A Quote by Josef Albers
Simultaneous contrast is not just a curious optical phenomenon - it is the very heart of painting.
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Simultaneous contrast is not just a curious optical phenomenon – 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.
The little may contrast with the great, in painting, but cannot be said to be contrary to it. Oppositions of colors contrast; but there are also colors contrary to each other, that is, which produce an ill effect because they shock the eye when brought very near it.
Suffice it to say that black and white are also colors... for their simultaneous contrast is as striking as that of green and red, for instance.
This Sarah Palin phenomenon is very curious. I think somebody watching us from Mars — they would think the country has gone insane.
I'm very curious about David Bowie's new record [2016]. I'm very, very... I'm just incredibly curious, I want to see what's happening with that. I don't really know who else is putting out records, we've had our heads buried working on ours. I haven't really been paying much attention lately.
When football stars disappear, so do the teams, and that is a very curious phenomenon. It is like in the theatre, in a play, where there is a great star. If the star is not well, the whole cast suffers.
Painting, for me, when it really 'happens,' is as miraculous as any natural phenomenon - as say, a lettuce leaf. By 'happens,' I mean the painting in which the inner aspect of man and his outer aspects interlock.
Mark Horowitz and I built it onto an optical bench in the lab. We spent and eight-hour span putting this optical light path together.
Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.
What is the use of good painting? We want a spell cast upon the optical part of our existence! We seldom really see the world, but when we do, we become as still as a picture.
Having a background in doing printmaking and letterpress, I think that I became very interested in images that were flat and graphic. And my painting still today is very flat...American craft is like that too - the painting is very flat. And also the painting that you see on the storefronts, handmade signs, tend to be very flat. That's probably my biggest influence.
It's very important to be curious in a very universal way. Whether someone is poor or rich, I'm curious about everything.
Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here - is - away from the easel - into some sort, some kind of wall, wall painting.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
When I was first painting the Monopoly guy I received a criticism. People said, "You're just painting cartoon characters, anyone can do that," but I'm actually a very skilled artist. That's why I released a Jack Nicholson portrait right after that that was very detailed in the face to show my skills.
Contagion has become very much a phenomenon, and it's a phenomenon of globalization.
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