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Josef Albers
Formulation: Articulation, Folio I / Folder 8, 1972
screenprint
sheet: 15 x 20 in. (38.1 x 50.8 cm)
1976.4.245.8

2015 Weil am Rhein + Bonn + Brussels + Lausanne + Copenhagen

Das Bauhaus #allesistdesign is a major exhibition presenting a comprehensive overview of the Bauhaus concept of design. The Bauhaus was one of the most influential cultural institutions of the twentieth century, a place where the leading tendencies of the European avant-garde converged and melded. Stylized into a myth, the Bauhaus also came to epitomize the modern design cliché: geometric, industrial, cool. Das Bauhaus #allesistdesign presents a multiplicity of rare, in some cases never-before-seen works from the fields of design, architecture, art, film, and photography, and documents underlying developmental processes and societal models. At the same time, the exhibition considers the influence of the Bauhaus as it relates to current developments in design, such as the digital revolution, and features works by contemporary designers and artists. Viewed from this present-day perspective, the Bauhaus reveals an array of new facets with surprising contemporary relevance. Featured designers and artists include Josef and Anni Albers, Marianne Brandt, Marcel Breuer, Ronan and Erwan Bouroullec, Lyonel Feininger, Joseph Grima, Walter Gropius, Enzo Mari, Olaf Nicolai, Open Desk, Adrian Sauer, Oskar Schlemmer, among many others.

Josef Albers
Tlaloc, 1944
woodcut in rough pine board
15 x 14 1/2 in. (38.1 x 36.8 cm)
1976.4.118
Josef Albers
Tenayuca, 1942
oil on masonite
8 1/2 x 12 in. (21.6 x 30.5 cm)
1976.1.1099

2018 Sao Paulo + Berlin + Bern

Bauhaus Imaginista is an international project commemorating the centenary of the foundation of the German design school. Bauhaus Imaginista comprises international exhibitions and debates, designed and developed by the Federal Government Commissioner for Culture and Media (BKM) of Germany, Bauhaus Association, and Goethe Institut, in partnership with several institutions. At Sesc Pompeia, the exhibition presents archival documents, publications, objects, and works of art related to Bauhaus teachers, students, and artists. In addition, the exhibition features artists from outside Germany who were directly influenced by the Bauhaus.

Anni Albers
Wallhanging, 1925
silk, cotton, and acetate
57 x 36 1/8 in. (145 x 92 cm)
Die Neue Sammlung, Munich

2019 Munich

Reflex Bauhaus. 40 Objects–5 Conversations marks the hundredth anniversary of the Bauhaus, featuring important Bauhaus objects in dialog with contemporary art. In 1925, the year Die Neue Sammlung was established, the Bauhaus left Weimar for Dessau. Die Neue Sammlung was one of the first museums to acquire contemporary Bauhaus works that are today considered icons of modern design. Pieces from this period include textiles by Anni Albers and Gunta Stölzl, toys by Alma Buscher and Ludwig Hirschfeld-Mack, and works in metal by Otto Rittweger and Wilhelm Wagenfeld. Further acquisitions were made until recently, adding important works to the collection of historical objects, many of which are on view for first time.

Josef Albers
Homage to the Square: White Setting, 1959
oil on masonite
36 x 36 in. (91.5 x 91.5 cm)
Toledo Museum of Art

2019 Toledo, Ohio

"Everything Is Rhythm": Mid-Century Art and Music is a multisensory display focused on the relationship between art and music. The exhibition features a selection of twentieth-century abstract paintings paired with carefully curated musical compositions. Presented together in this manner, the art and music engage visitors in an experience that engenders close looking, contemplation, and a consideration of the connection between the two forms.

2019 Vienna + Stuttgart

2019 Aachen, Germany

Josef Albers
Study to Homage to the Square: Early Air, 1955
oil on masonite
24 x 24 in. (61 x 61 cm)
Kaiser Wilhelm Museum Krefeld

2019 Krefeld, Germany

Von Albers bis Zukunft. Auf den Spuren des Bauhauses marks the centenary of the Bauhaus by tracing its multifaceted influence through works by Bauhaus masters and students including Vasily Kandinsky, Paul Klee, Lázló Moholy-Nagy, Lyonel Feininger, Josef Albers, Georg Muche, Gerhard Marcks, and Fritz Winter, among others. Thematic galleries extend from this historical nucleus and consider precursors such as the German Werkbund as well as related art movements like De Stijl and Constructivism.

Josef Albers
Stained-Glass Window of the Sommerfeld House, ca. 1921
Photographer unknown
Gelatin silver print
Harvard Art Museums/Busch-Reisinger Museum, Gift of Josef Albers

2019 Los Angeles

Bauhaus Beginnings, which marks the 100th anniversary of the school's opening, reexamines the founding principles of this landmark institution. The exhibition considers the school's early dedication to spiritual expression and its development of a curriculum based on elements deemed fundamental to all forms of artistic practice. Established in 1919, the Bauhaus sought to erode distinctions among crafts, the fine arts, and architecture through a program of study centered on practical experience and diverse theories. Until the school's forced closure by the Nazi regime in 1933, students and masters worked with a variety of traditional and experimental media and continually reconceived the role of art and design in contemporary society. Despite its relatively brief, itinerant existence, the Bauhaus occupies an outsize position in the cultural imagination.

Anni Albers
Fox I, 1972
photo offset
sheet: 24 x 20 in. (61 x 50.8cm)
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)

2019 Hartford, Connecticut

The Bauhaus Spirit celebrates the 100th anniversary of the Bauhaus, a pioneering German art and design school, and its early impact and lasting influence. A legendary movement that has come to symbolize Modernism, Bauhaus spirit is expressed throughout the Wadsworth's collection in art, furniture, and architectural design. Learn about the principles that revolutionized art and design in the early 1900s and have lasted a century.

