“Dreams, memories, the sacred—they are all alike in that they are beyond our grasp. Once we are even marginally separated from what we can touch, the object is sanctified; it acquires the beauty of the unattainable, the quality of the miraculous. Everything, really, has this quality of sacredness, but we can desecrate it at a touch. How strange man is! His touch defiles and yet he contains the source of miracles.” ― Yukio Mishima, Spring Snow
Josef Albers’ The Interraction of Color: Art School In Your Hands
Nathan Hylden. Untitled (2009), acrylic on aluminum, 196.85 x 144.78 cm
The theory is complex and evolved over the years, but during his career, Albers produced a prodigious number of color-field paintings, beginning with a series called “Homage to the Square” in 1949 (we’re showing “Homage to the Square Ascending,” 1953). These works make perfect paint palettes for today’s rooms, from the bright and sunny to the introspective and demure.