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Anni Albers
Black White Gray, 1927/1964
cotton and silk
58 1/4 × 47 3/4 in. (148 x 121.3 cm)
Anonymous
Andean textile fragment (Inca or Late Horizon)
1994.16.96

2017 Dessau, Germany

Craft Becomes Modern investigates the role of craft at the Bauhaus, emphasizing the role of making, material, and pedagogic processes, within the broader cultural and economic contexts of Germany during the Weimar Republic, 1919–1933. Presented in the original Bauhaus building in Dessau, the exhibition considers the Bauhaus workshops as sites of negotiation for the pressing issues of modern culture: individual authorship versus anonymous production; intellectual endeavor versus manual work; visual versus haptic knowledge; free experiment versus economic exploitation; popular spirit versus expert knowledge. Ultimately, the Bauhaus debates pointed toward new models for collective learning, work, and production at a time in which the devaluation of qualifications, resource shortages, economic crises, and mass unemployment influenced the political and social climate. The exhibition draws from international loans and the collection of the Bauhaus Dessau Foundation, featuring furniture, drawings, and objects of everyday use, as well as a broad range of student work never before shown in public. Examples from the weaving workshop include pre-Columbian textiles collected by Anni Albers. The exhibition is an integral part of the Bauhaus Centenary 2019, a collaborative project of the three Bauhaus sites in Weimar, Dessau, and Berlin.

Josef Albers
Untitled Abstraction V, ca. 1945
graphite and gouache on paper
9 7/8 x 6 1/3 in. (16.2 x 25.1 cm)
Tate Gallery of Modern Art, London

2017 Warwickshire, United Kingdom

Seurat to Riley: The Art of Perception looks at the ways in which our visual perceptions have been explored by artists. From the Impressionists onwards, artists have been inspired by the color theories of scientific thinkers such as Michel Eugène Chevreul. The most famous examples are the pointillist works of Georges Seurat and his associates, in which colors other than those actually painted on the canvas are generated in the eye of the beholder through the application of small dots of primary color.

During the twentieth century, and culminating in the famous Op art movement of the 1960s onwards, the scientific and philosophical interest in perception extended into ways of communicating movement via static art forms. Early explorations of this can be seen in work by artists such as Helen Saunders, M.C. Escher, and Josef Albers using tessellation, pattern, line, mathematics, and color, and sometimes optical trickery, to convey the sensation of movement.

This wide-ranging show features work by artists from the 1960s—such as Jim Lambie, Christiane Baumgartner, Daniel Buren, Liz West and Lothar Götz—alongside later works of those who became stars of the Op art movement and who continued to develop and explore new possibilities, including Bridget Riley, Victor Vasarely, Jesus Rafael Soto, Julio Le Parc, Peter Sedgley, Jeffrey Steele, and Carlos Cruz-Diez.

 
Josef Albers
Formulation: Articulation, Folio I / Folder 19, "Homage to the Square" (left-hand image), 1972
screenprint
sheet: 15 x 40 in. (38.1 x 101.6 cm)
Josef Albers
Formulation: Articulation, Folio I / Folder 19, "Homage to the Square" (right-hand image), 1972
screenprint
sheet: 15 x 40 in. (38.1 x 101.6 cm)

2017 Gainesville, Florida

Poetic and Political explores two realms of perception often considered oppositional but more likely to work in tandem to make a rich, provocative and compelling visual impact. The exhibition juxtaposes the work of Josef Albers, a single artist focused exclusively on the psychic and emotive qualities of color, with African and African American artists who confront the historic and contemporary traces of colonialism as they contribute to the power of healing and renewal. Both aesthetic and political trajectories intertwine, demanding sensitivity, keen perception, and a heightened awareness of context, change and transformation.

Josef Albers's famous series, Homage to the Square and several prints from the portfolio, Formulation: Articulation, Volume I, are remarkably poetic. Albers believed that color creates a psychic and emotional effect. Even so, his work was based on a mathematically determined format. Albers experimented with the relativity of color, how it changes through juxtaposition, placement and interaction with other colors. Throughout his work, Albers found a link between formal elements in art and social behavior.

African and African American artists in the exhibition combine the poetic with a focus on history and politics. The story of the Diaspora persists in these works. Art historian T. J. Demos argues that the colonial past still haunts Africa because the past has not really passed. Artists in this installation contest historic amnesia and confront the material traces and psychic scars of colonialism while acknowledging and contributing to the power of healing and reconciliation in Africa and in the Diaspora. Many artists focus on the present, concerned with national and personal identity amidst economic disparity and changing social tradition. Works by El Anatsui, William Kentridge, Zanele Muholi, Zohra Opoku and Yelimane Fall are just a few of the works made from the finest aesthetic and poetic practice.

