Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
German born abstract painter Josef Albers, laid the foundations for some of the most important art education programs of the 20th century. In 1936, during his time working at the Black Mountain College in North Carolina, he had his first solo exhibition in New York at J. B. Neumann’s New Art Circle. In 1949, Albers left the college and began his famous Homage to the Square series. He taught at various institutions throughout America, including Yale University, New Haven, where he lectured for eight years. The Museum of Modern Art, New York, organized Albers' traveling exhibition in 1965 and a retrospective of his work was held at the Metropolitan Museum of Art, New York, in 1971. The artist died in 1976.
Published by Hatje Cantz. Edited by Karen Stein. Text by Lake Verea, Brenda Danilowitz.
In 1925, textile artist Anni Fleischmann (1899–1994) married multimedia artist Josef Albers (1888–1976) and thus began one of the most artistically fruitful marriages of the 20th century. Both students-turned-masters of the Bauhaus and later attendees of Black Mountain College, Anni and Josef revolutionized their respective fields as individual artists and as a couple.
In this beautiful tribute to creative collaboration, the Mexican photography duo Lake Verea trace the material and intellectual traces of the Albers’ creative influence through the archival ephemera held in their estate.
Here, Lake Verea documents such items as the Albers’ correspondence with Bauhaus colleagues, tubes of paint and fabric fibers. The personal context of Anni and Josef’s creative life together emerges from these objects, conversations and associations. This is an unusually intimate portrait of two legendary figures as much as it is a meaningful exploration of a marriage.
Published by Guggenheim Museum Publications. By Lauren Hinkson. Text by Joaquin Barríendos.
“Mexico is truly the promised land of abstract art,” Josef Albers wrote to his former Bauhaus colleague Vasily Kandinsky in 1936. Josef Albers in Mexico reveals the profound link between the art and architecture of ancient Mesoamerica and Albers’ abstract works on canvas and paper. With his wife, the artist Anni Albers, Albers toured pre-Columbian archeological sites and monuments during his 12 or more trips to Mexico and other Latin American countries between 1935 and 1968. On each visit, Albers took black-and-white photographs of pyramids, shrines, sanctuaries and landscapes, which he later assembled into rarely seen photo collages. The resulting works demonstrate Albers’ continued formal experimentation with geometry, this time accentuating a pre-Columbian aesthetic.
Josef Albers in Mexico brings together photographs, photo collages, prints and significant paintings from the Variants/Adobe (1946–66) and Homage to the Square (1950–76) series from the collections of the Solomon R. Guggenheim Museum and the Anni and Josef Albers Foundation. Two scholarly essays, an illustrated map and vivid color reproductions of paintings and works on paper illuminate this little-known period in the influential artist’s practice.
Lauren Hinkson is Associate Curator of Collections at the Solomon R. Guggenheim Museum, New York. Hinkson conducts permanent collection research with a focus on postwar, contemporary, and time-based media art. Hinkson manages the Guggenheim’s acquisition program and is one of the organizing curators for the museum’s Young Collectors Council, which acquires the work of emerging artists for the permanent collection. She lectures and publishes on these topics. Hinkson graduated from Brown University with a BA in the History of Art and Architecture.
Joaquín Barríendos is a professor at the Instituto de Investigaciones Estéticas at the Universidad Nacional Autónoma de México. He teaches graduate courses focused on visual culture and Latin American art, with an emphasis on social movements, artists networks, geopolitics of art, visual translatability, conceptual practices, and institutional critique.
Published by The Museum of Modern Art, New York. Edited with text by Sarah Hermanson Meister. Text by Elizabeth Otto, Lee Ann Daffner.
Josef Albers is widely recognized as a crucial figure in 20th-century art, both as an independent practitioner and as a teacher at the Bauhaus, Black Mountain College and Yale University. Albers made paintings, drawings and prints and designed furniture and typography. Arguably the least familiar aspect of his extraordinary career was his inventive engagement with photography, only widely known after his death, including his production of approximately 70 photocollages that feature photographs he made at the Bauhaus between 1928 and 1932. These works anticipate concerns that he would pursue throughout his career--the effects of adjacency, the exploration of color through white, black and gray, and the delicate balance between handcraft and mechanical production.
Albers’ photographs were first shown at MoMA in a modest exhibition in 1988, when the Museum acquired two photocollages. In 2015 the Museum acquired ten additional photocollages, making its collection the most substantial anywhere outside the Albers Foundation. This publication reproduces each of the photocollages Albers made at the Bauhaus, presenting the scope of this achievement for the first time. An introductory essay by Sarah Hermanson Meister situates them within the contexts of modernist photography, the Bauhaus ethos and of Albers’ own practice.
