXHIBIT Growth & Risk, prepared by CIAC and curated by Claude Gosselin, was to open on September 13 in the Courtyard Gallery of the World Financial Center in New York. Commissioned by the Bureau des saisons du Qui?? bec, the exhibit brought together works by thirteen Qui?? bec artists, in a tribute to the vitality of visual arts.
