Sentences with phrase «albers color theory»

I studied Joseph Albers with a student of Albers, and I believe you must study Albers color theory to understand his paintings.

About 7 or 8 years ago, I taught the standard Albers color theory class at Cooper Union — so I really had to immerse myself in color theory.

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Not exact matches

Coinciding with the exhibition Re-Generation, which maps the lasting effect of Josef Albers teaching on three successive generations of painters, is a small but exuberant show of paintings and works on paper by another teacher of color theory, painter Siri Berg.

There Noland also studied Bauhaus theory and color under Josef Albers and he became interested in Paul Klee, specifically his sensitivity to color.

While a student at Yale University, Victor Moscoso studied color theory under the Bauhaus - trained artist Josef Albers.

Moscoso subverted Albers's theories of color interaction in exuberant posters advertising rock concerts.

JG: Josef Albers's concepts in color theory and the interaction of color were so important.

Quaytman was part of a solid generation of abstract painters who took their cue not just from the Suprematists and the neo-plasticism of Mondrian but also from the color theories of Albers and Matisse, correlating volume and effect.

He studied at The Cooper Union and with Josef Albers at Yale; he would later put Albers» color theories to unintended use in his optically vibrant counterculture posters produced in San Francisco.

There she befriended the choreographer Merce Cunningham and studied painting with Albers, whose theories on color were immensely influential.

Josef Albers (1888 - 1976) was an American - German artist best known for his iconic color square series, Homage to the Square, which he began in 1949 and major contributions to color theory.

Albers was highly influential as a teacher, first at the Bauhaus in Germany alongside Wassily Kandinsky and Paul Klee, and later with posts at Black Mountain College, Yale, and Harvard; he taught courses in design and color theory, and counted among his students such iconic artists as Eva Hesse, Cy Twombly, Richard Anuszkiewicz, and Robert Rauschenberg.

He progressed to graduate study at Yale University, at a time when the place was turning out art stars by the boatload — Richard Serra, Sol LeWitt, Robert Mangold, Judy Pfaff and many others came out of the Josef Albers class on color theory.

I think about Albers» color theories and how relational colors are, using neutrals to contrast with higher keyed color.

Both Anuszkiewicz (who studied with Josef Albers) and Wurmfeld, whose exhibition I reviewed on April 14th, make optically dazzling, hard - edge paintings that owe something to the scientific, research - driven engagement with color that goes back to Georges Seurat, the study of optics and the rise of color theories.

A maker of vibrant and intellectual abstract paintings that pushed forward the color theories of Albers and Kandinsky, Alma Thomas (1891 - 1978) is finally being recognized as a pivotal member of the Washington, D.C. mid-century arts scene.

A native of Massachusetts, he attended Phillips Academy in Andover and earned a BA from Princeton, where he studied art and color theory with Josef Albers and Hans Hofmann.

Next in the curated section, Troy Michie (Company Gallery) creates works using photographs with people's bodies and faces cut out in a symbolic specter of invisibility, and Tomashi Jackson (Tilton Gallery) assembles sculptures that meld Josef Albers's color theories with the history of racial politics in the US.

The artist, trained in color theory by Josef Albers, deployed a grayish palette, «both ashen and sallow, highlighted with accents of the nauseous,» as E. Luanne McKinnon puts it in the catalog for the current Brooklyn Museum exhibition of 19 of these paintings, from a series thought to include 21.

Two other artist / teachers who were influential in teaching color theory and practice were Josef Albers and Ilya Bolotowsky.

Josef Albers (1888 — 1976) is considered one of the foremost abstract painters, as well as an important designer and educator noted for his rigorously experimental approach to spatial relationships and color theory.

Although Josef Albers» influence on color theory is pervasive, CMYK reveals that artists continue to experiment and explore the infinite possibilities of mixing pigments based on cyan, magenta, yellow and black (K), illustrating that the future for abstract painting is as vast as its past.

This is a well spiked with a few big names and themes: the color theory of Josef Albers, the concentric lines of early Frank Stella, and the irregular shapes and flat color planes of Ellsworth Kelly.

In 1923 Albers began teaching the Vorkurs, the introductory class in which new students learned to work with each of the key artists» materials, along with color theory, composition, construction, and design.

