The aim of our studies is to prove that color is the most relative means of artistic expression, that we never really perceive what color is physically.
Interpretation
This quote suggests that color is a subjective experience, deeply tied to personal perception rather than just a physical phenomenon.
Josef Albers emphasizes the relativity of color in artistic expression, arguing that our understanding and perception of color are influenced by personal experiences and contexts rather than being purely objective. He highlights the complexity of color as a medium in art, suggesting that it transcends just its physical properties and requires interpretation from the viewerβs perspective.
In practice
In an art class discussion about the importance of color theory.
Simultaneous contrast is not just a curious optical phenomenon β it is the very heart of painting. Repeated experiments with adjacent colors will show that any ground subtracts its own hue from the colors which it carries and therefore influences.
Instead of art I have taught philosophy. Though technique for me is a big word, I never have taught how to paint. All my doing was to make people to see.
When we are honest - that's my saying - if we are honest then we will reveal ourselves. But we do not have to make an effort to be individualistic, different from others.
Ah, the creative process is the same secret in science as it is in art. They are all the same absolutely.
Traditionally art is to create and not to revive. To revive: leave that to the historians, who are looking backward.
In order to use color effectively it is necessary to recognize that color deceives continually.
After writing a novel, what is there to say? If a novelist could say it in a maxim, they wouldn't need 120,000 words, several years and sundry characters, plots and subplots, and so on. I'd much rather listen always.
Since the beginning of the 20th century, the public's relationship to art has been weakened by a profound institutional reluctance to address the question of what art is for. This is a question that has, quite unfairly, come to feel impatient, illegitimate, and a little impudent.
We encourage our people to build their ideas from scratch, and we give them the resources - and, crucially, the candid feedback - that are required to transform the first wisps of a story into a truly compelling film.
After about three lessons [my] voice teacher said, "Don't take voice lessons. Do it your way. You're a song stylist. Always do it your way."
All novelists should live in two different worlds: a real one and an unreal one.
I find campfire stories and urban legends are kind of the bread and butter that inspires a lot of people who are making horror and thriller. There is a nugget of truth behind these sort of cautionary tales.
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