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Interaction of Color: 50th Anniversary Edition

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And when, in 1958, at age 70, the German émigré Josef Albers retired from the Yale faculty, legacy-defining professional triumphs were still to come. The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars. And it is this, the evidently-relative-relativity, if you will excuse an awful phrase, which makes colour more obviously relative than sound or touch, because it lives along side and is always contrasted with, shape and line, which is very much less relative (probably more dominant, earlier maybe, in the binding & combining process).

False weathering patterns on 40k minis, showing you illusory mass one way, comic book style highlights on minis showing you mass another way, fake metal gleams in the non-metallic metal process showing you shape of imaginary metal, Blanchitsu style with decay and deep shadows, and the pale and nacreous skin which is good at showing those gothic shadows, showing you mass another way. He’d also produced a vast and growing series of artworks that would land him squarely among the giants of modernism.Answer - INFINITELY HARD, for the very question opens the doorway to a crystalline dungeon of PRISMATIC MYSTERIES. The MoMA online collection directory of Josef Albers’ works, including installation shots of recent exhibitions featuring his work. A color has many faces, and one color can be made to appear as two different colors. Here it is almost unbelievable that the left small and the right small squares are part of the same paper strip and therefore are the same color. And no normal human eye is able to see both squares — alike. Colors are in a continuous state of flux and can only be understood in relation to the other colors that surround them. Albers makes the provocative statement in the book that ‘colour is the most relative medium in art.’

This artist and educator in Europe and the United States formed the basis of modern programs of the 20th century.Albers is learning and teaching his students, through the medium of relentless attention and careful systematic analysis, about something he believes is very, very, highly relative. Fluid within perception and within the mind, to the extent that considering colour outside of its context, as an isolated quality, I think to him that would be utterly insane, since that is something it can never be. 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. Through his Homage series Albers established an unresolved dialogue between the material facts of the painting (nested squares, oil paint, manufactured colors) and its expressive subjectivity—between “the physical fact” and “the psychic effect.” On our initial perception of these works, we create the conditions for an exchange in much the same way that we return a serve in a game of tennis (to borrow a metaphor from Nicolas Bourriaud). 11 The perceptual exercises in Albers’s series experiment with and complicate the relationship between artist, artwork, and audience, drawing attention to this relationality within the reduced format of strict geometry and color. Endnotes Excellent color theory reference. Highly recommended for anyone in graphic, applied, and fine arts. Much might seem intuitive to a sensitive and attuned individual, but there are exercises that clarify concepts that seem impossible and/or counterintuitive. Engaging and examples are provided to illustrate the concepts.

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