Interaction of Color: 50th Anniversary Edition

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See Nicholas Fox Weber, “The Artist as Alchemist,” in Josef Albers: A Retrospective (New York: Solomon R. Guggenheim Museum and Abrams, 1988).

awakening, it seepedinto my understandingof Albers quite surreptitiously, in the form of an artifact,Practical exercises demonstrate through color deception (illusion) the relativity and instability of color. And experience teaches that in visual perception there is a discrepancy between physical fact and psychic effect. What counts here — first and last — is not so-called knowledge of so-called facts, but vision — seeing. Seeing here implies Schauen (as in Weltanschauung) and is coupled with fantasy, with imagination. AFTERIMAGE EFFECT The search has taken me through Neurobiology (We Know It When We See It by Richard Masland), Ship Camouflage in WWI (Dazzle - disguise and disruption in war and art by James Taylor), and a deep cut into colour as used by artists (Interaction of Colour by Josef Albers). The cover of Interaction of Color. Published by Yale University Press in 1963. Who was Josef Albers? In 1963, Albers published Interaction of Color, which is a record of an experiential way of studying and teaching color. He asserted that color "is almost never seen as it really is" and that "color deceives continually", and he suggested that color is best studied via experience, underpinned by experimentation and observation. The very rare first edition has a limited printing of only 2,000 copies and contained 150 silk screen plates. This work has since been republished, and is now available as an iPad App. [24] Color model representing Albers' color theory as described in Interaction of Color (1963)

Bauhaus in Mexico", article about the Albers, their trips to Mexico, and the Guggenheim show in 2018. The New York Review of Books, February 25, 2018 An informative video looking at the influence of Albers and fellow Bauhaus instructor, László Moholy-Nagy on 20th-century art and design. A major source of inspiration for Albers’s treatment of color as subjective phenomena was Goethe’s 1810 Farbenlehre (Study of color), adapted at the Bauhaus (where Albers was both a student and a teacher) through Johannes Itten’s own teaching and experiments with color. 7 Of particular interested to Albers was Goethe’s examination of the phenomenon known as “simultaneous contrast”—the tendency of colors to shift based on their adjacent surroundings. Albers capitalized on the human response to these color relationships, evoking philosophical, expressive, or emotional reactions to color. 8 In later works in the Homage series, he used closely related hues of the same color, requiring a more extended period of contemplation from the viewer.Looking into the way camo destroys the understanding of mass and shape as a method for understanding how the eye and mind create and perceive mass and shape seems like a good idea. Crichton-Miller, Emma (November 11, 2016). "Celebrating Bauhaus artists Josef and Anni Albers". Financial Times. Archived from the original on December 10, 2022 . Retrieved February 16, 2022. 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.

Josef Albers, in Josef Albers: Formulation Articulation (London: Thames &
Hudson, 2006), portfolio II: 29. Initially produced in a highly unusual format — a limited silkscreen edition consisting of two large, unbound volumes with 150 color plates, weighing 22 pounds — the book would become a classic guide to visual awakening, hailed by one early reviewer as a “grand passport to perception.” As a result of looking into this I now hate Simulation Theory even more than I did before, whic was a lot.Nicolas Bourriaud, Relational Aesthetics, trans. Simon Pleasance and Fronza Woods (Dijon, France: Presses du Réel, 2002), 23. This book, written almost 60 years ago, does not touch on how colors are viewed, used and manipulated in this digital age. An absence that will only grow more pronounced as "colored papers", the principal material used in the book for practice, become more and more scarce. Albers' experimental art exploring color theory and its effects on spatial relationships impacted modern artists of the 20th century. Through his book Interaction of Color, his legacy continues. de Melo, M. (2019) Mosaic as an Experimental System in Contemporary Fine Art Practice and Criticism. PhD Thesis: University for the Creative Arts; University of Brighton, p.111