• July 2021- Accepted into Liverpool John Moores University's Transart Institute PhD program

    I am pleased to state that Transart Institute at Liverpool John Moores University accepted my application to begin a practice based PhD. This fall I will begin studies in New York City and online. To complete it, I will be doing much reading, researching, writing, painting, installation work, peer critiques, online advisory committee meetings, and this process blog. Another exciting component includes in-person residencies in Berlin and Liverpool each summer. Things that I post here, as in the past on this differently named blog, will still include images of my studio work, paintings, installations, exhibition announcements, etc. And it will also include my academic/creative research...starting with:

    PROPOSED RESEARCH TOPIC OVERVIEW:
    Towards a more inclusive 21st Century color theory, I propose to research various color theories…color in advertising, color in art including the art of color mixing, color in art history, color and culture, and color in design including textile, digital, fashion, and other types of design, color and gender, color and psychology, color and race, color and sexuality, etc. Based on my research I propose to create new art works, exhibitions, creative and academic writings that ultimately point towards a globalist, inclusive or intersectional color theory...meaning one that is ecologically sound, formally astute, globalized, iconographically or symbolically described, feminist-base, gender-sensitive, socio-economically savvy, autobiographically aware, linguistically diverse, deconstructivity open, and psychoanalytically considered.

    TITLE:
    (Working title) An Inclusive Color Theory

    BACKGROUND:
    The contextual and literary review of my work includes the history of color theories, color psychology, and how artists and art writers use color to discuss its relationship to culture, gender, race and other identity markers. For example, artists such as Tomashi Jackson, whose work deals with the connection between the linguistics of color theory and racialized America focus on color are relevant. In her Hyperallergic article “The Linguistic Overlap of Color Theory and Racism”, dated December 14, 2016, Risa Puleo writes on how Tomashi Jackson found her studies of Josef Albers’ color language was used to describe color perception, which mirrored the language of racialized segregation. That inspired Jackson to use color perception as an aesthetic strategy for investigating the history of America’s mid-late twentieth century school desegregation and ultimately to the contemporary re-segregation of public space. She creates large-scale abstract mixed media works that connect past, present, formalism, intuition, color theory, and human rights legislation.” https://hyperallergic.com/345021/the-linguistic-overlap-of-color-theory-and-racism/

    And works by Becca Albee, who in her aperture “Full Color Feminism” interview with Annika Klein regarding Albee’s photographs and installation art says of her Radical Feminist Therapy: Working in the Context of Violence series that she researched different lifestyle-oriented and types of color-related therapies are also pertinent. Albee considers gender constructs surrounding the marketing of color and its relationship to capitalism. She says she found a style of color therapy called Aura-Soma that requires clients to go to a specialist who presents them with lots of bottles filled with different color liquids on a lighted grid. From them, the client picks the three or four bottles they are most attracted to. Albee states that because of the perfume bottles and the selection of colors in them indicates that it is specifically marketed to women. She also mentions that the session experience is like having a Tarot card reading, and that one is meant to buy their favorite bottles of color as “color therapy for the soul.” As a result of this research, and on more related color therapies, Albee made “photographs in the most desirable way possible because (she) wanted the work to exist within this paradox around color: you can be circumscribed and exhilarated by it; limited and animated by it.”

    Writings by contemporary feminist-based post-colonialist art historian Griselda Pollock's writing, ex. “Avant-Garde Gambits 1888-1893: Gender and the Color of Art History” also contextualize my project interests. In this specific writing Pollock challenges art history's typical interpretation of various 17th-20th C. Western artists’ search of “the other” in far-away lands by arguing that these artists were cultural colonizers. She proposes that one of Gauguin’s paintings of his Tahitian wife… “refers and defers to Manet's Olympia (1863), a notorious avant-garde image of prostitution in the modern city. Where it was seen to differ was in the color of the nude: critics named it a "brown Olympia." Pollock’s careful deconstruction allows her to explore the ways in which racist discourse structures art and art history, posing questions of cultural, sexual and ethnic difference in order to make us all self-critical, not only in regard to the gender, but also to the color of art history.”

    For more context, sociologists Angela R. Dixon and Edward E. Telles writing Skin Color and Colorism: Global Research, Concepts, and Measurement in Annual Review of Sociology, Vol. 43, 2017, where they examine interdisciplinary global writings concerning skin color and colorism. They maintain that both are related to one's socio-economic status within a culture, as well as the culture's standing in the world. A focus is on Western societies, especially Latin America, where color and colorism are closely related to race and racism. And in Asia, where color and colorism have evolved separately from newer concepts of race and racism. Also noted is the fact that color consciousness and white supremacy increasingly appear to be united, globalized, and commodified, evidenced in the global multibillion-dollar skin-lightening industry. Finally, Dixon and Telles document the growing methodological attention to measurements of skin color and social science data that incorporate skin color measures.

