Interaction of Color: 50th Anniversary Edition

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He believed in experiential teaching — not in putting out a rule and teaching students how to execute that rule. He believed in discovery in the classroom, and that is why his classes were always new and different.

The Photographs of Josef Albers: A Selection from the Collection of The Josef Albers Foundation | MoMA". The Museum of Modern Art . Retrieved January 19, 2022. Christopher Knight (May 14, 2008), Robert Rauschenberg, 1925 – 2008: He led the way to Pop Art Los Angeles Times. Saletnik, Jeffrey (2007). "Josef Albers, Eva Hesse, and the Imperative of Teaching". Tate Papers. London: The Tate Gallery. ISSN 1753-9854.

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The publication of the book allowed for the methodology of teaching color in this way to be transported to all these different schools, across the country, across the world,” said Faruqee, who directed a 2016 film about Albers. “And it’s unusual in an art context to have that kind of template.” As the viewer enters into a dialogue with Albers’s Homage paintings, these color interactions exceed the material form of the artwork. “Painting is color acting,” Albers wrote. “The act is to change character and behavior, mood and tempo.” 5 The Homage paintings engage the viewer’s process and understanding of visual perception, presenting ambivalent forms that demand from the viewer different decisions. Albers noted, “Some spectators are led to notice their preferred color or colors first. Others begin with ‘firsts’ in quality (i.e., high intensities in light and hue) or ‘firsts’ in quantity, measured either by extension or recurrence. . . . When it comes to reading advancing and receding color, there will rarely be agreement—regardless of convincing decisions offered by theories based on color temperature or wave length.” 6 The cover of Interaction of Color. Published by Yale University Press in 1963. Who was Josef Albers? The one word that to Josef Albers was absolute anathema was “self-expression.” He said you do not express yourself — you have to learn, you have to have these skills, and then you create something. Holland Cotter (July 26, 2012), Harmony, Harder Than It Looks – ‘Josef Albers in America: Painting on Paper,’ at the Morgan The New York Times.

Albers is known for his paintings, but one of his most enduring legacies is the book Interaction of Color which was published in 1963 as a limited silkscreen edition with 150 color plates. In the text, he expanded on color theory, stating that color is “almost never seen as it really is” and that “color deceives continually.” (Anyone who has ever worked with hues, in a creative sense, likely knows this firsthand.) In the ensuing years — Albers would live until 1976 — the author continued to work on his celebrated series of paintings, “ Homage to the Square,” in which he played with color in nestled squares. The series ultimately numbered about 2,000 artworks, many produced in Albers’s home studio in Connecticut, and at least one of which the artist gifted to Kerr. Albers also took on commissions for public artworks, including murals in the Pan Am (now MetLife) Building in Manhattan and for a landmark development in central Sydney, Australia, as well as works for Stanford University and other patrons. (Some were completed after his death.) As an artist, Albers worked in several disciplines, including photography, typography, murals and printmaking. He is best known for his work as an abstract painter and a theorist. His book Interaction of Color was published in 1963. Jameson, Dorothea. Some Misunderstandings about Color Perception, Color Mixture and Color Measurement. Leonardo, vol. 16, no. 1, 1983, pp. 41-42. JSTOR, https://www.jstor.org/stable/1575043. Interaction of Color, the landmark 1963 book by Josef Albers, . . . isn’t just for aspiring artists. Its mesmerizing illustrations are a revelation for anyone interested in color theory and human perception.”—Pilar Viladas, New York Timescomfortable chair, a large table, and a good bit of time” to come to grips with this “very large book