A Quote by Oliver Tambo

We had to forge an alliance of strength based not on colour but on commitment to the total abolition of apartheid and oppression; we would seek allies, of whatever colour, as long as they were totally agreed on our liberation aims.
If the image was sketched onto the canvas and spontaneously drawn, colour would often be restrained and unfree... The most important and the most difficult liberation process we went trough, the one that has distinguished our art, was the freeing of colour, the transition to a painterly spontaneity.
I had an idea for a story about a young woman who was living with people who were different, not just superficially different - such as hair colour, or eye colour, or skin colour - but different in some significant way.
The true colour of life is the colour of the body, the colour of the covered red, the implicit and not explicit red of the living heart and the pulses. It is the modest colour of the unpublished blood.
I think that the same kind of openness and fluidity and willingness to interrogate power that we, as feminists, expect from men in alliance on questions of class should also be the expectation that women of colour can rely upon with our white feminist allies.
In the studio, we adhere to a strict colour code. Developed over decades, the colour code consists of a finite and precise colour palate... The whole world as we experience it comes to us through the mystic realm of colour.
A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too.
For me, pink or lilac is the colour of innocence, it's the colour of love, it's the colour of everything happy.
Other lands became a larder full of all the good things All we had to do was go and take Blood the colour of the rain that grew our wicked harvest Black the colour icing on our cake
The first colour charts were unsystematic. They were based directly on commercial colour samples. They were still related to Pop Art. In the canvases that followed, the colours were chosen arbitrarily and drawn by chance. Then, 180 tones were mixed according to a given system and drawn by chance to make four variations of 180 tones. But after that the number 180 seemed too arbitrary to me, so I developed a system based on a number of rigorously defined tones and proportions.
Sometimes I can see colour without opening my eyes. I saw that Billy's heart was no colour and every colour. Like water or diamonds or crystals, it's pure and reflects the light.
In Asia, red is the colour of joy; red is the colour of festivities and of celebration. In Chinese culture, blue is the colour of mourning.
Trust your feelings entirely about colour, and then, even if you arrive at no infallible colour theory, you will at least have the credit of having your own colour sense.
The prejudice many photographers have against colour photography comes from not thinking of colour as form. You can say things with colour that can't be said in black and white... Those who say that colour will eventually replace black and white are talking nonsense. The two do not compete with each other. They are different means to different ends.
[Malcolm Fraser] went straight from Melbourne Grammar to Oxford. And he would have been a very lonely person, and I think he probably met a lot of black students there who were also probably lonely. I think he formed friendships with them, which established his judgement about the question of colour. That’s my theory. I don’t know whether it’s right or not, but that’s what I always respected about Malcolm. He was absolutely, totally impeccable on the question of race and colour.
The colour of my skin determines what opportunities I have; the colour of my skin says there's only room for one or two of us to be accepted in a certain job; the colour of my skin has dictated everything I've done in my whole life.
There is a brain mechanism that works to identify colour differences directly, without first identifying the absolute colour of each surface. So on my view there is no reason to suppose anything like ten million colour responses to surface viewed singly.
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