In order to use color effectively it is necessary to recognize that color deceives continually.” 2 The essential instability of color, which Albers described as “the discrepancy between the physical fact and the psychological effect” of a work of art, was repeatedly manifested in his seminal series Homage to the Square (1950–76). This fact makes color the most relative medium in art. Albers continues: “In visual perception a color is almost never seen as it really is-as it physically is. 1 As stated in the publication’s introduction, it represents the artist’s articulation of “an experimental way of studying and of teaching color,” placing experiential practice before academic theory. In 1963 Josef Albers published his Interaction of Color, representing one of the few serious analytical attempts by a twentieth-century artist to revise and extend existing color theory. Spotlight Essay: Josef Albers, Homage to the Square: Aurora, 1951–55ĭirector of Education and Public Programs, Portland Art Museum, Oregonįormerly Coordinator of Education and Public Programs, Mildred Lane Kemper Art Museum
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