In one of his sparkling aphorisms on the end of 'optical' art, Marcel Duchamp suggested that the title of an artwork was an 'invisible color'. John Welchman now offers the first critical history of how and why modern artworks receive their titles. He shows that titles were seldom produced and can rarely be understood outside of the institutional parameters that made them visible - exhibitions, criticism, catalogues, and even national politics.

How art makes visible what had been invisible—the effects of radiation, the lives of atomic bomb survivors, and the politics of the atomic age. The effects of radiation are invisible, but art can make it and its effects visible. Artwork created in response to the events of the nuclear era allow us to see them in a different way. In Invisible Colors, Gabrielle Decamous explores the atomic age from the perspective of the arts, investigating atomic-related art inspired by the work of Marie Curie, the bombings of Hiroshima and Nagasaki, the disaster at Fukushima, and other episodes in nuclear history. Decamous looks at the “Radium Literature” based on the work and life of Marie Curie; “A-Bomb literature” by Hibakusha (bomb survivor) artists from Nagasaki and Hiroshima; responses to the bombings by Western artists and writers; art from the irradiated landscapes of the Cold War—nuclear test sites and uranium mines, mainly in the Pacific and some African nations; and nuclear accidents in Fukushima, Chernobyl, and Three Mile Island. She finds that the artistic voices of the East are often drowned out by those of the West. Hibakusha art and Japanese photographs of the bombing are little known in the West and were censored; poetry from the Marshall Islands and Moruroa is also largely unknown; Western theatrical and cinematic works focus on heroic scientists, military men, and the atomic mushroom cloud rather than the aftermath of the bombings. Emphasizing art by artists who were present at these nuclear events—the “global Hibakusha”—rather than those reacting at a distance, Decamous puts Eastern and Western art in dialogue, analyzing the aesthetics and the ethics of nuclear representation.

THE SUNDAY TIMES BESTSELLER 'A mind-expanding tour of the world without leaving your paintbox. Every colour has a story, and here are some of the most alluring, alarming, and thought-provoking. Very hard painting the hallway magnolia after this inspiring primer.' Simon Garfield The Secret Lives of Colour tells the unusual stories of the 75 most fascinating shades, dyes and hues. From blonde to ginger, the brown that changed the way battles were fought to the white that protected against the plague, Picasso's blue period to the charcoal on the cave walls at Lascaux, acid yellow to kelly green, and from scarlet women to imperial purple, these surprising stories run like a bright thread throughout history. In this book Kassia St Clair has turned her lifelong obsession with colours and where they come from (whether Van Gogh's chrome yellow sunflowers or punk's fluorescent pink) into a unique study of human civilisation. Across fashion and politics, art and war, The Secret Lives of Colour tell the vivid story of our culture.

This book aims to popularize physics by emphasizing conceptual ideas of physics and their interconnections, while avoiding mathematics entirely. The approach is to explore intriguing topics by asking and discussing questions, thereby the reader can participate in developing answers, which enables a deeper understanding than is achievable with memorization.The topic of this volume, 'Colors, light and Optical Illusions', is chosen because we face colors and light every waking minute of our lives, and we experience optical illusions much more often than we realize.This book will attract all those with a curious mind about nature and with a desire to understand how nature works, especially the younger generation of secondary-school children and their teachers.

A blind child questions all he encounters--a dog, wolf, elephant, mountain, bird, stream, and tree--about the color of the wind. Each responds differently, with a shape, color, smell, texture, or idea. Each page displays a visual and tactile palette of cutouts, textures, colors. It is a sensory experience that makes the invisible experiential, ending with the wind as the pages fly. A graduate of the Academy of Fine Arts in Brussels, Anne Herbauts expresses an original world in each of her books. Awake to the richness of the world, endlessly curious, and rigorous in her work, Anne has written and illustrated over twenty books.

This is the first comprehensive text on the history of color theories since Halbertsma's book of 1947. Color is discussed in close connection with the evolution of ideas of light and vision. The book has chapters on the ancient Greek ideas of vision and color; on the contributions of Arabic science; on the Scientific Revolution from Kepler to Newton; on the early history of the three-color hypothesis; on the trichromatic theory and defective color vision; and on Goethe's, Schopenhauer's and Hering's theories. New understanding of the structure and functions of the retina and the brain finally results in the modern science of color vision. A History of Color has been written for ophthalmologists, optometrists and others who are interested in visual science and its history. The book requires no specialized knowledge.