![]() ![]() What do we actually see? How well do we see it? How can we translate our discoveries into meaningful work? Albers felt that these concerns, rather than theories about form, should be the focus of art training. Albers insisted that color, as the most relative medium in art, has innumerable faces or appearances. ![]() Albers was, as his paintings and graphics reveal, profoundly sensitive to the formal relationships of things, intensely conscious that everything in the visual field exists in a context, and that every line and color affects adjacent line and colors. These four short videos, created by the Josef and Anni Albers Foundation in 2012, combine audio excerpts from Josef Albers’ lecture The Logic and Magic of Color (University of South Florida, 1966) with animated plates adapted from Interaction of Color. Unlike Kandinsky’s belief in an essential association between form and color, Josef Albers theorized color’s absolute relativity. Absorbed in visual phenomena, he would point out what others had perhaps viewed cursorily but not contemplated: the shape of the Yale football stadium, the spot of light that remains for a moment when a TV set is switched off, the way a red roof could merge with a blue sky, how the color of tea deepened in a glass. His classes were peppered with analyses of such commonplace phenomena as New York City streetlights, monuments in the park, and insect anatomy. Albers’s approach relied on direct observation and self-discovery. ![]()
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