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Josef and Anni Albers in 1935
Anni Albers
Yellow Meander, 1970
screenprint
28 x 24 in. (71.1 x 61 cm)
1994.11.16
Anni Albers
Orange Meander, 1970
screenprint
28 x 24 in. (71.1 x 61 cm)
1994.11.15
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

2018 Metz, France

Modern Couples considers the work of around forty artist couples including Pablo Picasso and Dora Maar, Sonia and Robert Delaunay, Georgia O'Keeffe and Alfred Stieglitz, Man Ray and Lee Miller, and Charles and Ray Eames. With a comprehensive mix of visual arts, architecture, design, cinema, and literature from the first half of the twentieth century, the exhibition displays masterpieces from Centre Pompidou, Musée national d'art moderne, and from international prestigious collections. Modern Couples looks into creative pair-work and the mechanisms of an artistic companionship: does each approach dissolve into one, are they complementary, or do they oppose each other? The very idea of modernity, as impacted by social, artistic, and technical evolutions, is reviewed here through the prism of the couple.

Josef Albers
Oscillating (C), 1940-45
oil on masonite
27 x 24 in. (68.6 x 61 cm)
1976.1.1367
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
Josef Albers
Untitled, ca. 1940
oil on blotting paper
16 1/2 x 28 in. (41.9 x 71.1 cm)
1976.2.254
Josef Albers
Color study for a Variant/Adobe, 1947
oil on blotting paper
19 x 24 1/8 in. (48.3 x 61.4 cm)
1976.2.247
Installation view, Josef Albers in Mexico, Solomon R. Guggenheim Museum, New York, 2017. Photo: David Heald
Installation view, Josef Albers in Mexico, Solomon R. Guggenheim Museum, New York, 2017. Photo: David Heald
Installation view, Josef Albers in Mexico, Solomon R. Guggenheim Museum, New York, 2017. Photo: David Heald
Installation view, Josef Albers in Mexico, Solomon R. Guggenheim Museum, New York, 2017. Photo: David Heald
Installation view, Josef Albers in Mexico, Solomon R. Guggenheim Museum, New York, 2017. Photo: David Heald

2017 New York + Venice

Josef Albers in Mexico 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.

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)
1994.10.1
Anni Albers
With Verticals, 1946
cotton and linen
61 × 46.5 in. (154.9 × 118.1 cm)
2004.12.1
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
Knot, 1947
gouache on paper
17 × 20 in. (43.2 × 51 cm)
1994.10.3

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
1976.1.702
Josef Albers
Gitterbild (Grid Mounted), ca. 1921-22
glass assemblage
12 3/4 x 11 3/8 in. (32.4 x 28.9 cm)
1976.6.21
Josef Albers
Park, ca. 1923
glass, metal, wire, and paint
19 1/2 × 15 in. (49.5 × 38.1 cm)
1992.6.28
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)
1976.3.124
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)
2010.17.1
Josef Albers
Tenayuca I, 1942
oil on masonite
20 x 35 3/4 in. (50.8 x 90.8 cm)
2017.1.1

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.

Josef Albers
Fabrik (Factory), 1925
sandblasted flashed glass with black paint
11 x 14 in. (27.9 × 35.6 cm)
1976.6.4
Josef Albers
Park, ca. 1923
glass, metal, wire, and paint
19 1/2 × 15 in. (49.5 × 38.1 cm)
1992.6.28
Josef Albers
Study for Rosa Mystica Ora Pr[o] Nobis, ca. 1917-18
gouache on paper
23 5/8 x 11 7/8 in. (60 x 30 cm)
2011.2.1

2019 Rotterdam

Bauhaus Nederland considers the influence of the Bauhaus in the Netherlands as well as the reciprocal influence of Dutch art and architecture on the development of the Bauhaus. In the interwar years, Rotterdam was the Dutch city in which modernism was most prominently expressed in architecture and design. For this exhibition, the museum's collection is augmented with loans from other collections at home and abroad. The two-way inspiration between the Netherlands and the Bauhaus is illustrated through artworks, furniture, ceramics, textiles, industrial design, photography, typography and architecture. The exhibition begins at the turn of the twentieth century and continues through 1968, featuring 200 works from three main Bauhaus periods. 2019 marks the centenary of the founding of the Bauhaus, the innovative German art and design school which ran from 1919 to 1933.