German-born abstract painter Josef Albers laid the foundations for some of the most important art education programs of the 20th century. In 1936, during his time working at the Black Mountain College in North Carolina, he had his first solo exhibition in New York at J. B. Neumann’s New Art Circle. In 1949, Albers left the college and began his famous Homage to the Square series. He taught at various institutions throughout America, including Yale University, New Haven, where he lectured for eight years. The Museum of Modern Art, New York, organized Albers' traveling exhibition in 1965 and a retrospective of his work was held at the Metropolitan Museum of Art, New York, in 1971. The artist died in 1976.
Sarah Meister is Curator in the Department of Photography at the Museum of Modern Art, New York.
Published by Walther König, Köln. Edited by Tone Hansen, Milena Hoegsberg.
Josef Albers: No Tricks, No Twinkling of the Eyes presents a reading of Albers' artistic and pedagogic legacy through the lens of contemporary artists, writers and art historians. Selections from Albers' own writings, including classic texts such as "On My Painting," "Color" and "On My Homage to the Square," mingle with essays by well-known Albers scholars Nicholas Fox Weber ("Minimal Means, Maximum Effect") and Jeannette Redensek ("On Josef Albers' Painting Materials and Techniques"); meditations by Norwegian artist Dag Erik Elgin ("Preparing for Painting to Happen"), Eva Diaz ("Jailbreaking Geometric Abstraction") and Doug Ashford ("Dear Josef"); and a collage sequence by Andrea Geyer that pays homage to Albers' prints. A wealth of color reproductions of Albers' paintings, prints and furniture are dispersed throughout the book. The design of this handsome, clothbound volume, by Jeanne Betak, draws on Albers' own typography and design sensibility.
Published by La Fábrica/Fundación Juan March. Text by Nicholas Fox Weber, Jeannette Redensek.
Surveying works in all media, Josef Albers: Minimum Media, Maximum Effect offers a new comprehensive monograph of Josef Albers (1888-1976) focusing on the artist's abiding concern for clarity and simplicity. As the title suggests, Albers strove to attain the maximum effect with minimal media. This selection of works demonstrates the continuity of Albers' austere and luminous vision, as it permeated his teaching, furniture and design objects, photography, typographical design and his writings, from his early years as a schoolteacher in Germany and the Bauhaus years to the end of his artistic and teaching career at Yale. His prolific artistic output ranged from furniture design and figurative line drawing to engraving and painting, including his renowned Homage to the Square. This substantial, 362-page survey is exhilarating in its scope, encompassing some 170 works, archival documents such as Albers' notes and journals, and dozens of essays and scholarly discourses on art, pedagogy and philosophy. This carefully designed volume illuminates Albers' artistry and teachings and allows the reader to appreciate the incredible technical skill and the clarity of vision behind his apparently simple works.
Published by Silvana Editoriale. Edited by Nicholas Fox Weber.
Josef Albers (1888–1976) was both a pioneer of abstract art and an enormously influential teacher and theorist of art pedagogy. In the work he made at the Bauhaus and--following his emigration from Germany to the U.S.--at Black Mountain College and Yale University, Albers strived for economy of line and clarity of articulation, and he developed his pedagogy along similarly rigorous lines. At Black Mountain College, Albers encountered the educational theories of the great American philosopher John Dewey, who emphasized the importance of context and experience in education, and whose famous statement on aesthetics, Art as Experience, was published the year after Albers arrived in the U.S. In 1963, Albers published the profoundly influential book Interaction of Color. Subsequently translated into 12 languages, it continues to be used in classrooms and studios worldwide. Josef Albers: Art as Experience looks at the relationship between Albers’ pragmatic (and Pragmatist) teaching and his art, presenting previously unseen works by Albers’ students from the Bauhaus and elsewhere, along with little-known studies and other art by Albers himself, and reveals the vibrancy and extraordinary impact of Josef Albers’ groundbreaking pedagogical methods.
BOOK FORMAT Hardcover, 9.5 x 11 in. / 96 pgs / 84 color.
PUBLISHING STATUS Pub Date 10/31/2013 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2013 p. 117
PRODUCT DETAILS ISBN 9788836625970TRADE List Price: $35.00 CDN $47.50
Published by Silvana Editoriale. Edited by Nicholas Fox Weber. Text by Fabio de Chirico, Fiona Kearney, Paolo Papone, Marco Pierini, Colm Tóibín, Juile Agoos.
Josef Albers (1888–1976) believed firmly in art’s spiritual dimension. Among his several aphorisms on the topic, none reflects the humble, ascetic character of his spiritual disposition better than the following: “Easy to know that diamonds are precious. Good to know that rubies have depth. But more to see that pebbles are miraculous.” Conceived by the renowned Albers expert Nicholas Fox Weber, who directed the Albers Foundation for 20 years and knew the artist well, Spirituality and Rigor presents a selection of work by Albers that illustrates his ascetic spirituality and his deeply felt Catholicism. The book stems in part from Fox Weber’s The Sacred Modernist: Josef Albers as a Catholic Artist, and is augmented with additional work by Fabio De Chirico. It includes Albers’ early drawings of country churches and cathedrals; “Rosa Mystica,” his stained glass window for St Michael’s Church, and other glass works containing religious imagery; his abstractions of crosses and geometric abstractions with spiritually themed titles, from his Black Mountain years; his prints of Mexican gods; photographic interpretations of the theme of angels; and a selection from the Homage to the Square series. This important volume is the most thorough portrait yet published of Albers’ spiritual convictions.
