In each installment, a guest writer chooses one Pantone color they find particularly meaningful, intriguing, or just aesthetically beautiful—and tells us why.


By Pırıl Gündüz, Director at the Hollows Art Space

You start with pink. Then you disassociate yourself from it, during teenage, go purple, go green, even blue—but I came back to it. Not powder or Mattel pink, but a darker, emboldened one, with some electricity added. It is also the color of Electrique, a quality of attractiveness, that glows from the inside out. Not by birth but an achieved one. Saturated, with a current that flows and glows. A contemporary color without doubt and synthetic, and more seen in fluorescent and neon gas lights. Ernst Ludwig Kirchner used it in Street, Berlin before they were invented. How would Mark Rothko’s primary colors do if the pink wasn’t there, electrifying the composition, encircling the blue in 1960-61’s Untitled? Perhaps it is not a female color anymore, for I have been hearing from our male artists “I am feeling pink nowadays,” though still feminine in a sense.

Ernst Ludwig Kirchner. Street, Berlin, (Straße, Berlin). 1913. Oil on canvas, 47 ½ x 35 7/8". The Museum of Modern Art. Purchase. © 2008 Ingeborg and Dr. Wolfgang Henze-Ketterer, Wichtrach/Bern

Mark Rothko. Untitled. 1960-61. Oil on canvas. 24 x 19”. © 2006 Christie’s Images/Corbis © Kate Rothko Prizel & Christopher Rothko ARS, NY&DACS, London

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