Josef Albers – författare

The 50th anniversary edition of a classic text, featuring an expanded selection of color studies  “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  “A visionary work.”—Malcolm Jones, Newsweek  Josef Albers’s classic Interaction of Color is a masterwork in art education. Conceived as a handbook and teaching aid for artists, instructors, and students, this influential book presents Albers’s singular explanation of complex color theory principles.  Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten color studies chosen by Albers, and has remained in print ever since. With over a quarter of a million copies sold in its various editions since 1963, Interaction of Color remains an essential resource on color, as pioneering today as when Albers created it.  Fifty years after Interaction’s initial publication, this anniversary edition presents a significantly expanded selection of close to sixty color studies alongside Albers’s original text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusion of transparency and reversed grounds. A celebration of the longevity and unique authority of Albers’s contribution, this landmark edition will find new audiences in studios and classrooms around the world.

A luxurious two-volume edition with the complete original plates, text, and commentary  “Absolutely stunning.”—Felix Salmon, Reuters  Josef Albers’s masterwork, Interaction of Color, is one of the most influential books on color ever published. Originally issued in 1963 as a limited-edition set of commentary and 150 silkscreened color plates, the book introduced generations of students, artists, designers, and collectors to Albers’s unique approach to complex principles.  This beautiful edition brings Interaction back into classrooms and studios and onto bookshelves, where it will find an eager new audience. It replicates Albers’s revolutionary exercises, explaining concepts such as color relativity and vibrating and vanishing boundaries through the use of color, shape, die-cut forms, and movable flaps that illustrate his astonishing demonstrations of the changing and relative nature of color. Also included for the first time are studies from the Albers archive, produced by the artist’s students in the early 1960s.  This celebration of Albers’s legendary achievements is an essential addition to any serious art library.  Published in association with the Josef and Anni Albers Foundation

An unprecedented catalogue exploring the affinities and contrasts between Josef Albers and Giorgio Morandi—two of modern art’s greatest painters. "Rarely seen together, the artwork of Josef Albers (1888–1976) and Giorgio Morandi (1890–1964) shares many similarities. Although they never met, both artists worked in series as they explored difference and potential through their distinctive treatment of color, shape, form, and morphology. They were also both influenced by Cezanne. As master illusionists and experts in proportion, they tackle similar conceits from different perspectives. Albers focused on the effects of subtle or bold changes and interactions in color, while Morandi made still lifes that treat simple objects as a cast of characters on a stage, exploring their relationship in space.Published on the occasion of the critically acclaimed exhibition Albers and Morandi: Never Finished, the book illuminates the visual conversation between these two artists. With the exhibition hailed by The New Yorker’s Peter Schjeldahl as “one of the best … I’ve ever seen,” this publication brings this unusual, thought-provoking pairing to your home. Gorgeous reproductions are accompanied by a roundtable about form and color between the exhibition’s curator, David Leiber; Heinz Liesbrock, the director of the Josef Albers Museum Quadrat Bottrop, Germany; and Nicholas Fox Weber, the director of Josef and Anni Albers Foundation, as well as an essay by the Morandi expert and founder of the Center for Italian Modern Art, Laura Mattioli.