Interaction of Color: 50th Anniversary Edition

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Dimensions: 1 bound volume (80 p. : ill. ; 36 cm.), 1 portfolio (80 folders of col. ill. + "Commentary," 1 paperbound v. ; 36 cm.) : chiefly col. ill. ; in cloth-covered case ; Height: 14 9/16 in. (37 cm) On how the brain’s conditioning to notice only what it expects cheats us of the richness of seeing:

So many scientists, art teachers, philosophers, messing around with coloured thread, coloured sheets of paper, swatches of colour, showing them to people of different nations, in classrooms, in laboratories, to rabbits while a hole has been drilled in their skulls to let the electrodes in, sailing around looking for rare islanders so you can show them the colours and write down what they say. More flags, shining lights, patterns of shade and texture. By publishing your document, the content will be optimally indexed by Google via AI and sorted into the right category for over 500 million ePaper readers on YUMPU.In Chester Kerr ’36, who in 1959 had been named Yale Press’ director, Albers found a well-placed and audacious advocate. Kerr, dapper and assertive, had already made a name for himself as an exceptional marketer and publicist of books, and would, over 20 years as director, dramatically increase the number of books published and total sales, open a London office, and support the Press’s emergence as a leading publisher of books on art. David W. Dunlap (June 17, 2002), Press 'L' for Landmark; Time & Life Lobby, a 50's Gem, Awaits Recognition The New York Times.

Biography [ edit ] Josef Albers, Rosa mystica ora pro nobis, 1918 (reconstruction, original destroyed c. 1944) [4] German years [ edit ] Formative years in Westphalia [ edit ] 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

Simple geometric patterns of various colors characterize works, such as the series Homage to the Square (1950-1959), of German-born American painter Josef Albers. Christopher Knight (May 14, 2008), Robert Rauschenberg, 1925 – 2008: He led the way to Pop Art Los Angeles 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 Josef Albers produced album covers for over three years between 1959 and 1961, Albers' seven album sleeves for Command Records incorporated elements such as circles and grids of dots, highly uncommon in his practice. "The series of records made by Command Records over half a century ago still resonate with audiophiles today, and are much sought-after by connoisseurs of mid-century modern design for their striking covers. This was all due to the collaboration between two individuals, Josef Albers and Enoch Light. Both men — one an influential teacher and artist, the other a stereo-recording pioneer — driven by strong convictions and passion for their respective crafts." [ citation needed] Works [ edit ] Homage to the Square [ edit ] Especially when considered as different painting techniques, as in you literally need to do and think about a lot of stuff differently to employ each one.

I'll be honest...I think a lot of this went over my head. Even though I read slowly and thoughtfully I often felt there was nuance in the definition of the words (because I'm not an artist and not fluent in German) that went beyond what was being written. Albers began his most famous series of works in 1949. Titled Homage to the Square, the collection of paintings would “occupy him for 25 years” and was, on its face, a simple volume of work. He divided his compositions into squares and used oil paint and a palette knife to apply them on a primed Masonite panel. comfortable chair, a large table, and a good bit of time” to come to grips with this “very large book All color perception is really illusional,” Albers told the Associated Press a few months after the book first came out. “That’s the theme of my book.” Success followed: Despite the astonishing retail cost, the initial print run sold out, delighting Albers, who was then 75 — and, through subsequent editions, delighting readers worldwide.The illustrations are studies composed of color-printed paper and mounted colored paper, some with cutouts. Many folders have more than one leaf of illustrations.