    INDICATIVE BIBLIOGRAPHY

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    Ball, Philip. Bright Earth: the Invention of Color. Vintage Books, 2009.

    Bleicher, Steven. Contemporary Color: THEORY & USE. Second ed., Delmar Cengage Learning, 2012.

    Campbell, Tori. “Installation Art: Top 10 Artists Who Pushed the Genre to Its Limit.” ARTLAND, https://magazine.artland.com/installation-art-top-10-artists/

    Coleman, Arica. “What's Intersectionality? Let These Scholars Explain the Theory and Its History.” Time.com, 28 Mar. 2019, time.com/5560575/intersectionality-theory/

    Color Theory Chart, pixelsham, Color, Design, 24 Aug. 2019, www.pixelsham.com/2012/08/27/color-theory-chart/

    Dickey, Tina. Color Creates Light: Studies with Hans Hofmann. Trillistar Books, 2011.

    Eaverly, Mary Ann. Tan Men/Pale Women: Color and Gender in Archaic Greece and Egypt, a Comparative Approach. The University of Michigan Press, 2013.

    Edwards, Betty. Color: a Course in Mastering the Art of Mixing Colors. Tarcher/Penguin, 2004.

    Fider, Nicole A, and Natalia L Komarova. “Differences in Color Categorization Manifested by Males and Females: a Quantitative World Color Survey Study.” Humanities; Social Science Communications, 2019, www.researchgate.net/publication/337200632_Differences_in_color_categorization_manifested_by_males_and_females_a_
    quantitative_World_Color_Survey_study

    Finlay, Victoria. THE BRILLIANT HISTORY of Color in Art. Getty Museum, 2014.

    Ford Shallbetter, Janet L. “Color Theory: Overview.” Color Theory Tutorial, Concepts, Essays and Color Basics, Creative Commons, 2013, worqx.com/color/index.htm

    Gage, John. Color And Culture: Practice and Meaning from Antiquity to Abstraction. University of California Press, 1993.

    Gillman, Susan Kay, and Alys Eve Weinbaum. Next to the Color Line: Gender, Sexuality, and W.E.B. Du Bois. University of Minnesota Press, 2007.

    Goethe, Johann Wolfgang. THEORY OF COLORS . Translated by Charles Lock Eastlake, M.I.T. Press, 1970.

    Gottschalk, H. B. “The De Coloribus and Its Author.” Hermes, vol. 92, no. 1, 1964, pp. 59–85. JSTOR,
    www.jstor.org/stable/4475288. Accessed 19 July 2021.

    Gregg, Melissa, and Gregory J. Seigworth. THE AFFECT THEORY READER. Duke University Press, 2010.

    Hamilton, Ann. “Indigo Blue.” Ann Hamilton Studio, Spelito Festival 1991 / SFMoma 2007, 2021, www.annhamiltonstudio.com/projects/indigoblue.html

    Hornung, David. 1. Beginning Color Studies Pp. 40-41. Vimeo/Beginning Color Studies: Painting Swatches, Laurence King Publishing Ltd, 19 July 2021, vimeo.com/394957782

    Hornung, David. 2. Color Harmony: Unifying Mixing Strategies. Vimeo, Laurence King Publishing Ltd, 19 July 2021, vimeo.com/394957862.

    Hornung, David. 3. Applying Color Principles: Illusion of Transparency. Vimeo, Laurence King Publishing Ltd, 18 July 2021, vimeo.com/394957918.

    Hornung, David. 4. Color Research: Color Inventories. Vimeo, Laurence King Publishing Ltd, 19 July 2021, vimeo.com/394957975.

    Hornung, David. Color: a Workshop for Artists & Designers. Third ed., Laurence King Publishing Ltd, 2021.

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    Itten, Johannes, and Faber Birren. The Elements of Color: a Treatise on the Color System of J. Itten, Based on His Book the Art of Color. Edited and with a Foreword and Evaluation by F. Birren. Transl.by Ernst Van Hagen. Van Nostrand Reinhold, 1970.

