Interaction of Color: 50th Anniversary Edition

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One and One Is Four: The Bauhaus Photocollages of Josef Albers | MoMA". The Museum of Modern Art . Retrieved January 19, 2022. David W. Dunlap (June 17, 2002), Press 'L' for Landmark; Time & Life Lobby, a 50's Gem, Awaits Recognition The New York Times.

It’s the ultimate narcissistic , ressentiment-based conspiracy theory, except instead of being focused on governments and social systems its focused on ALL OF REALITY

50th Anniversary Edition

a b "Elliott Museum presents 'Albers & Heirs: Josef Albers, Neil Welliver, and Jane Davis Doggett' ". Martin County Times. Martincountytimes.com. November 9, 2013 . Retrieved May 14, 2014.

An iPad App has been created to accompany the Interaction of Color. The app features an array of the color theory exercises featured in Interaction of Color Related posts Naturally, practice is not preceded but followed by theory. Such study promotes a more lasting teaching and learning through experience. Its aim is development of creativeness realized in discovery and invention – the criteria of creativity, or flexibility, being imagination and fantasy. Altogether it promotes “thinking in situations,” a new educational concept unfortunately little known and less cultivated, so far” (p.68). Utilizing an expansive set of student-collected color strips cut from magazines (or a catalog of colored transparencies or even autumn leaves, pressed and laminated), it offers some loose guidelines for teachers to Socratically elicit from the students a growing appreciation of the mutability and subjectiveness of that "most relative of mediums - color." 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.”In 2019, his "colossal" mural, Manhattan, was reinstalled at the Walter Gropius-designed 200 Park Avenue (Metlife) Building, New York, following an almost two decade absence. “While we appreciate its importance in the art community, it just doesn’t work for us anymore,” a Metlife representative is quoted as saying, at the time of its removal (2000). [48] Two decades later, the piece is once again being hailed as the vibrant centerpiece of the building, with the Albers Foundation's director on hand for the rededication of the work: “This is what art was for him: something that could affect you, maybe gave a little bit of joy to the lives of those people rushing to their trains or rushing out of the station to their workday.” [49] Criticism [ edit ]

In 1962, as a fellow at Yale, he received a grant from the Graham Foundation for the Advanced Studies of Fine Arts for an exhibit and lecture on his work. Albers also collaborated with Yale professor and architect King-lui Wu in creating decorative designs for some of Wu's projects. Among these were distinctive geometric fireplaces for the Rouse (1954) and DuPont (1959) houses, the façade of Manuscript Society, one of Yale's secret senior groups (1962), and a design for the Mt. Bethel Baptist Church (1973). Also, at this time he worked on his structural constellation pieces. The cover of Interaction of Color. Published by Yale University Press in 1963. Who was Josef Albers? ALBERS - The most curious and unique of the minds I have witnessed through text. A man with the very tight, intense, highly disciplined brain of a laboratory scientist, a careful, systematic and procedural method to his teaching (learning about colour is *not about self-expression!*). And yet, with the least scientific aim and probably the greatest scepticism towards the systemising, totalising goal of science. One of the more important points brought to light in Interaction of Color is transparency. This aspect involves the best of one’s imagination. When two colors are brought together in a transparency mix, the third color becomes a new color, not a mix of the two. This third color, whatever it may be, speaks to uniqueness and specificity. Albers also emphasizes that color should be considered for its value, inasmuch as for its saturation. This helps to give color its meaning within the specificity of a place. Outside of this, it is group perception that can activate colors and give them purpose within a space.Albers, Josef (1975). Interaction of Color. New Haven, CT: Yale University Press. ISBN 978-0-300-11595-6. Still, for Albers, whose reputation as a gifted and captivating teacher was as great as his renown as an artist, the meticulously crafted book served to enshrine and promote his pedagogical aims. Interaction of Color is a handbook and teaching resource for artists and designers that shares Albers’ theory of color. Originally printed in 1963, the text outlines a set of principles and teaching methods for understanding and perceiving color in different ways. At its time of publication, the text created much controversy around its proposition of how people understand and interact with color. The book is not so much a theoretical framework but an experimental approach that looks at how color can be studied in art and design. 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 Times

As a result of looking into this I now hate Simulation Theory even more than I did before, whic was a lot.

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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. 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. Throughout the brief book, Albers offers several guided exercises to help students analyse the properties of color, but leaves academic discovery to the individual participant. Over fifty years old, the march of technology has rendered transparencies obsolete, but his exercises could still be instructive. Albers' method, again relying on the nurturing collective of the classroom to seed and help grow an awareness of color's wily and transformative ability, would be an enormously revealing procedure if mentored by an experienced and knowledgable master. The MoMA online collection directory of Josef Albers’ works, including installation shots of recent exhibitions featuring his work.