Word: pigmentation
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...Here are most of my paintings, Morandi said to a reporter in the mid '50s, pointing to a thick dried crust of waste pigment that had accumulated through years of wiping on the crossbar of his easel. Morandi erased more paintings than he finished; his self-editing was relentless, a fact which should give pause to anyone who supposes there might not have been much difference between one still life and the next. But the differences, like the nature of his work itself, are hard to catch in words. One can easily say what the paintings are not. They...
...some kernels, McClintock began finding curious, quirky patterns of pigmentation. A less imaginative scientist might have dismissed them as natural variations occurring at random. But through painstaking record keeping and careful analysis, McClintock discerned a method in nature's seeming madness. The pigment genes, those causing the splotch es of color on the kernels, were somehow being switched off or on in a particular generation. Still more remarkable, the same "switches" often seemed to crop up a generation later at different places along the same chromosome or even on a totally different chromosome. Indeed, these mysterious "controlling elements...
Finally, the ocean color experiment (OCE) scanned ocean areas for traces of chlorophyll, the green pigment in plants. The presence of chlorophyll would indicate the location of marine plants and large concentrations of fish, information of great interest to commercial fisheries...
...paint film, with colors built by superimposing one color over another so that there's almost nothing there-you could take your fingernail and scratch it off," says Close. "It is rather like magic. When I get to the last color, yellow, you can't see the pigment come out of the air brush-it's like waving a magic wand in front of the picture, and the purple eye becomes brown. It's really quite wonderful; there are a few kicks left in this racket after all, and that's one of them...
...museum -in fact part of their aim was to escape its confines-and at the Whitney they are present, in a ghostly way, through slide projection. But there is one unusually gifted land artist at the Hirshhorn, Lita Albuquerque. By dusting isolated stones or strewing sharp, evanescent blotches of pigment in desert places (the color is then blown away by the wind), Albuquerque produces an exquisitely fugitive interference with the landscape, like a fleeting pictograph, an acceleration of cultural time in the great stasis of nature. Her single rock in a glass case at the Hirshhorn, unnaturally glowing under...