ISBN:
9781943208005
,
194320800X
,
9781943208012
,
1943208018
Language:
English
Pages:
1 Online-Ressource (vi, 99 pages)
,
color illustrations
Parallel Title:
Erscheint auch als Intersecting colors
DDC:
709.2
Keywords:
Albers, Josef Criticism and interpretation
;
Albers, Josef Exhibitions
;
Albers, Josef
;
Criticism, interpretation, etc
;
Exhibition catalogs
Abstract:
Foreword /David E. Little --Introduction /Vanja Malloy --A short history of Josef Albers's Interaction of color /Brenda Danilowitz --Explaining color in two 1963 publications /Sarah Lowengard --More than parallel lines: thoughts on Gestalt, Albers, and the Bauhaus /Karen Koehler --Juxtapositions and constellations: Albers and Op Art /Jeffrey Saletnik --Josef Albers and the science of seeing /Susan R. Barry --Contributors --Exhibition checklist.
Abstract:
Josef Albers (1888-1976) was an artist, teacher, and seminal thinker on the perception of color. A member of the Bauhaus who fled to the U.S. in 1933, his ideas about how the mind understands color influenced generations of students, inspired countless artists, and anticipated the findings of neuroscience in the latter half of the twentieth century. With contributions from the disciplines of art history, the intellectual and cultural significance of Gestalt psychology, and neuroscience, Intersecting Colors offers a timely reappraisal of the immense impact of Albers's thinking, writing, teaching, and art on generations of students. It shows the formative influence on his work of non-scientific approaches to color (notably the work of Johann Wolfgang von Goethe) and the emergence of Gestalt psychology in the first decades of the twentieth century. The work also shows how much of Albers's approach to color - dismissed in its day by a scientific approach to the study and taxonomy of color driven chiefly by industrial and commercial interests - ultimately anticipated what neuroscience now reveals about how we perceive this most fundamental element of our visual experience. Edited by Vanja Malloy, with contributions from Brenda Danilowitz, Sarah Lowengard, Karen Koehler, Jeffrey Saletnik, and Susan R. Barry
Note:
Published in conjunction with the exhibition held at the Mead Art Museum, Amherst College, August 28, 2015-January 3, 2016
,
Includes bibliographical references
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