When Jeremy Wolfe of Harvard Medical School (…) wanted to illustrate how the brain sees the world and how often it fumbles the job, he flashed a slide of Ellsworth Kelly’s “Study for Colors for a Large Wall” on the screen, and the audience couldn’t help but perk to attention. The checkerboard painting of 64 black, white and colored squares was so whimsically subtle, so poised and propulsive. We scanned every part of it, we loved it, and, whoops, time for a test.

Dr. Wolfe flashed another slide of the image, this time with one of the squares highlighted. Was the highlighted square the same color as the original, he asked the audience, or had he altered it? (…) We had gazed on Ellsworth Kelly’s masterpiece, but we hadn’t really seen it at all.

The phenomenon that Dr. Wolfe’s Pop Art quiz exemplified is known as change blindness: the frequent inability of our visual system to detect alterations to something staring us straight in the face. (…)

“The basic problem is that far more information lands on your eyes than you can possibly analyze and still end up with a reasonable sized brain,” Dr. Wolfe said. Hence, the brain has evolved mechanisms for combating data overload, allowing large rivers of data to pass along optical and cortical corridors almost entirely unassimilated, and peeling off selected data for a close, careful view.

{ NY Times | Continue reading | Pop-Art quiz }

unrelated { The Six Million Dollar Man }

{ Ellsworth Kelly, Study for White Plaque: Bridge Arch and Reflection, 1951 | Cut-and-pasted colored paper on paper }

{ Richard Tuttle, No. 127, 60″ center works (4), 1975 | Cut paper on paper }

{ Ellsworth Kelly, Sculpture for a Large Wall, 1957 | 104 anodixed aluminum panels }

In 1956, when he was 34 years old, Ellsworth Kelly was invited to create a sculpture for the lobby of Philadelphia’s Transportation Building which housed the old Greyhound Bus Terminal. The piece he made, Sculpture for a Large Wall, was the largest work of his career to that point.
{ ArtSeenSoho }

{ A big fat Philly flub } The Ellsworth Kelly “Sculpture for a Large Wall” was sold by Ronald Rubin for about $100,000. Then Matthew Marks turned around and sold it to the Lauder’s for about $1,000,000. The piece was later donated to MoMA by Carole and Ronald Lauder.

It was Kelly’s first sculpture, first commission and one of the first uses of anodized aluminum in fine art in America. The fact that no one complained when this unique masterpiece left Philadelphia while they raised $200,000 to retain Isiah Zagar’s kitschery makes Sid Sachs (director of the Rosenwald-Wolf Gallery at the University of the Arts) a very sad man. And the quality of the work and its importance is attested by the fact that MOMA used it every chance it could in ads and bus stop kiosks.

An early wood, wire and cardboard study.

{ Ellsworth Kelly, Studies for Sculpture for a Large Wall | MoMA }