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Anni Albers
Rug design for a child’s room, 1928
gouache on paper
13 7/16 × 10 7/16 in. (34.1 × 26.5 cm)
Museum of Modern Art, New York 405.1951

2016 New York

How Should We Live? explores the complex collaborations, materials, and processes that have shaped the modernist interior, with a focus on specific environments—domestic interiors, re-created exhibition displays, and retail spaces—from the 1920s to the 1950s. The exhibition brings together over 200 works, drawn from MoMA's Architecture and Design collection as well as the Library, Drawings and Prints, Painting and Sculpture, Film, and Photography. Rather than concentrating on isolated masterworks, attention is given to the synthesis of design elements within each environment, and to the connection of external factors and attitudes—aesthetic, social, technological, and political—that these environments reflect.

The exhibition looks at several designers' own living spaces, and at frequently neglected areas in the field of design, including textile furnishings, wallpapers, kitchens, temporary exhibitions, and promotional displays. Highlights include recent acquisitions from projects directed by major women architect-designers—Eileen Gray furnishings for the house E-1027 (1929), and Charlotte Perriand's study bedroom from the Maison du Brésil (1959), for example. Designs from other noted partnerships include Lilly Reich and Mies van der Rohe's Velvet and Silk Café (1927), Grete Lihotzky's Frankfurt Kitchen (1926–27), and collaborations between Aino and Alvar Aalto, Ray and Charles Eames, Florence Knoll and Herbert Matter, and Charlotte Perriand, Pierre Jeanneret and Le Corbusier, as well as individual works by Anni Albers and Clara Porcet, among many others.

Josef Albers
I-S Va 6, 1969
from the portfolio Six Variants
screenprint
sheet: 28 x 36 in. (71.1 x 91.4 cm)

2016 Zurich

Max Peiffer Watenphul and His Companions presents paintings by the artist alongside works by contemporaries including Josef Albers, Umberto Boccioni, Marc Chagall, Natalia Goncharova, Wassily Kandinsky, Paul Klee, and Xanti Schawinsky, among many others.

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
Oskar Schlemmer; [Schlemmer] in the Master’s Council; [Schlemmer] with Wittwer, Kallai, and Marianne Brandt, Preliminary Course Exhibition; [Schlemmer] and Tut, 1928–30/32
gelatin silver prints mounted to board
overall: 11 5/8 × 16 3/8 in. (29.5 × 41.6 cm)
The Museum of Modern Art, New York

2016 New York

One and One Is Four: The Bauhaus Photocollages of Josef Albers focuses exclusively on this deeply personal and inventive aspect of Albers's work. One of the least familiar aspects of Albers's career is his inventive engagement with photography, which was only discovered after his death. The highlight of this work is undoubtedly the photocollages featuring photographs he made at the Bauhaus between 1928 and 1932. At once expansive and restrained, this body of work anticipates concerns that Albers would pursue throughout his career: seriality, perception, and the relationship between handcraft and mechanical production. MoMA presented the first serious exploration of Albers's photographic practice in 1988, The Photographs of Josef Albers. In 2015, the Museum acquired ten photocollages by Albers—adding to the two donated by the Josef and Anni Albers Foundation almost three decades ago—making its collection the most significant anywhere outside the Foundation. This installation celebrates both the landmark acquisition and its related publication.

Josef Albers
Teopanzolco, Cuernavaca, ca. 1936–39
photograph
9 5/8 x 7 11/16 in. (24.5 x 19.5 cm)
1976.7.453
Josef Albers
Sea Foam at Biarritz, ca. 1929
photograph
8 5/8 x 5 1/2 in. (22.1 x 14.1 cm)
1976.7.216

