I first encountered Albers' Interaction of Color as an undergraduate student at the Slade School of Fine Art, in London, U.K. The Slade had one of the original sets of screen prints that accompanied the first edition, so I spent hours poring over the prints and marveling at the mutability of color. Years later, when I was asked to teach a Color class at the School of the Art Institute of Chicago, I knew that I wanted to build the course around the exercises in the Interaction of Color. These exercises demand precision and patience, but also teach us how to see, and how to make color do things. Previous students have described my color course as invaluable; rigorous but also rewarding; and something every artist should learn.
I have planned the workshop Color: Practice and Theory for the Berlin Drawing Room, starting February 6, 2019, based on a series of exercises developed by Josef Albers in the Interaction of Color. Originally published in 1963, Albers’ approach to color theory still feels relevant today because he places the importance of practice before theory. In doing this, he created one of the best manuals for any visual artist hoping to better understand the role that color plays within their work.
Josef Albers, Homage to the Square: With Rays, 1959.
Collection of the Metropolitan Museum, New York.