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Janet Wolff

Kristeva, 1977: ‘Thus all colors, but blue in particular, would have a noncentered or decentering effect, lessening both object identification and phenomenal fixation. They thereby return the subject to the archaic moment of its dialectic, that is, before the fixed, specular “I”.’ [ 64 ] Derek Jarman, 1993: ‘Blue transcends the solemn geography of human limits.’ Press release, 10 December 2007: ‘Pantone, Inc., the global authority on color and provider of professional color standards for the design industries, selected PANTONE 18–3943 Blue Iris, a beautifully balanced

in Austerity baby
Yulia Karpova

27 artistic policy, which had spread from literature to all the visual arts. The intention was to portray the ‘correct type’ of Soviet personality, a model for identification, while all the decorative techniques – use of light, colour, material, texture – were just means to achieve this. This is evident in the Leningrad critic V. Kalinin’s review of the 1953 graduate projects of the Mukhina School. He praised the works that had received the highest grades for the skilful adaptation of their materials to the subject matter. According to this logic, material such as

in Comradely objects