2017 Asheville, North Carolina

Begin To See: The Photographers of Black Mountain College is the first in-depth exhibition devoted to this topic. Photography began as a workshop at Black Mountain College in the 1930s. In the 1940s visiting photographers gave some instruction, and starting in 1944 photography courses were offered during the College's summer sessions. In fall 1949 photography began to be offered as part of the school's regular curriculum, with former student Hazel-Frieda Larsen being appointed the first full-time instructor in photography. Photographic education at Black Mountain College often focused on learning to see photographically, taking photographs, and the medium's history. Begin to See features photographs by a variety of artists including Josef Albers, Hazel Larsen Archer, Josef Breitenbach, Harry Callahan, Trude Guermonprez, Robert Haas, Clemens Kalischer, Barbara Morgan, Beaumont Newhall, Nancy Newhall, Andy Oates, Aaron Siskind, Stan VanDerBeek, and Jonathan Williams.

Anni Albers
Black White Yellow, 1926/1967
silk and rayon
80 × 47 in. (203 × 119 cm)
Victoria and Albert Museum 534-1968

2017 Margate, England

Entangled: Threads and Making is a major exhibition of sculpture, installation, tapestry, textiles, and jewelry from the early twentieth century to the present day. It features over forty international female artists who expand the possibilities of knitting and embroidery, weaving, sewing, and wood carving, often incorporating unexpected materials such as plants, clothing, hair, and bird quills. The exhibition brings together artists from different generations and cultures who challenge established categories of craft, design, and fine art, and who share a fascination with the handmade and the processes of making itself.

 
Anni Albers
Open Letter, 1958
cotton
23 × 24 in. (58.4 × 61 cm)
1994.12.4
Josef Albers
Study for a Variant, ca. 1947
oil and pencil on blotting paper
1976.2.270
Anonymous
Andean textile fragment (Chancay)
1994.16.21
Anonymous
Andean textile fragment (Huari or Early Chancay)
1994.16.74
Anonymous
Andean textile fragment (Late Horizon)
1994.16.97
Anni Albers
Red and Blue Layers, 1954
cotton
24 1/4 × 14 3/4 in. (61.6 × 37.8 cm)
1998.12.1
Josef Albers
Layered, 1940
oil on masonite
23 1/2 x 28 in. (59.7 x 71.1 cm)
1976.1.1032

2017 New Haven, Connecticut

Small-Great Objects: Anni and Josef Albers in the Americas examines intersections between the art-making and art-collecting strategies of the Alberses, two of the most influential figures of twentieth-century modernism. Between 1935 and 1967, the couple made numerous trips to Latin America and the American Southwest and amassed a large collection of ancient artworks from these regions. The exhibition looks at these objects in depth and considers how Anni and Josef's collection supported their aesthetic sensibilities and teaching practice. In addition to objects from the ancient Americas, the show gathers together dozens of works that the couple made, including textiles, paintings, works on paper, and rarely studied photographs that Josef took at archaeological sites and museums. Demonstrating the Alberses' deep and sustained engagement with ancient American art, an interest that was decades ahead of its time, Small-Great Objects explores a fascinating dimension of the couple's creative vision.

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
Second Movement II, 1978
etching and aquatint
28 × 28 in. (71.1 × 71.1 cm)
1994.11.49
Installation view, Anni Albers: L'Oeuvre Gravé, Musée des Beaux-Arts, Le Locle, 2017. Photo courtesy of Musée des Beaux-Arts
Installation view, Anni Albers: L'Oeuvre Gravé, Musée des Beaux-Arts, Le Locle, 2017. Photo courtesy of Musée des Beaux-Arts
Installation view, Anni Albers: L'Oeuvre Gravé, Musée des Beaux-Arts, Le Locle, 2017. Photo courtesy of Musée des Beaux-Arts
Installation view, Anni Albers: L'Oeuvre Gravé, Musée des Beaux-Arts, Le Locle, 2017. Photo courtesy of Musée des Beaux-Arts

2017 Le Locle, Switzerland

Anni Albers: L'Oeuvre Gravé presents a survey of prints by the artist. Albers turned her hand to printmaking in the 1960s and worked primarily in this medium until her death in 1994. Collaborating with some of the leading printers of the era she experimented with lithography, screen printing, embossing, woodcut, and various intaglio techniques. The exhibition is presented in collaboration with Alan Cristea Gallery, London.

