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Hermès Editeur 1: Hommage au Carré by Josef Albers
© Hermès © The Josef and Anni Albers Foundation, 2016

2016 Mulhouse, France

Formes et couleurs dans la création textile focuses on shape and color in textiles from the eighteenth century to today.

Josef Albers
Marching X’s, 1940
oil on masonite
23 7/8 x 24 in. (60.6 x 60.9 cm)
Situation Kunst (für Max Imdahl)

2016 Bochum, Germany

Artige Kunst. Kunst und Politik im Nationalsozialismus (Compliant Art: Art and Politics in National Socialism) considers the art policy of national socialism, which was essential for the self-image of the regime. The exhibition presents exemplary works of the officially tolerated and sponsored art of the Nazi era alongside works by persecuted artists, who boldly provided a counterpart to the simple nature of system-conforming art.

Josef Albers
Open (B), December 1940
oil on masonite
19 7/8 x 19 5/8 in. (50.5 x 49.8 cm)
Solomon R. Guggenheim Museum, New York
Josef Albers
Concealing, December 1940
oil on masonite
27 7/8 x 23 1/4 in. (70.8 x 59.1 cm)
Solomon R. Guggenheim Museum, New York
Josef Albers
Penetrating (B), 1943
oil, casein, and tempera on masonite
21 3/8 x 24 7/8 in. (54.3 x 63.2 cm)
Solomon R. Guggenheim Museum, New York
Josef Albers
Bent Dark Gray, 1943
oil on masonite
19 x 14 in. (48.2 x 35.5 cm)
Solomon R. Guggenheim Museum, New York

2017 New York

Visionaries: Creating a Modern Guggenheim explores nearly a century's worth of original artistic production, from the work of Camille Pissarro to Jackson Pollock, and illuminates the visionaries—artists and patrons alike—who helped to establish the Guggenheim's identity as a forward-looking institution. The Guggenheim Foundation's formative collection was shaped through major gifts and purchases from contemporaries who similarly championed radical experimentation in art. These acquisitions include a prized group of Impressionist, Post‑Impressionist, and School of Paris masterworks from Justin K. Thannhauser; the Expressionist inventory of émigré art dealer Karl Nierendorf; inimitable holdings of abstract and Surrealist painting and sculpture from self‑proclaimed "art addict" Peggy Guggenheim, Solomon's niece; and key modernist examples from the estate of artist and curator Katherine S. Dreier, as well as from the estate of artist Hilla Rebay, who was an important influence on Guggenheim.

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.

Anni Albers
Necklace, ca. 1940
drain strainer and paper clips
length: 16 in. (40.6 cm), strainer: 3 in. (7.6 cm) diameter
1994.14.16

2017 Paris

Medusa considers our relationship to jewelry both physically and conceptually. Neither sculpture nor fashion per se, jewelry lies somewhere in between. Jewelry is an art form, but it is rarely considered a work of art. Jewelry is a kind of taboo in the art world, contradictory to what an artwork is supposed to be. It is seen as too gendered (too feminine), too precious, too corporeal and decorative, and too primitive and useless. Jewelry creates an attraction/repulsion for the one who stares at it, wears it or makes it, as the mythological face of Medusa.

The exhibition gathers 400 works—handmade, delegated, unique or multiple—by artists, studio jewelry designers, and contemporary and high end makers, as well as historical pieces. Medusa envisions jewelry as a meta language, a transitional object that adorns and socializes the body, and allows it to re-invent itself, in the private or public spheres: a crucial tool in terms of body politics. The show aims to go beyond the no-go "legitimacy" discourse, in favor of a critical perspective that respects jewelry's status as a peripheral, problematic and fascinating object.

