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SEEING VISUAL CULTURE, The two actresses look somewhat similar, and the…

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    - - Whitewash is the wealth of the poor and of the rich - of everybody, just as bread, milk, and water are the wealth of the slave and of the king" (Le Corbussier, “A Coat of Whitewash: The Law of Ripolin,” in Color, 83). Early milk promoters assumed milk with white superiority. It was believed that those who drink milk are both more physically and mentally strong than those who don't. For this reason, the color of association with milk (white) was usually demonstrated for the wealthier white individuals.
        
        “Though in many natural objects, witness refiningly ehances beauty as if imparing some special virtue of its own, as marbles, japonicas and pearls” Herman Melville, “The Whiteness of the Whale,” excerpted in Color (MIT, 2008), 37-38. Whiteness has become associated with beauty and paleness. This corrupted idea is being promoted by advertisements by the beauty industry as skin bleaching cream is becoming overwhelmingly popular.
      - Whiteness is Overpowering
        
        “And ‘white’ appears. Absolute white. White beyond all whiteness. White of the coming of white. White without compromise, through exclusion, through total eradication of non-white. Insane, enraged white, screaming with whiteness” (David Batchelor, “Whitescapes,” in Chromophobia (Reaktion Books, 2000), 11). Although white is usually described in a pure and peaceful aspect, the quote above demonstrates how whiteness can also be aggressive and dominating. This white space pushes the idea that the color white is superior as it creates exclusiveness.
        
        “I think the light in L.A. is the whitest light I’ve ever seen” (Lawrence Weschler, “LA Glows,” The New Yorker, Feb. 23, 199).
        Like the people described in the article, the light in Los angeles is occasionally so white that the brightness bceomes overwhelming and overpowering to the human eyes.
        
        “And ‘White’ appears Absolute white. White beyond all witness. White of the coming of the White. White without compromise, through exclusion, through toal eradication of nonwhite" (Yves Klein, “The Evolution of Art towards the Immaterial” (1959), in Color, 121). White is of control. Although white is considered to be of the absence of color, white is powerful enough to be considered a dominating color due to its persistence and serious opaqueness.
        
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- - - - “ I didn’t know how we were taught to see a flattened blackness, to fear our own shades of dark. I do know how we accepted the narratives of white society to say that dark skin must be pitied, feared, or overcome.(Syreeta McFadden, “Teaching the camera to see my skin”). White societies have continuously perpetuated the negative aspects of dark skin and it made this a normal idea for future generations.
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      - “It has become detached from human eyes and has largely become invisible. Human visual culture has become a special case of vision, an exception to the rule. The overwhelming majority of images are now made by machines for other machines, with humans rarely in the loop" (Trevor Paglen, “Invisible Images (Your Pictures Are Looking at You),” The New Inquiry, 2016). Humans are blinded by the truth as the machinary continues to take control of the images produced. The lighting, the composition, and the effects can all be manipulated and changed to create final product to the photographer's liking and message he wants to send out.
        
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        “The child’s view of color represents the highest artistic development of the sense of sight; it is sight at its purest, because it is isolated” (Walter Benjamin, “A Child’s View of Color” in Selected Writings, Volume 1, (Cambridge: Belknap Press), 50-51). Children are blinded by the deeper meanings about objects and other aspects of life, and for this reason, blindness is occasionally a positive trait as it allows people enjoy what they believe instead of the truth. The truth is occasionally painful so living in your own fantasy resisting the truth is sometimes easier.
        
        There is individuality with color experience as everyone sees color differently. Someone might be more color blind than someone else, but no one would know as the shade of color might seem differently to someone else and the right definition would be difficult to identity. (Lorraine Daston and Peter Galison, “The Color of Subjectivity,” in Objectivity (New York: Zone Books, 2010), 273–83".
        
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        “Blue has no dimensions, it is beyond dimensions” (Walter Benjamin, “A Child’s View of Color” in Selected Writings, Volume 1, (Cambridge: Belknap Press), 50-51).
        
        “For Blue there are no boundaries or solutions” (Derek Jarman, “Into the Blue,” from Chroma: A Book of Color (University of Minnesota Press, 2010), 115.
        
        In this film, blue is associated with pain, loss, and suffering. Blue hides the pain and holds it within as you can see the mother/wife chomping and swallowing the blue lollipop. The mother swallows her daughter as a way to mourn. Blue belongs to darkness since it represents melchanony ideas.
        
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        “Gender and race as key signs from which we often draw interpersonal meaning despite these aspects existing, so to speak, above the water line, while the rest of our being (the deepest and most primal parts) lie submerged and unseen” (Seph Rodney, Lorna Simpson Searches for Meaning in the Arctic Ice). With monochromatic paintings the lines and shades are often in important to notice as there are hidden messages underneath those techniques.
        
        “The unanticipated shock: so much believed to be white is actually—strikingly—blue. Endless blueness. White is blue. An ocean wave freezes in place” (Robin Coste Lewis, Using Black to Paint Light: Walking Through a Matisse Exhibit Thinking about the Arctic). The blue is so overwhelming that it resembles features of the color white.
- - - - “Because we are capable of inaction, we know that we have the ability to act, and also the choice of whether to act or not. Black, the color of not seeing, not doing, is in that sense the color of freedom" (Paul LaFarge, “Colors/Black,” Cabinet Magazine 36 (2009-2010).
        
        “We might try to approach black by way of its relation to other colors, by way of a kind of original difference, such that black, the presence of noncolor, is black only in relation to white, the color of absence" (Jared Sexton, “All Black Everything”). Black needs its counterpart white in order to showcase the real presence of the color and to understand the power that black holds..
        
        “light and darkness, brightness and obscurity, or if a more general expression is preferred, light and its absence, are necessary to the production of colour... Colour itself is a degree of darkness" (Maria Popova, 19th Century Insight into the Psychology of Color and Emotion, The Atlantic (2012).
        
        “This is a series of modular canvases, painted entirely white, which reflect changes in light and the chance effects of shadows in the surrounding space" Robert Rauschenberg, White Paintings (1951).
        
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