Josef Albers
Study for Homage to the Square: Persistent, 1954-60
oil on masonite
24 x 24 in. (61 x 61 cm)
Josef Albers
Study for Homage to the Square: Cool Illumination, 1964
oil on masonite
24 x 24 in. (61 x 61 cm)
Josef Albers
Variant / Adobe, 1956
oil on masonite
17 3/4 x 25 3/8 in. (45 x 64.5 cm)

2017 London

Colour is is a group exhibition that focuses on the wide-ranging and sometimes contradictory investigations of color by artists from the mid-twentieth century to the present. The exhibition draws together painting and sculpture from an international group of artists who consider color central to their practice: Etel Adnan, Josef Albers, David Annesley, David Batchelor, Anthony Caro, Ian Davenport, Paul Feeley, Sam Gilliam, Peter Halley, John Hoyland, Donald Judd, Joseph Kosuth, Jeremy Moon, Kenneth Noland, Hélio Oiticica, Yuko Shiraishi, Frank Stella, Joe Tilson, and William Tucker.

The discourse around the significance of color in the twentieth century was almost exclusively developed by artists who grappled with the inherent fluidity of its definition. Josef Albers's landmark publication The Interaction of Color, 1963, based on over thirty years of teaching at the Bauhaus and Black Mountain College, was motivated by the idea that, in order to make art, students must have a knowledge of all facets of the nature of color. In his own work, Albers uses core compositional structure to examine color relationships and visual perception. His Study for Homage to the Square: Persistent (1954–60) and Variant / Adobe (1956), are part of this exploration.

Josef Albers
I-S LXXIIIb, 1973
screenprint
sheet: 28 x 28 in. (71.1 x 71.1 cm)
British Museum

2017 London

The American Dream: Pop to the Present considers works by celebrated American artists from the 1960s to today. The past six decades have been among the most dynamic and turbulent in US history, from JFK's assassination, Apollo 11 and Vietnam to the AIDS crisis, racism and gender politics. Responding to the changing times, American artists have produced prints unprecedented in their scale and ambition. Taking inspiration from the world around them—billboard advertising, global politics, Hollywood and household objects—American artists created highly original prints to rival their paintings and sculptures. Printmaking brought their work to a much wider and more diverse audience.

The sheer inventiveness and technical ingenuity of their prints reflects America's power and influence during this period. Many of these works also address the deep divisions in society that continue to resonate with us today. The American Dream presents the Museum's outstanding collection of modern and contemporary American prints for the first time. These will be shown with important works from museums and private collections around the world. The exhibition includes works by Josef Albers, Andy Warhol, Jasper Johns, Ed Ruscha, Kara Walker, and Julie Mehretu, among many others.

Josef Albers
Study for Homage to the Square: Still Remembered, 1954–56
oil on masonite
20 x 20 in. (51 x 51 cm)
Mart, Museum of Contemporary Art of Trento and Rovereto

2017 Turin

L'emozione dei COLORI nell'arte includes an extraordinary collection of over 400 works by 125 artists and other practitioners from around the world, dating from the late seventeenth century to today. The exhibition investigates the use of color in art through artistic movements and research that stands apart from canonical histories on color and abstraction, with multiple accounts relating to memory, politics, spirituality, storytelling, psychology, and synesthesia. By analyzing the different color theories that gradually took shape in the turbulent socio-political context that characterized the twentieth century, L'emozione dei COLORI nell'arte reflects on a perspective that considers light, its vibrations, and the world of emotions, while challenging the standardization of the use of color in the modern age (synthetic colors) and the digital era (RGB colors offered by various online palettes), a leveling that considerably reduces our ability to distinguish colors in the real world.