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9781780232805

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All theory is grey, Mephistopheles pronounces in Goethe's Faust . But greyness is the last thing to hold against David Batchelor's colourful essay, The Luminous and the Grey . In three short chapters, the London-based artist-author offers to vindicate 'a colour without a colour' that does so much of the unpaid housework in what we see and what artists make . . . Batchelor ranges wide, touching art, film, optics, and philosophy. His main point is that, contrary to reputation, grey can be bright, engaging, and luminous.' --RA Magazine

""All theory is grey, Mephistopheles pronounces in Goethe's Faust. But greyness is the last thing to hold against David Batchelor's colourful essay, The Luminous and the Grey. In three short chapters, the London-based artist-author offers to vindicate 'a colour without a colour' that does so much of the unpaid housework in what we see and what artists make . . . Batchelor ranges wide, touching art, film, optics, and philosophy. His main point is that, contrary to reputation, grey can be bright, engaging, and luminous.' --RA Magazine ""Although a measured and carefully researched book, it also takes the reader by surprise, particularly in the run up to the final section on grey, where at first we have a rerun of the many prejudices to be found against this colour, but then suddenly Batchelor turns this around and allows all the bad feeling to unravel. He moves elegantly to a subtle and thought-provoking reflection that draws upon a wide range of sources, including his personal reflections. . . . Batchelor literally delves into ideas about grey and goes further and deeper than I have come across . . . Great read."" --Cassone Art Review

Although a measured and carefully researched book, it also takes the reader by surprise, particularly in the run up to the final section on grey, where at first we have a rerun of the many prejudices to be found against this colour, but then suddenly Batchelor turns this around and allows all the bad feeling to unravel. He moves elegantly to a subtle and thought-provoking reflection that draws upon a wide range of sources, including his personal reflections. . . . Batchelor literally delves into ideas about grey and goes further and deeper than I have come across . . . Great read. --Cassone Art Review All theory is grey, Mephistopheles pronounces in Goethe's Faust. But greyness is the last thing to hold against David Batchelor's colourful essay, The Luminous and the Grey. In three short chapters, the London-based artist-author offers to vindicate 'a colour without a colour' that does so much of the unpaid housework in what we see and what artists make . . . Batchelor ranges wide, touching art, film, optics, and philosophy. His main point is that, contrary to reputation, grey can be bright, engaging, and luminous.' --RA Magazine Although a measured and carefully researched book, it also takes the reader by surprise, particularly in the run up to the final section on grey, where at first we have a rerun of the many prejudices to be found against this colour, but then suddenly Batchelor turns this around and allows all the bad feeling to unravel. He moves elegantly to a subtle and thought-provoking reflection that draws upon a wide range of sources, including his personal reflections. . . . Batchelor literally delves into ideas about grey and goes further and deeper than I have come across . . . Great read. --Cassone Art Review All theory is grey, Mephistopheles pronounces in Goethe s Faust. But greyness is the last thing to hold against David Batchelor s colourful essay, The Luminous and the Grey. In three short chapters, the London-based artist-author offers to vindicate a colour without a colour that does so much of the unpaid housework in what we see and what artists make . . . Batchelor ranges wide, touching art, film, optics, and philosophy. His main point is that, contrary to reputation, grey can be bright, engaging, and luminous. --RA Magazine

Although a measured and carefully researched book, it also takes the reader by surprise, particularly in the run up to the final section on grey, where at first we have a rerun of the many prejudices to be found against this colour, but then suddenly Batchelor turns this around and allows all the bad feeling to unravel. He moves elegantly to a subtle and thought-provoking reflection that draws upon a wide range of sources, including his personal reflections. . . . Batchelor literally delves into ideas about grey and goes further and deeper than I have come across . . . Great read. --Cassone Art Review All theory is grey, Mephistopheles pronounces in Goethe's Faust. But greyness is the last thing to hold against David Batchelor's colourful essay, The Luminous and the Grey. In three short chapters, the London-based artist-author offers to vindicate 'a colour without a colour' that does so much of the unpaid housework in what we see and what artists make . . . Batchelor ranges wide, touching art, film, optics, and philosophy. His main point is that, contrary to reputation, grey can be bright, engaging, and luminous.' --RA Magazine Although a measured and carefully researched book, it also takes the reader by surprise, particularly in the run up to the final section on grey, where at first we have a rerun of the many prejudices to be found against this colour, but then suddenly Batchelor turns this around and allows all the bad feeling to unravel. He moves elegantly to a subtle and thought-provoking reflection that draws upon a wide range of sources, including his personal reflections. . . . Batchelor literally delves into ideas about grey and goes further and deeper than I have come across . . . Great read. --Cassone Art Review All theory is grey, Mephistopheles pronounces in Goethe s Faust. But greyness is the last thing to hold against David Batchelor s colourful essay, The Luminous and the Grey. In three short chapters, the London-based artist-author offers to vindicate a colour without a colour that does so much of the unpaid housework in what we see and what artists make . . . Batchelor ranges wide, touching art, film, optics, and philosophy. His main point is that, contrary to reputation, grey can be bright, engaging, and luminous. --RA Magazine

Author Information

David Batchelor is an artist and writer based in London, and the author of Chromophobia (Reaktion, 2001) and The Luminous and the Grey (Reaktion, 2014).

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