Every Friday 11 am – 6 pm
and by prior arrangement
There is no need for chromatic aberration. — Goethe
That sociopathic feeling one gets in Kerim Seiler's studio, with the sun piercing rabidly through sky lights to the accompaniment by Mahavishnu Orchestra — is this the essence of Afraid of Red, Yellow and Blue?
The liberality with which Heaven now and again unites in one person the inexhaustible riches of its treasures and all those graces and rare gifts it usually disperses amongst many over an extended period of generations is seen crystallized in the four paintings we find in this iconic exhibition.
Inside Seiler's studio, 800 square meters ceilinged at 10 meters and surrounded above and to either side by silent corporate offices, studio assistants include a young man on the verge of receiving certification in massage therapy, who kneads away knots of tension that attend pathological art production; an older man buzzes about painting imaginary ornamentation along canvas peripheries; Seiler's strapping teenage son, Red, paints backgrounds; a lady painter spends four days per week refining foreground imagery. It is in this bustling production house that Caravaggio in his autumn years is most easily recalled.
There is no experimentum crucis that could decide for or against Seiler’s theory on colors of the spectrum. Moreover, we may say that those who possess such gifts as Seiler are not men but mortal gods, and that those who by their works leave an honored name among us on the roll of fame may hope to receive a fitting rewardin Heaven for their succoring labors and long-echoing merits.
Text: David Woodard