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Josef Albers
Study for Homage to the Square, 1963
oil on masonite
16 x 16 in. (40.6 x 40.6 cm)
Anni Albers
Textile sample, n.d.
jute, cotton, metallic fiber, and linen
4 3/8 x 7 1/4 in. (11.1 x 18.4 cm)

2018 Siena + Cork + Zagreb

Voyage Inside a Blind Experience (VIBE) is an exhibition that has equal interest for seeing and for visually impaired people, examining the abstract works of Josef and Anni Albers. The project developed from a collaboration between Atlante Servizi Culturali and the Josef and Anni Albers Foundation, together with the Istituto dei Ciechi di Milano, and with the support of the three European museums presenting the exhibition.

Josef Albers
Palatial, 1965
from the portfolio Soft Edge–Hard Edge
sheet: 17 x 17 in. (43.2 x 43.2 cm)

2018 New York

Saturated explores the elusive, complex phenomenon of color perception and how it has captivated artists, designers, scientists, and sages. Featuring over 190 objects spanning antiquity to the present from the collections of Smithsonian Libraries and Cooper Hewitt, the exhibition reveals how designers apply the theories of the world's greatest color thinkers to bring order and excitement to the visual world.

Anni Albers
Study for unexecuted wallhanging, 1926
gouache with pencil on photo offset paper
15 x 9 3/4 in. (38.1 x 24.7 cm)
Anni Albers
With Verticals, 1946
cotton and linen
61 × 46.5 in. (154.9 × 118.1 cm)
Anni Albers
Red and Blue Layers, 1954
24 1/4 × 14 3/4 in. (61.6 × 37.8 cm)
Anni Albers
Knot, 1947
gouache on paper
17 × 20 in. (43.2 × 51 cm)

2018 Düsseldorf + London

Anni Albers is a full-scale retrospective bringing together the most important examples of her work, from beautiful small-scale creations to wall hangings. The exhibition further explores the textiles Albers designed for mass-production and her use of new technologies and synthetic fibers. As a student at the radical and ostensibly egalitarian Bauhaus art school, Anni Albers, like other women, was barred from becoming a painter. Instead she enrolled in the weaving workshop and made textiles her means of expression. Albers rose to become an influential figure, exploring the technical limits of hand-weaving to pioneer innovative uses of woven fabric as art, architecture, and design.

Anni Albers
Free-hanging room divider, 1949
cellophane and cord
94 x 32 1/2 in. (238.7 x 82.5 cm)
Museum of Modern Art, 409.1960
Anni Albers
Free-hanging room divider, 1949
cotton, cellophane, and braided horsehair
87 x 32 1/2 in. (221 x 82.5 cm)
Museum of Modern Art, 408.1960
Josef Albers
Bauhaus stencil lettering system (Kombinations-Schrift), 1926–28
milk glass and painted wood
24 1/8 x 23 7/8 in. (61.3 x 60.6 cm)
Museum of Modern Art, 216.1957

2018 Melbourne, Australia

MoMA at NGV: 130 Years of Modern and Contemporary Art provides a unique survey of the MoMA's iconic collection. Consisting of approximately 200 key works, arranged chronologically into eight thematic sections, the exhibition traces the development of art and design from late-nineteenth-century urban and industrial transformation, through to the digital and global present. Works by pioneering cubist and futurist artists, including Pablo Picasso and Umberto Boccioni, appear alongside the radically abstracted forms present in works by such artists as Kazimir Malevich and Piet Mondrian, the surreal visual language of paintings by artists like Salvador Dalí and Frida Kahlo, and the spontaneity and tactility advanced in works by Alexander Calder and Jackson Pollock, and other prominent Abstract Expressionist artists. Developments in art from the 1960s, from Minimalism through Post Modernism, are explored with the work of Roy Lichtenstein, Gerhard Richter, Andy Warhol, Lynda Benglis, Sol LeWitt, Jeff Koons, Cindy Sherman, and Keith Haring, among others. Significant works of late twentieth-century and early twenty-first century art, including major pieces by Kara Walker, Rineke Dijkstra, Andreas Gursky, Olafur Eliasson, Huang Yong Ping, Mona Hatoum, El Anatsui, and Camille Henrot, foreground ideas that inform much contemporary art, such as those around cultural and national identity, and mobility in a globalized world.

Josef Albers
Homage to the Square: New Gate, 1951
oil on masonite
Josef Albers
Gitterbild (Grid Mounted), ca. 1921-22
glass assemblage
12 3/4 x 11 3/8 in. (32.4 x 28.9 cm)
Josef Albers
Park, ca. 1923
glass, metal, wire, and paint
19 1/2 × 15 in. (49.5 × 38.1 cm)
Josef Albers
Design for a universal typeface, ca. 1926
ink and pencil on paper
8 5/16 x 11 3/4 in. (21.1 x 29.8 cm)
Josef Albers
Tea glass with saucer and stirrer, 1925
heat resistant glass, chrome-plated steel, ebony, porcelain
Glass: 2 1/4 × 3 1/2 in. (5.7 × 8.9 cm)
Saucer: 4 1/4 in. (10.5 cm) diameter
Stirrer: 4 × 1/2 in. (10.3 × 1.1 cm)
Josef Albers
Tenayuca I, 1942
oil on masonite
20 x 35 3/4 in. (50.8 x 90.8 cm)

2018 Essen

Josef Albers: Interaction presents approximately 130 works by the German-born artist at the Villa Hügel, the former residence of the industrialist family Krupp in Essen. The retrospective shows a broad range of Albers's work, including paintings, glass and paper works, photographs, and furniture. The exhibition begins with Albers's time at the Bauhaus and then continues to his years in America, exploring themes such as his interest in Mexican landscape and culture and his dedication to the interaction of color in his series, Homage to the Square. A spectacular selection of large-sized paintings from the United States, Germany, and Switzerland represents what it means to think color. Albers said: "Color challenges me as the most relative medium in art."

Josef Albers
Homage to the Square: On an Early Sky, 1964
oil on masonite
48 x 48 in. (122 x 122 cm)
National Gallery of Australia

2018 Canberra, Australia

American Masters 1940–1980 examines how European émigrés such as Marcel Duchamp, Henri Matisse, and Josef Albers influenced a generation of young Americans to challenge local traditions and reinvent modern art. It also highlights the sensational international impact of the era's major artists, including Jackson Pollock, Andy Warhol, Claes Oldenburg, Chuck Close, Donald Judd, Eva Hesse, and Louise Bourgeois. The exhibition features works from the NGA's collection of American art, including its world-class holdings of paintings and works on paper by the New York School, most famously Pollock's Blue poles, Sol Lewitt's huge wall drawing (remade for the show) and a selection of spectacular light works by Dan Flavin, Bruce Nauman, Keith Sonnier, and James Turrell.