Josef Albers
Gate, 1936
oil on masonite
19 1/2 x 20 3/16 in. (49.5 x 51.3 cm)
Yale University Art Gallery

2017 New Haven, Connecticut

Artists in Exile: Expressions of Loss and Hope presents an innovative approach to the theme of exile, considering artists who left their country of birth, or their adopted home, for a variety of reasons—including discrimination, war, and genocide—from the nineteenth century to the present day. The exhibition explores exile as not only a mental or physical state but also a catalyst for creativity; indeed, for many artists, separation from the familiar, either willing or unwilling, inspired innovations in form and technique. The installation features works by such well-known European artists as Jacques-Louis David, Gustave Courbet, Paul Gauguin, Josef Albers, Kurt Schwitters, Marcel Duchamp, and George Grosz, while also advocating a more global perspective through works by Arshile Gorky, Matta, Elizabeth Catlett, Ana Mendieta, Mu Xin, Shirin Neshat, An-My Lê, Mona Hatoum, Abelardo Morell, and Ahmed Alsoudani, and paying notable attention to female artists. The majority of the objects on display are drawn from the Yale University Art Gallery's encyclopedic collection, enriched by the addition of key loans from other institutions and private collections.

Josef Albers
Homage to the Square: Post Autumn, 1963
oil on masonite
40 x 40 in. (101.6 x 101.6 cm)
Private collection

2017 Sheffield, United Kingdom

Going Public: The Kirkland Collection is part of the exhibition series Going Public: International Art Collectors in Sheffield. Reflecting a passion for photography, minimalism, and geometric abstraction, Jack Kirkland's personal collection brings together work by some of the most important artists of the past seventy-five years. The exhibition showcases personally selected highlights from the collection, including painting, sculpture, works on paper, and photography by artists such as Carl Andre, Donald Judd, Josef and Anni Albers, Bridget Riley, and Lewis Baltz, among others.

Josef Albers
Angular, 1935
oil on composition board
16 × 19 3/4 in. (40.6 x 50.2 cm)
2003.1.1
Josef Albers
Familiar Front, 1948–52
oil on masonite
13 3/4 x 21 in. (33 x 53.3 cm)
1976.1.1383
Josef Albers
Oscillating (C), 1940-45
oil on masonite
27 x 24 in. (68.6 x 61 cm)
1976.1.1367

2017 Savannah, Georgia

Jacob Lawrence: Lines of Influence is a group exhibition commemorating the centennial celebration of the birth of acclaimed painter, storyteller, educator, and chronicler of the mid–twentieth–century African American experience, Jacob Lawrence. The exhibition features a diverse selection of historical and contemporary artists in a multifaceted experience spanning three galleries within the museum. The curatorial approach emphasizes a contextually rich and widespread ground for the reading of Lawrence's work. During his lifetime, Lawrence occupied an interstitial position in the art world. He was considered both an insider and outsider, caught in a racially divided environment and edged to the margins of American modernism despite significant early exhibitions at renowned institutions such as the Museum of Modern Art and features in national press outlets. This exhibition makes strides to unravel such categorizations.

Featured artists include Josef Albers, Richmond Barthé, Romare Bearden, Sanford Biggers, José Clemente Orozco, Stuart Davis, George Grosz, Marsden Hartley, Gwendolyn Knight Lawrence, Horace Pippin, Faith Ringgold, Diego Rivera, Augusta Savage, and Kara Walker among others.

Josef Albers
Hommage au Carré, 1965
one from the portfolio of twelve
screenprint
sheet: 19 x 30 in. (48.3 x 76.2 cm)

2017 Düsseldorf

Cutting Edge: Albers, Gaul, Knoebel features the work of Josef Albers, Winfred Gaul, and Imi Knoebel.

Installation view, Pas de deux: Römisch Germanisches Kolumba, Kolumba, Kunstmuseum des Erzbistums Köln, 2017. Photo courtesy of Kolumba

2017 Cologne

Pas de deux: Römisch Germanisches Kolumba celebrates the museum's tenth anniversary. Taking the title from classical ballet (the "step of two"), the show considers themes such as time and space, preciousness and transcendence, and the back-and-forth between ancient, medieval, and the present.