Josef Albers
Gray Instrumentation Ia, 1974
one from the portfolio of twelve
screenprint
sheet: 19 x 19 in. (48.2 x 48.2 cm)

2017 Madison, Wisconsin

Sets: Printed Variations presents a selection of sets of prints from the Chazen's permanent collection. Although these sets are made up of individual works which can stand independently, this exhibition shows them as groups of works, as they were originally created. Series of prints have long been used to tell stories. However, in the twentieth century, the print set became more open-ended. Artists often created print series to explore variations on a theme, as in Josef Albers's series of ten prints Gray Instrumentation (1974). All the prints have the same composition—four superimposed squares all printed in shades of gray. The exact shades of gray vary from print to print. The set as a whole is a meditation on color and its interaction. Although each of the prints is a work of art in its own right, when seen together they create an experience of color gray which makes us aware of how these subtle tones affect each other.

On the other hand, Mother's Kisses (1982) the print set by Dottie Attie acts to humorously deconstruct a portion of Bronzino's famous Allegory of Venus and Cupid. Attie extracted and recreated the sensual figures of Venus and Cupid from the painting and then divided them up into small squares; she interspersed these with platitudes that are slyly undermined by Bronzino's image.

Willie Cole's more personal triptych Man Spirit Mask (1999) presents evocative images that probe our perceptions of self and race. The set of three prints is part of a body of Cole's work that derives imagery from household clothing irons to evoke domestic work as well as ritual scarification. The prints also incorporate self-portraits of the artist. That combination of the mundane, the ritual, and the personal creates layers of cultural connotations on top of the graphic images.

The exhibition presents these and other sets in their entirety, as their artists originally intended, as a way of letting visitors have the full effect of these multi-part works of art. They do not re-tell familiar stories, but invite the viewer to explore the underlying unity of the set.

Josef Albers
Homage to the Square: Moonstone, 1962
oil on masonite
30 x 30 in. (76.2 x 76.2 cm)

2017 Glen Falls, New York

To Distribute and Multiply: The Feibes and Schmitt Gift is the inaugural exhibition celebrating the new Feibes and Schmitt Gallery at the museum. The collection features major works of modern and contemporary art by artists such as Josef Albers, Ellsworth Kelly, Sol Lewitt, Louise Nevelson, Bridget Riley, and Andy Warhol, among others.

Josef Albers
Full, 1962
from the portfolio Homage to the Square: Ten Works by Josef Albers
screenprint
sheet: 16 1/2 x 16 1/2 in. (41.9 x 41.9 cm)

2017 Birmingham, Alabama

Homage to the Square: Ten Works by Josef Albers features a set of ten screen prints by the artist from 1962. Each print is poetically titled, encouraging visitors to make connections between the meaning behind the titles and the experience viewing the prints. Albers is best known for the hundreds of paintings and prints from his series Homage to the Square, which explores the interaction of colors within a composition of three or four nested squares.

Anni Albers, Mexico City, Mexico, 1936
photograph by Josef Albers
photographic negative
Anni Albers
Floating, 1980
photo offset
17 7/8 x 16 1/2 in. (45.4 x 41.9 cm)
1994.11.61
Anni Albers
Do I, 1973
screenprint
25 5/8 x 25 5/8 in. (65.1 x 65.1 cm)
1994.11.26
Anni Albers
Double Impression IV, 1978
photo offset print
sheet: 11 x 9 in. (27.9 x 22.8 cm)

2017 Milan

Anni Albers: The Prints focuses on works on paper by the artist, including lithographs, engravings, and silkscreen and other prints on paper from 1969 to 1978, as well as archival photographs of the artist. In the 1960s, Albers developed graphic techniques in printmaking—taking advantage of the processes of the medium and the mediation of machines—that were impossible in weaving. These prints were a celebration of the possibilities of her new realm. In her pivotal 1965 book "On Weaving" Albers wrote: "The more we avoid standing in the way of the material and in the way of tools and machines, the better chance we have that our work will not be dated, will not bear the stamp of too limited a period of time and be old fashioned some day . . . and it will outlast fashion only if it embodies lasting, together with transitory, qualities."

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.

 

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.