Josef Albers

出版者:Phaidon Press

作者:Frederick A. Horowitz

页数:288

出版时间:2006-11-07

价格:USD 75.00

装帧:Hardcover

isbn号码:9780714845999

具体描述

The First Comprehensive Book to Examine the Teaching Methods of the Artist Renowned for the Homage to the Square Paintings.

Josef Albers (1888-1976) has long been admired for his progressive vision as an artist who blurred distinctions between fine and applied art, but rarely has his work as a teacher been examined in detail. The German-born artist was a remarkable classroom performer whose colorful language, wit, and dramatic flair held his students spellbound and turned his lessons into high adventure. Whether at the Bauhaus in prewar Germany, Black Mountain College in rural North Carolina during the 1930s and 1940s, or at Yale in the 1950s, Albers was driven by one thing--the desire to open his students' eyes to a different way of perceiving art and, ultimately, life.

JOSEF ALBERS: TO OPEN EYES by Frederick A. Horowitz and Brenda Danilowitz, is the first book to focus on how the legendary artist Josef Albers influenced generations of artists, architects, and designers, including Robert Mangold, Robert Rauschenberg, Donald Judd, Bertrand Goldberg, and Tom Geismar, through his work and legacy as an educator. Marking the 30th anniversary of Albers's death, the book examines his life and teaching methods, and reveals his philosophies on art, life, and the nature of perception based on first-hand accounts of more than 175 students and colleagues spanning more than 40 years. The book will coincide with a major exhibition at the Whitney Museum of American Art which will run from November 2, 2006- January 21, 2007.

JOSEF ALBERS: TO OPEN EYES takes the reader through Albers's life in teaching. He began his career in 1923, when Walter Gropius invited him to join the faculty of the Bauhaus in Germany, where he quickly replaced the school's standard course curriculum with his own innovative methods. After moving to the United States in 1933, he and his wife Anni became founding members and teachers at the experimental start-up Black Mountain College. In 1950, he was appointed to head Yale's newly restructured Department of Design and remained there until he retired in 1958.

Although he is widely perceived as a strong-minded theoretician, as this book reveals, Albers opposed rigid dogma and encouraged his students to develop lively and original solutions to his many and varied design exercises. On their first day in his classroom, Albers's students were informed that his goal was to educate their eyes and that he was going to teach them how to think and to see--an agenda belied by the somewhat prosaic course names "Basic Drawing" and "Basic Design" and "Color."

With energy and flair, Danilowitz and Horowitz have charted Albers's world-changing role as a teacher. Through their archival research of original correspondence, documents, student course notes, and student work produced in his courses, and their interviews of former students, colleagues, and associates of Albers, they reveal the way that Albers's ideas on education and his complex personality have made an indelible imprint in the lives and work of artists all over the world. This book provides not only a compelling study of a key figure of 20th century art, but also ponders what constitutes art and how it is made and taught.

用户评价

这本画册简直是色彩的圣经，每一次翻阅都像进行了一次精神上的洗礼。封面那张作品，看似简单，实则蕴含了无穷的张力与和谐。我尤其着迷于作者如何处理相邻色块之间的微妙关系，那种光影的转换和振动感，简直让人屏息。以前我总觉得色彩就是色彩，没有那么多学问，但这本书彻底颠覆了我的认知。它不是教你如何调色，而是启发你如何“看”颜色，如何感受它们在你眼前呼吸、交谈。书中的排版设计也极为考究，大面积的留白有效地衬托了作品的纯粹性，使得那些几何图形的对话更加清晰有力。阅读过程中，我发现自己对日常生活中光线的变化也开始留心起来，路边一栋建筑外墙上的砖块颜色，天空云层的渐变，都似乎带上了某种数学般的精确和艺术性的诗意。它不仅仅是一本艺术书籍，更像是一部关于视觉哲学的入门指南，引导读者从最基础的元素中探索无限的可能性。对于任何一个对现代艺术，尤其是抽象表现主义和极简主义感兴趣的人来说，这本书的价值是无法估量的。它教会了我，最少的元素，往往能承载最厚重的内涵。

如果说艺术史是一条奔流不息的长河，那么这本书就像河床上一块被精心打磨过的鹅卵石，沉静而恒久地提醒着我们基础的重要性。我花了很长时间去消化那些关于“光与色”的实验性照片，它们不再是简单的平面图像，而是对三维空间的一种巧妙欺骗。作者的贡献在于，他将本来属于绘画的二维领域，通过对比和光线的暗示，强行拉入了一个充满动态的感知场域。书中对材料媒介的探讨也极其深入，比如油画颜料与聚合材料在不同光线下所产生的表面质感差异，这直接影响了作品在不同博物馆环境下的观感。这本书的阅读体验是递进式的，第一次看可能觉得枯燥，但每隔一段时间重读，总能从中发现新的层次，就像重新进入一间你以为很熟悉的房间，却忽然发现一束光线从你之前忽略的角落投射进来，照亮了新的细节。它不是提供娱乐，而是提供一种持续学习的动力，让你对“形式美学”的探索永无止境。

