Info Images Caption
Info Images Caption
Info Images Caption LEFT RIGHT 1 | 0
Info Images Caption
Info Images Caption
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.

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

2017 Bilbao, Spain

Anni Albers: Touching Vision presents a focused survey of Albers's key series over six decades of work, from her Bauhaus years to the early 1980s. A selection of writings by the artist, translated for the first time into Spanish, is being published as a companion to the exhibition.

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.

2018 Düsseldorf + London