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  • Two new large paintings, including "A Curtain of Tears in Front of Two Vertically Stacked Sets of Concentric Black Circles", 2019, Acrylic and Flashe on linen, 52 x 64 inches, were shown in the Woodstock Artists Association and Museum's 2020 exhibition "FOCUS ONLINE: A Different Kind of Now"

  • The Pandemic Paintings

    The Pandemic Paintings

    While in my New York home and studio during the prescribed isolation, I began a series called The Pandemic Paintings, numbering twenty five to date. They reflect my visceral creative instincts and responses to the pandemic, including insights and anxieties.

  • "Pink Universe"

    "Pink Universe"

    My Lehman College Art Gallery rotunda installation "Pink Universe" was featured in "Color, the (Fall) 2019 Art Faculty Exhibition", New York, NY. Two 16 x 7' acrylic on linen murals hung on crimson colored concave walls, and my chevron striped Marcel Breuer designed cluster column was central. See YouTube video with accompanying musical score by my composer husband Baird Hersey...link below.

  • "Pink Universe" Parts 1, 2 & 3

    My composer husband, Baird Hersey, had my Lehman College Art Gallery "Pink Universe" installation, including my two large-scale murals, and my painted Marcel Breuer cluster column, video taped. He used the short movies to compose a three-part musical score. We posted it to my YouTube channel. To view/hear, click on the white arrow above.

  • November 2019, 18th Street Arts Center Visiting Artist Residency

    November 2019, 18th Street Arts Center Visiting Artist Residency

    For the month of Nov. 2019, I was fortunate enough to be invited to attend a Visiting Artist Residency at Santa Monica's 18th Street Arts Center. 18thstreet.org/artists/gina-dominique-2…

  • studio shot, February 2019

    studio shot, February 2019

    Paintings in progress...lined up against the wall of my NYC, EFA studio. I'm thinking about my upcoming show (Fall 2019) at the Shala Union Square Gallery.

  • "Meditations on Pink" on-the-walls at the Shala Union Square

    "Meditations on Pink" on-the-walls at the Shala Union Square

    Show extended through November 29, 2019. Reception OCTOBER 9, 5:30-7:30 PM...on-the-walls at the Shala Union Square, 816 Broadway, New York, NY. Nine of my small pink paintings are on view in a solo exhibition, "Meditations on Pink". September 6-November 29, 2019. In the work I explore pink, meditation, drishti, gestural abstraction, geometric abstraction, concentricity, mandalas, and yantra art.

  • Gina Dominique & Eva Trout in a two-person exhibition at Firebox Art Studios

    Gina Dominique & Eva Trout in a two-person exhibition at Firebox Art Studios

    Carnegie PA's Firebox Art Studios featured my and my artist sister's work in a two-person exhibition...opened on Friday, October 11, 2019.

  • Magic Square

    Magic Square

    Some of my small works and prints are represented by my gallerist sister, Eva Trout in her Carnegie, PA, Firebox Studios gallery. This spring she sold a nine part painting, titled "3 x 3 Magic Square"...pictured here. We both love it, and we're happy the collector does too.

  • Concentric Pink Squares

    Concentric Pink Squares

    I did a couple of concentric pink square paintings...here's a pic of one. It's 12 x 12", pencil and acrylic on canvas.

  • Work from my upstate NY studio

    Work from my upstate NY studio

    "Anima Mundi/World's Soul", 60 x 48", oil and pencil on acrylic on canvas, 2016-2018

  • My NYC Elizabeth Foundation for the Arts studio, summer 2018 news

    My NYC Elizabeth Foundation for the Arts studio, summer 2018 news

    This is an image of one of eight recently completed Chakra Paintings. Pictured here (#8) "Vyapini", 48 x 48 x 2", oil on acrylic on pencil on canvas, 2018

  • This piece will be in Woodstock Artist Association's Far & Wide National Exhibition-opening Saturday, June 23, 2018 from 4-6 PM

    This piece will be in Woodstock Artist Association's Far & Wide National Exhibition-opening Saturday, June 23, 2018 from 4-6 PM

    First Chakra, oil on acrylic on canvas, 12 x 12", 2017

  • Elizabeth Foundation Artists participated in March 2018 Armory Week

    Elizabeth Foundation Artists participated in March 2018 Armory Week

    five from series of eight chakra paintings... in progress at my EFA studio, West 39th St, NY, NY

  • News from my upstate NY studio

    News from my upstate NY studio

    2017, new painting titled "Sri Yantra", from a series I am currently working on in my upstate New York studio...oil and pencil on acrylic on canvas 48 x 48 x 2"