Josef Albers Quotes

Calm Down what happens happens mostly without you.

To design is to plan and to organize, to order, to relate and to control. In short it embraces all means of opposing disorder and accident. Therefore it signifies a human need and qualifies man’s thinking and doing.

One line plus one line results in many meanings.

...Good teaching is more a giving of right questions than a giving of right answers.

I was for years in the yellow period, you know.

It's the only dish I serve my craziness for color in.

As basic rules of a language must be practiced continually, and therefore are never fixed, so exercises toward distinct color effects never are done or over. New and different cases will be discovered time and again.

color is the most relative medium in art

I've handled colour as a man should behave. You may conclude that I consider ethics and aesthetics as one.

Usually, we think of an apple as being red. This is not the same red as that of a cherry or tomato. A lemon is yellow and an orange like that of its name. Bricks vary from beige to yellow to orange, and from ochre to brown to deep violet. Foliage appears in innumerable shades of green. In all these cases the colors named are surface colors. In a very different was, distant mountains appear uniformly blue, no matter whether covered with green trees or consisting of earth and rocks. The sun is glaring white in daytime, but it is full red at sunset. The white ceiling of houses surrounded by lawns or the white-painted eaves of a roof on a sunny day appear in bright green, which is reflected from the grass on the ground. All these cases present film colors. They appear as a thin, transparent, translucent layer between the eye and an object, independent of the object's surface color.

Many years passed before I learned of other ways to access the healthy and limitless part of my mind that psychedelic drugs had opened in my youth. In 2001, deep into a Vipassana course, a few days into silence and ten hours a day of meditation, I found myself in a psychedelic state. My body had become nothing but light, I was one with the universe and anything I could imagine was possible. I was a rock in an Alaskan stream purified by the freezing water rushing over me as a massive beautiful brown bear lumbered by. I looked up to see an intricate geometric pattern of shapes in motion in the air above; changing and unfolding, the most beautiful vivid and sharp color combinations to make Josef Albers cry with joy. I realized a profound simplicity of purpose, my focus crystal clear, I saw the beauty in all, and was overwhelmed with love and gratitude for all the joy and pain in my life. In that moment, I learned that no drug was ever necessary for a mind-opening experience.

the Inka style was severe, abstract, stripped down to geometric forms—startlingly contemporary, in fact. (According to the Peruvian critic César Paternosto, such major twentieth-century painters as Josef Albers, Barnett Newman, and Mark Rothko were inspired by Inka art.)

In 1934, when Josef Albers designed, at the request of the architect Philip Johnson, the cover for the catalogue of the Museum of Modern Art’s Machine Art exhibition, brandishing a dramatic photo of an industrial ball bearing, Josef rejected the initial proofs from the printer, demanding that his name as designer be removed if its flaw was not corrected. Johnson wrote back contritely. He assured Josef that the margin between the edge of the paper and the powerful image of that glistening, perfectly functioning machine part would be reduced to a precise three millimeters in accord with Josef’s original design. Johnson understood the gravity of the mistake and the importance of measurements.

Anni and Josef Albers’s house was the whitest place imaginable.

If you don’t do it my way, I suggest you commit suicide.

Josef Albers devoted his life to extolling the merits of “minimal means for maximum effect.

At the Bauhaus, Josef Albers wrote a friend for whose apartment he was designing furniture, “An empty room is always the best.