Josef Albers on #TheDress: OK, we know everyone will have forgotten about this whole thing by Monday, but for now: the Atlantic's CityLab uses Albers's 1963 color theory book Interaction of Color (as well as its app version, produced by Yale University Press) to explain how the hell people are seeing that dress as white and color theory book Interaction of Color (as well as its app version, produced by Yale University Press) to explain how the hell people are seeing that dress as white and Color (as well as its app version, produced by Yale University Press) to explain how the hell people are seeing that dress as white and gold.

Richard Anuszkiewicz and Julian Stanczak are considered the two students who most embraced Josef Albers's theories on color interaction.

Fritz Horstman, the Artist Residency and Education Coordinator at The Josef and Anni Albers Foundation, gives a free workshop Albers» color theory.

Interaction of Color was Albers» book about the color theory, published by Yale University Press in 1963, that was conceived as a handbook and a sort of guide for artColor was Albers» book about the color theory, published by Yale University Press in 1963, that was conceived as a handbook and a sort of guide for artcolor theory, published by Yale University Press in 1963, that was conceived as a handbook and a sort of guide for artists.

Josef Albers, Alfred Jensen, and Ad Reinhardt used the square as the basic organizing framework for their systems of color theory.

The agenda — «all over,» nonrepresentational, and downright disembodied — may sound a lot like the color theory of Josef Albers.

His approach to representation and abstraction was optical, influenced by the Bauhaus» Josef Albers» color theory and Vasily Kandinsky's constructivism.

Albers's teachings on color theory and the precision of geometric forms would become fundamental to the development of Stanczak's mature style and method.

Because, as Grigely told me, «no archive is disinterested» and in an extension of Joseph Albers» articulations of color theory, «you can't put one document beside another without changing both.»

His approach to representation and abstraction is optical, influenced by the Bauhaus» Josef Albers» color theory and Vasily Kandinsky's constructivism.

He was influenced by the color theories of Josef Albers and Burgoyne Diller while a student at Yale.

Josef Albers was an American artist and teacher widely known for his paintings and his book on color theory, but I personally love these album covers that he designed in the late 50's and early 60s for Command Records.

A lot of my color is based on certain color theory sources, my main references were two books, one from Johannes Itten, who has a very broad base color approach and one from Josef Albers, who had some very specific goals in what he was doing.

Sze: I studied both painting and architecture at Yale from 1987 to» 91, but focused on painting, which then was very formal and divided between Joseph Albers's color theory and traditional figuration.

The centrality of these gradations between black, white, and grey to Albers's overall theory of color is demonstrated by the inclusion of his first Homage to the Square painting, Homage to the Square (A)(1950), which inaugurated the series that would occupy him until his death in 1976.

Now available in a larger format and with enhanced production values, this expanded edition celebrates the unique authority of Albers's contribution to color theory and brings the artist's iconic study to an eager new generation of readers.

Albers was the supreme teacher of color theory, not just at the Bauhaus but at Yale (where his graduate assistant was Richard Serra).

There, she studied design and color theory with Josef Albers, painting with Jean Varda, and photography with Beaumont Newhall.

Joannes Itten was Albers «teacher at the Bauhaus, and Itten's classic book, The Elements of Color, was my first in depth commitment to learning color thColor, was my first in depth commitment to learning color thcolor theory.

Albers's quasi-scientific color theory dominated the painting curriculum, but Mr. Noland gravitated toward the less doctrinaire Bolotowsky and fell under the influence of Paul Klee, whose colorful surrealist fantasies loomed large in Mr. Noland's first exhibition, at a Paris gallery in 1949.

(Jackson has long noted that the color theory laid out in Albers» seminal 1963 art text discomfitingly mirrors the language of racial segregation of the period.)

One of Mike's major interests is the role colors play in the dynamics of composition and their effect on the visual perceptions of the observer, particularly as evidenced in the work of the color theorist Josef Albers and his seminal work «Theories of the Interaction of Color.&rcolor theorist Josef Albers and his seminal work «Theories of the Interaction of Color.&rColor.»

The Bauhaus takes credit for elaborating and advancing color theory through the work and teachings of Wassily Kandinsky, Johannes Itten and Josef Albers.

From an interest in axonometric projection, Albers - inspired color relationships, crowd and social theory, James Sheehan constructs on a very small scale, a very large, theatrical and absurd scene.

Utilizing Hans Hofmann's theory of push and pull and Josef Albers» teachings on color interactions Laget pushes these further by combining the use of colorful hues.