Anni Albers
Orange, Black and White, 1926/1965
silk and cotton
70 5/8 x 48 1/8 in. (179.4 x 122.2 cm)
Art Institute of Chicago, 1970.343

2019 Chicago

Weaving beyond the Bauhaus traces the diffusion of Bauhaus artists, or Bauhäusler, such as Anni Albers and Marli Ehrman, and their reciprocal relationships with fellow artists and students across America. Through their ties to arts education institutions, including Black Mountain College, the Institute of Design, the Illinois Institute of Technology, and Yale University, these artists shared their knowledge and experiences with contemporary and successive generations of artists, including Sheila Hicks, Else Regensteiner, Ethel Stein, Lenore Tawney, and Claire Zeisler, shaping the landscape of American art in the process.

Anni Albers
Smyrna-Knüpfteppich, 1925/1983
from the portfolio Connections
screenprint
sheet: 27 3/8 x 19 1/2 in. (69.5 x 49.5 cm)
Anni Albers
With Verticals, 1946/1983
from the portfolio Connections
screenprint
sheet: 27 3/8 x 19 1/2 in. (69.5 x 49.5 cm)
Josef Albers
Blue Reminding, 1965
screenprint
sheet: 17 x 17 in. (43.2 x 43.2 cm)

2019 Bielefeld, Germany

Künstlerräume, Grafiken aus der Sammlung allows access to rarely seen drawings and prints by Anni and Josef Albers, Ernst Wilhelm Nay, Pablo Picasso, Karl Schmidt-Rottluff and Hermann Stenner from the Kunsthalle Bielefeld collection. These works on paper are supplemented by the film Fly by Yoko Ono from 1968/2003, a gift from the artist to the museum on the occasion of the exhibition Between the Sky and my Head in 2008.

Anni Albers
Orchestra III, 1980/1983
from the portfolio Connections
screenprint
sheet: 27 3/8 x 19 1/2 in. (69.5 x 49.5 cm)

2019 Tucson, Arizona

A New Unity: The Life and Afterlife of Bauhaus considers the legacy of the Bauhaus.

Josef Albers
Homage to the Square: It Seems, 1963
oil on panel
40 x 40 in. (101.6 x 101.6 cm)
Philadelphia Museum of Art

2019 University Park, Pennsylvania

Bauhaus Transfers: Albers/Rauschenberg explores the relationship between the two artists, the dissemination of Bauhaus ideas, and the legacy of the Bauhaus in America. Albers, a student and then instructor at the Bauhaus, fled Nazi Germany for the United States after the school was forced to close in 1933. Albers took a post as head of Black Mountain College, a new art school in North Carolina, and became a formative educator for many artists. Robert Rauschenberg attended Black Mountain in 1948–49 and considered Albers "the most important teacher" he ever had.

Anni Albers
Red and Blue Layers, 1954
cotton
24 1/4 × 14 3/4 in. (61.6 × 37.8 cm)
1998.12.1

2019 Chicago

In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury brings together for the first time an exceptional body of art and design by Clara Porset, Lola Álvarez Bravo, Cynthia Sargent, Anni Albers, Ruth Asawa, and Sheila Hicks, who were each encouraged to develop work that was a reflection of and contributed greatly to the rich artistic landscape of Mexico at this time. Through furniture, drawings, textiles, sculptures, and photomontages, some rarely exhibited before or brought together in this way, this exhibition is a unique opportunity to further understand the fertile artistic environment of Mexico during this period.

Josef Albers
Never Before j, 1976
from the portfolio Never Before
screenprint
sheet: 19 x 20 in. (48.3 x 50.8 cm)

2019 London

The Interaction of Colour traces a period of over fifty years since Josef Albers first published one of the most influential art and design books of the twentieth century, Interaction of Color. The book—a teaching aid for Albers's experimental way of observing, studying, and teaching color—had a direct influence on numerous artists. His legacy is represented in this exhibition, featuring prints and drawings by Anni and Josef Albers, Ellsworth Kelly, Sol LeWitt, and Bridget Riley, among others.

Anni Albers
Camino Real, 1968
wool felt on cotton support
115 3/4 x 105 7/8 in. (294 x 269 cm)
Manufactured by Abacrome Inc., New York
Hotel Camino Real, Mexico City
Installation image: David Zwirner Gallery, New York

2019 New York

Anni Albers spans the artist's decades-long career, presenting works that combine a deep and intuitive understanding of materials and process with her inventive and visually engaging exploration of form and color. The exhibition focuses primarily on the works Albers made following her move to the United States in 1933, including her pioneering wallhangings, weavings, public commissions, and a range of works on paper. One of her largest works Camino Real, 1968, is shown for the first time outside of Mexico City.

Anni Albers
Eclat printed textile samples and notes for Knoll Textiles, ca. 1976
screen-printed fabric stapled to paper
11 3/4 x 8 1/4 in. (29.8 x 21 cm)
2018.15.1

2019 New York

Maneuver denotes a directed, or planned and controlled, set of decisions; a procedural, coordinated movement designed to gain a tactical end. In its transitive state, "maneuver" implies to guide with adroitness and design; to bring about or secure as a result of skillful management. Etymological investigation highlights origins not only in manus, Latin, meaning "hand," but also Old French, "made by hand." While the role of handcraft cannot be ignored, the primary operations determining the artworks in this exhibition can better be understood as maneuvers. Featured artists include Anni Albers, Polly Apfelbaum, Sarah Charlesworth, Zoe Leonard, Ed Rossbach, and Rosemarie Trockel.