Albers was periodically subjected to criticism from some of the best-known critics of his era, and the challenges he issued to the accepted norm would encourage a firestorm of controversy. With a half century’s distance, the success of Albers’ work seems obvious, but when the Yale University Press took on a collaboration with the artist, a happy outcome was far from certain. He developed such a method during his tenure at Black Mountain College, work which culminated in 1963 with the publication of the Interaction of Color, a book acclaimed that same year by Howard Sayre Weaver to be a “grand passport to perception.” Albers believed color could only be understood through a series of increasingly complex interactions. In over 200, beautifully illustrated pages, one finds not a single color wheel nor any other attempt to identify the inherent order of his subject. He proclaims it the most relative medium in art. He declares that color is a process of discovery. From this first stanza, Albers issues his challenge to consider color not as a science and not as something “safe” for which one can develop a reliable system. So begins Josef Albers’ revolutionary text Interaction of Color. It can be expected that there will be 50 reds in their minds.Īnd one can be sure that all these reds will be very different. Special Advertising Note: The following sponsored content is brought to you courtesy of Yale University Press, one of PRINT’s trusted partners.
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