Anni Albers in her weaving studio at Black Mountain College, 1937. Photo: Helen M. Post
Anni Albers
Untitled, ca. 1948
gouache on paper
13 3/4 x 10 3/4 in. (34.9 x 27.3 cm)
1994.10.8
Anni Albers
Two, 1952
linen, cotton, rayon
18 1/2 x 40 1/4 in. (47 x 102.2 cm)
1996.12.3
Anni Albers
Red and Blue Layers, 1954
cotton
24 1/4 × 14 3/4 in. (61.6 × 37.8 cm)
1998.12.1
Anni Albers
Drawing for a Rug II, 1959
gouache on paper
5 1/8 x 17 7/16 in. (13 x 44.3 cm)
1994.10.15
Anni Albers
Knot, 1947
gouache on paper
17 × 20 in. (43.2 × 51 cm)
1994.10.3
Anni Albers
Untitled, 1941
rayon, linen, cotton, wool, jute
21 × 46 in. (53.3 × 116.8 cm)
2012.12.1
Anni Albers
Epitaph, 1968
59 x 23 in. (149.9 x 58.4 cm)
2005.12.1
Installation view, Anni Albers: Touching Vision, Guggenheim Museum Bilbao, 2017. Photo: Giovanni Hänninen
Installation view, Anni Albers: Touching Vision, Guggenheim Museum Bilbao, 2017. Photo: Giovanni Hänninen
Installation view, Anni Albers: Touching Vision, Guggenheim Museum Bilbao, 2017. Photo: Giovanni Hänninen
Installation view, Anni Albers: Touching Vision, Guggenheim Museum Bilbao, 2017. Photo: Giovanni Hänninen
Installation view, Anni Albers: Touching Vision, Guggenheim Museum Bilbao, 2017. Photo: Giovanni Hänninen

2017 Bilbao, Spain

Anni Albers: Touching Vision presents a focused survey of the artist's key series over six decades of work, from her Bauhaus years to the late 1970s. Best known for her pioneering role in the field of textile or fiber art, her innovative treatment of warp and weft, and her constant quest for new patterns and uses of fabric, Albers was instrumental in redefining the artist as a designer. Her art was inspired by pre-Columbian folklore and modern industry, yet unhampered by conventional notions of craftsmanship and gender-specific labor. Albers studied at the Bauhaus in Weimar, where she met her husband, the painter Josef Albers, and eventually directed the weaving workshop in 1931. After the institution was closed by the Nazi party in 1933, Albers and her husband moved to North Carolina, where they were both hired to teach at a free-form school that would become a benchmark of modern American art, Black Mountain College. There Albers continued to combine her educational activity with artistic experimentation, while also authoring what are now considered seminal texts in the history of contemporary textile art. The exhibition reveals affinities and unifying threads that illustrate the influence and continued relevance of this unique artist's ideas. A selection of writings by the artist, translated for the first time into Spanish, is being published as a companion to the exhibition.

2017 Newport Beach, California

Josef Albers
Study for Homage to the Square, 1965
oil on masonite
24 x 24 in. (60.9 x 60.9 cm)
1976.1.586

2017 London + Düsseldorf

Monochrome: Painting in Black and White investigates where and when grisaille painting was used and to what effect: from early religious works to paintings that emulate sculpture or respond to other media such as printmaking, photography, and film. Comprising works on glass, vellum, ceramic, silk, wood, and canvas from the Renaissance to today by artists such as Leonardo, Rembrandt, Degas, Picasso, Josef Albers, and Gerhard Richter, Monochrome encourages visitors to trace the fascinating but little-studied history of black-and-white painting.

Josef Albers
Untitled (Maya Temple, Chichen Itza, Mexico), ca. 1940
gelatin silver print
sheet: 5 1/8 x 6 15/16 in. (13 x 17.6 cm)
Solomon R. Guggenheim Museum

2017 New York

Josef Albers in Latin America brings together the artist's photographs and photo collages from the Guggenheim's collection and various lenders. These works, many of which have never been exhibited publicly, suggest a nuanced relationship between the forms and motifs of pre-Columbian monuments and the artist's iconic abstract canvases.

Albers's innovative approach to photography remains an underappreciated aspect of his career. On his first trip to Mexico, in 1935, Albers encountered the magnificent architecture of ancient Mesoamerica. He later remarked in a letter to Vasily Kandinsky, a former colleague at the Bauhaus, "Mexico is truly the promised land of abstract art." With his wife, artist Anni Albers, Josef visited Mexico and other Latin American countries nearly a dozen times from 1935 to 1967. They saw numerous archeological sites and monuments, especially in Mexico and Peru. On each visit, Josef took hundreds of black-and-white photographs of the pyramids, shrines, and sanctuaries at these sites, often grouping multiple images printed at various scales onto eight by ten inch sheets.

Albers's experiences in Latin America offer an essential context for understanding his paintings and prints, particularly from his Homage to the Square and Variant/Adobe series, examples of which are featured in this show.

Josef Albers
Nacre, 1965
one from a portfolio of ten
screenprint
sheet: 17 x 17 in. (43.2 x 43.2 cm)
Josef Albers
Profundo, 1965
one from a portfolio of ten
screenprint
sheet: 17 x 17 in. (43.2 x 43.2 cm)

2017 Edinboro, Pennsylvania

Use Your Illusion considers perceptual art and the Op Art movement. Artists include Josef Albers, Richard Anuskiewicz, Ellsworth Kelly, Ray Parker, Bridget Riley, and Julian Stanczak, among others.