BOOK FORMAT Hardcover, 9.5 x 11 in. / 288 pgs / 150 color.
PUBLISHING STATUS Pub Date 10/31/2013 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2013 p. 117
PRODUCT DETAILS ISBN 9788836625963TRADE List Price: $65.00 CDN $75.00
Published by Silvana Editoriale. Text by Marco Pierini, Nicolas Fox Weber.
Recent exhibitions and publications on Josef Albers (1888–1976) have established this influential artist as a true Renaissance man of modernism--a painter, furniture designer, glass artist, writer, pedagogue and even album cover designer. Published on the occasion of the first major retrospective of Josef Albers in more than 20 years, and drawing on a wealth of information from the Albers archive, this volume consolidates this broad perspective, covering the full scope of Albers’ achievement. The artist’s career on both sides of the Atlantic is documented here, from his Weimar Bauhaus beginnings to his tenure as a teacher at Black Mountain College, to his years at Yale University and his considerable influence as a painter and theorist. The catalogue reproduces nearly 200 works, including 12 works in glass produced between 1921 and 1932; nearly 30 photographs and photocollages, many of which are previously unpublished; a selection of woodcuts and gouaches, and several items of furniture; the seven record sleeves Albers designed for Command Records (with their classic gatefold sleeves, which Albers helped to conceive); the paintings for which he is so well known; and a selection of theoretical texts. Also included is a rare text by Wassily Kandinsky, previously printed in a 1934 exhibition bulletin for a show of Alber’s woodcuts at the Galleria del Milione in Milan. This volume gives the most comprehensive account of Albers’ career to date.
BOOK FORMAT Paperback, 9.75 x 11.5 in. / 288 pgs / 185 color.
PUBLISHING STATUS Pub Date 3/31/2012 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2012 p. 85
PRODUCT DETAILS ISBN 9788836621415TRADE List Price: $55.00 CDN $72.50
Published by Hatje Cantz. Edited by Heinz Liesbrock, Michael Semff. Text by Isabelle Dervaux, Heinz Liesbrock, Michael Semff.
Josef Albers' rigorous investigations into color have had a decisive effect on art in the twentieth century and beyond. His teaching posts at the Bauhaus, Black Mountain College and Yale enabled him to bequeath his theories to several generations of artists and designers, from Max Bill and Mark Rothko to Eva Hesse and Ray Johnson. Published for an exhibition at the Morgan library, and with an abundance of previously uncollected works, this volume unveils the full bounty of Albers' works on paper: lithographs, linocuts, woodcuts, screenprints and etchings. Since the prints lack the just-visible brushwork of Albers' paintings, allowing color to emerge without surface blemish, some have argued that they constitute a more effective illustration of his color theory.
During the winter of 1953/54, former Bauhaus professor Josef Albers (1888-1976) taught a three-part introductory course on drawing, material studies and color studies at the newly founded Hochschule für Gestaltung (HfG) in Ulm--courses which anticipated his now classic text Interaction of Color (1963). In May 1954, Albers gave one of his former students, Martin Krampen, a film script that dealt with his teachings, and under his direction, the film was shot word for word. Now, 50 years later, this presentation of Josef Albers's teachings is being made available to the general public. A fantastic pedagogic tool, this interactive DVD permits the viewer to come up with his or her own solutions to each of the tasks Albers gives his students, while other suggestions are documented through works by former students taken from the HfG archives.
Published by RM/Fundación de Arquitectura Tapatía Luís Barragán/The josef and anni Albers Fou. Edited by Nicholas Fox Weber, Brenda Danilowitz. Text by Edgardo Ganado Kim, Juan Palomar Verea.
Influential teacher, writer, painter and color theorist Josef Albers was the first Bauhaus student to be asked to join the faculty. By 1933, when the Nazis forced the school to close, Albers had become one of its best-known artists and teachers. Having migrated with his wife Anni to the U.S., where he taught at Black Mountain College and at Yale, Albers began to experiment with the optical effects of simple color combinations. The experimentation blossomed into a lifelong obsession that would culminate in his best-known series of paintings, Homage to the Square, in which he painted several differently-colored squares within larger squares in order to illustrate his theory that alterations in environment, shape and light would produce changes in color. This edition contains impeccable reproductions of Albers' famous series, which beautifully illustrate the artist's primary thesis, that the discrepancy between visual information received by the retina and what the mind perceives proves that this information is not intrinsic to color itself, but is dependent on its relationship with its surroundings.