这本书带来的最大启发在于“有限性”的力量。在充斥着信息爆炸和视觉冗余的当下，我们的大脑习惯了被过载的信息轰炸。但这本书里的作品，却反其道而行之，它们克制、精确、不容置疑。作者似乎在探索，当我们将所有干扰因素——比如具象的描绘、复杂的情绪叙事——全部剥离后，纯粹的色彩和形状能达到怎样的表达深度。我尤其欣赏书中对“系列作品”的梳理，那些看似微小的变化，其实揭示了人类感官适应性和疲劳的规律。比如，为什么一个红色在连续观看几分钟后会“褪色”，而旁边的蓝色会显得更加突出？这本书提供了一个可视化的实验室来研究这种现象。它不是提供答案，而是提供了一种观察世界的全新“透镜”。看完这本书，我开始对极简主义产生了一种新的敬意，它不是缺乏内容，而是要求观者用更专注、更内省的方式去参与到作品的“完成”过程中。这是一种挑战，也是一种奖励。

我必须承认，一开始我被这本书的风格吓到了，它太“冷静”了，那种近乎于偏执的秩序感和对形式的严格控制，让习惯了浪漫主义和表现主义的我有些无所适从。那些方正的、重复出现的网格结构，最初读起来感觉像是在阅读一份过于严谨的工程图纸，缺乏“人情味”。然而，随着我耐下性子，深入到那些关于光线和空间实验的章节后，我开始体会到其中蕴含的巨大能量。作者似乎在用一种近乎科学的方法来解构视觉体验的底层逻辑，他不是在画画，而是在进行一场关于“感知”的严密实验。书中的文字论述部分（尽管文字不多）清晰地揭示了他如何通过精确的比例和对比度来操纵观者的眼睛。最让我震撼的是对比度那一组作品，仅仅通过调整两个相邻色块的明度，整个画面就能从“静止”瞬间“跳跃”起来，这种视觉上的震颤是令人上瘾的。这本书强迫你放慢速度，去质疑你习以为常的视觉习惯，对于那些想寻求艺术创作新方向，渴望突破传统叙事手法的创作者来说，绝对是醍醐灌顶的一剂猛药。

这本书的装帧和纸张质量简直是业界标杆。我通常不太在意这些硬件细节，但拿到这本厚重的画册时，还是被那种厚实感和油墨的质感所折服。特别是书中收录的那些早期织物作品的照片，色彩的还原度高得惊人，几乎能让人联想到当年工作室里空气中弥漫的颜料气味。我记得其中有一页专门展示了作者对不同材料的偏好，从粗粝的麻布到光滑的铝板，每种基底对色彩的吸收和反射效果都进行了细致的对比。这种对“物质性”的执着，让原本抽象的色彩研究有了一种坚实的落地感。我不是科班出身，但阅读这本书的过程，让我感觉自己仿佛坐在大师的身边，听他娓娓道来每一步选择背后的深思熟虑。它没有太多花哨的理论术语，更多的是一种基于长期实践的、近乎“工匠精神”的记录。如果你想收藏一套真正能经受住时间考验的艺术史经典，这本册子绝对值得你投入那笔不菲的费用，它的物理存在感本身就是一种艺术价值的体现。

详尽地介绍了Albers教学的内容，其中学生作业和照片相当珍贵，但论述部分偏弱，一个问题在于，基础课中诸多丰富的形式训练最终流向何方？

详尽地介绍了Albers教学的内容，其中学生作业和照片相当珍贵，但论述部分偏弱，一个问题在于，基础课中诸多丰富的形式训练最终流向何方？

详尽地介绍了Albers教学的内容，其中学生作业和照片相当珍贵，但论述部分偏弱，一个问题在于，基础课中诸多丰富的形式训练最终流向何方？

详尽地介绍了Albers教学的内容，其中学生作业和照片相当珍贵，但论述部分偏弱，一个问题在于，基础课中诸多丰富的形式训练最终流向何方？

详尽地介绍了Albers教学的内容，其中学生作业和照片相当珍贵，但论述部分偏弱，一个问题在于，基础课中诸多丰富的形式训练最终流向何方？