Green Is The Colour Of Memory

For one, green is associated with resurgence, revival and vitality. The title desired to capture this resurgence and vitality of memory shaped by the trauma of lived experience of growing up in Kashmir - one of the most militarized zones in the modern world. The poems strive to record the trauma and memory of trauma. As Kashmir slips gradually into a long inevitable decay and implosion, nothing of the security and aspiration it once stood for remains. Faced with the twin catastrophes of climate change due to unbridled urbanization, and relentless military occupation, the only resurgence in Kashmir is in chronicling grief, and lamenting the past. In the vast desert of red blood, and pale death poetry is the only patch of life.

"Six friends plot a nomadic course through their mid-twenties as they scratch out an existence in near-destitute conditions in 1980s South London."--Amazon.com.

First published by Landmark Books in 1993, Green is the Colour explores how people of different races face the challenges of living together. The story centres on Yun Ming and Siti Sara falling in love with each other in the post-1969 period in Malaysia. Both characters are not only from different racial backgrounds and faiths but are also married to different people. In addition, Siti Sara’s father is a respected religious figure. How do the protagonists resolve their excruciatingly different circumstances in their fight to stay together?

What remains of the colours of our childhood? What are our memories of a blue rabbit, a red dress, a yellow bike – and were they really those colours? What colours do we associate with our student years, our first loves, our adult lives? How does colour leave its mark on memory? In an attempt to answer these and other questions, Michel Pastoureau presents us with a journal about colours that covers half a century. Drawing on personal recollections, he retraces the recent history of colours through an exploration of fashion and clothing, everyday objects and practices, emblems and flags, sport, literature, museums and art. This text – playful, poetic, nostalgic – records the life of both the author and his contemporaries. We live in a world increasingly bursting with colour, in which colour remains a focus for memory, a source of delight and, most of all, an invitation to dream.

A Life with Colour is the first complete survey of Gerard Wagner’s biography and his artistic intentions, featuring dozens of illustrations and more than 120 colour plates. The life and work of Gerard Wagner (1906-1999) were closely aligned to the artistic-spiritual stream connected with the Goetheanum in Dornach, Switzerland. He first heard of the Goetheanum – and of its destruction by fire at New Year 1922/23 – whilst still a youth. In 1926, he made his first visit to Dornach, but his intended stay of a week turned into a lifelong sojourn of over 73 years. He found there an active, striving community with which he felt intimately connected. From the start, Gerard Wagner immersed himself in the various artistic impulses that Rudolf Steiner had instigated. This, together with an intensive study of anthroposophy, formed the basis upon which he forged his own approach to painting. The many years he spent in colour experimentation led him to discover objective principles within the language of colour and form that are an inspiration to many today. His paintings, first shown at the Goetheanum in the early 1940s, were exhibited internationally, most notably at the Menshikov Palace, Hermitage Museum, St Petersburg, Russia, in 1997. ‘[Wagner’s] whole being bowed before the mystery of colour in a loving, joyful yet serious way, full of devotion and dignity. His life and work itself became a living metaphor of the creative power of colour.’ – Christian Hitsch ‘ Caroline Chanter has not only accomplished a great and seminal study that illuminates the life and work of Gerard Wagner, but has done a great service also to the Goetheanum and its School of Spiritual Science.’ – Peter Selg ‘[Gerard Wagner was] a soul which on earth was devoted so selflessly and in such purity to the beings that are revealed… in forms and colours. He helped them to utterance and manifestation in this world of ours.’ – Sergei O. Prokofieff

Born in 1867, French Postimpressionist artist Pierre Bonnard was, with Henri Matisse, one of the greatest colorists of the early 20th century. As a painter, he preferred to work from memory, using drawings as a reference to capture the spirit of a moment and express it through his distinctive handling of color and innovative sense of composition. This accessible and highly illustrated introduction to his life and work, published to accompany a major Tate exhibition, offers readers a special insight into the popular artist and his practice.

A positive and affirming look at skin color, from an artist's perspective. Seven-year-old Lena is going to paint a picture of herself. She wants to use brown paint for her skin. But when she and her mother take a walk through the neighborhood, Lena learns that brown comes in many different shades. Through the eyes of a little girl who begins to see her familiar world in a new way, this book celebrates the differences and similarities that connect all people. Karen Katz created The Colors of Us for her daughter, Lena, whom she and her husband adopted from Guatemala six years ago.