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In 1950, Albers left Black Mountain to head the department of design at Yale University in New Haven,
Connecticut. While at Yale, Albers worked to expand
the nascent graphic design program (then called "graphic
arts"), hiring designers Alvin Eisenman, Herbert Matter,
and Alvin Lustig.[7] Albers worked at Yale until he retired
With the closure of the Bauhaus under Nazi pressure in from teaching in 1958. At Yale, Richard Anuszkiewicz,
[8][9]
1933 the artists dispersed, most leaving the country. Al- Eva Hesse, Neil Welliver, and Jane Davis Doggett
bers emigrated to the United States. The architect Philip were notable students.
Johnson, then a curator at the Museum of Modern Art, In 1962, as a fellow at Yale, he received a grant from
1
1.1
1.2 Murals
In 1959, a gold-leaf mural by Albers, Two Structural Constellations was engraved in the lobby of the Corning Glass
Building in Manhattan. For the entrance of the Time &
Life Building lobby, he created Two Portals (1961), a 42feet by 14-feet mural of alternating glass bands in white
and brown that recede into two bronze centers to create
an illusion of depth.[13] In the 1960s Walter Gropius, who
was designing the Pan Am Building with Emery Roth
& Sons and Pietro Belluschi, commissioned Albers to
make a mural. The artist reworked City, a sandblasted
glass construction that he had designed in 1929 at the
Bauhaus, and renamed it Manhattan. The giant abstract
mural of black, white, and red strips arranged in interwoven columns stood 28-feet high and 55-feet wide and
was installed in the lobby of the building; it was removed
during a lobby redesign in c. 2000. Before his death in
1976 Albers left exact specications of the work so it
could easily be replicated.[14] In 1967, his painted mural Growth (1965) as well as Loggia Wall (1965), a brick
relief, were installed on the campus of the Rochester Institute of Technology. Other architectural works include
Gemini (1972), a stainless steel relief for the Grand Avenue National Bank lobby in Kansas City, Missouri, and
Reclining Figure (1972), a mosaic mural for the Celanese
Building in Manhattan destroyed in 1980. At the invitation of a former student, the architect Harry Seidler,
Albers designed the mural Wrestling (1976) for Seidlers
Mutual Life Center in Sydney, Australia.
He was known to meticulously list the specic manufacturers colours and varnishes he used on the back
of his works, as if the colours were catalogued components of an optical experiment.[15] His work represents a transition between traditional European art and
the new American art.[16] It incorporated European inuences from the Constructivists and the Bauhaus movement, and its intensity and smallness of scale were typically European,[16] but his inuence fell heavily on American artists of the late 1950s and the 1960s.[16] "Hardedge" abstract painters drew on his use of patterns and
intense colors,[17] while Op artists and conceptual artists
further explored his interest in perception.[16]
3
might at rst appear, not one of them could have been
painted by any one but Josef Albers himself.[2] Although
their relationship was often tense, and sometimes, even
combative, Robert Rauschenberg later identied Albers
as his most important teacher.[18]
Exhibitions
In 1936, Albers was given his rst solo show in Manhattan at J. B. Neumanns New Art Circle.[19][20] He participated in documenta I (1955) and documenta IV (1968)
in Kassel. A major Albers exhibition, organized by the
Museum of Modern Art, traveled in South America,
Mexico, and the United States from 1965 to 1967.[19] In
1971 he was the rst living artist to be given a solo show
at the Metropolitan Museum of Art in Manhattan.[12] In
2010, a show of 80 oil works on paper, many never exhibited before, was mounted by the Pinakothek der Moderne in Munich, later travelling to other venues, including
Centre Pompidou in Paris, and The Morgan Library &
Museum in Manhattan. In 2014, an exhibition at the Elliott Museum in Stuart, FL called Albers and Heirs featured the work of Albers, Neil Welliver, and Jane Davis
Doggett.[8][9]
Legacy
6 See also
Architype Albers (large typeface based on Albers 19271931 experimentation with geometrically constructed stencil types for posters and signs)
Bauhaus
8 FURTHER READING
Varujan Boghosian (collage artist and sculptor)
Irving Petlin (painter)
References
[22] The Josef and Anni Albers Foundation: Mission Statement Archived July 15, 2008 at the Wayback Machine
[24] randomhouse.com.
2014-05-02.
[5] Pepe Carmel (June 25, 1995), A Modern Master of Bottles, Scraps and Squares New York Times.
[6] Robert Ayers (March 29, 2006). Susan Weil. ARTINFO. Retrieved 2008-04-22.
[7] Rob Roy Kelly (June 23, 1989). Origins: Yale years.
Retrieved 2010-02-09.
[8] Josef Albers and Heirs exhibit on view at The Elliott Museum in Florida. Retrieved April 7, 2014.
[9] Elliott Museum presents Albers & Heirs: Josef Albers,
Neil Welliver, and Jane Davis Doggett". Martin County
Times. Martincountytimes.com. 2013-11-09. Retrieved
2014-05-14.
[10] Masheck, Joseph (DecJan 2009-2010). ALBERS
RECORD JACKETS: Doing an Artful Job. The Brooklyn Rail. Check date values in: |date= (help)
[11] Book of Members, 1780-2010: Chapter A (PDF).
American Academy of Arts and Sciences. Retrieved 6
April 2011.
[12] Josef Albers Museum of Modern Art, Manhattan
[13] David W. Dunlap (June 17, 2002), Press 'L' for Landmark; Time & Life Lobby, a 50s Gem, Awaits Recognition New York Times.
[14] Carol Vogel (July 9, 2001), A Familiar Mural Finds Itself
Without a Wall New York Times.
[15] Josef Albers: February 28 March 27, 2007 Waddington Custot Galleries, London.
[16] Piper, David. The Illustrated History of Art, ISBN 07537-0179-0, p469.
[17] Piper, David. The Illustrated History of Art, ISBN 07537-0179-0, p470.
[18] Christopher Knight (May 14, 2008), Robert Rauschenberg, 1925 - 2008: He led the way to Pop Art Los Angeles
Times.
randomhouse.com.
Retrieved
8 Further reading
Albers, Josef (1975). Interaction of Color. New
Haven: Yale University Press. ISBN 978-0-30011595-6.
Bucher, Franois (1977). Josef Albers: Despite
Straight Lines: An Analysis of His Graphic Constructions. Cambridge, MA: MIT Press.
Danilowitz, Brenda; Fred Horowitz (2006). Josef
Albers: to Open Eyes : The Bauhaus, Black Mountain College, and Yale. Phaidon Press. ISBN 978-07148-4599-9.
Diaz, Eva (2008). The Ethics of Perception: Josef
Albers in the United States. Volume XC Number
2 (June): The Art Bulletin.
Harris, Mary Emma (1987). The Arts at Black
Mountain College. Cambridge, MA: The MIT Press.
Weber, Nicholas Fox; Licht, Fred (1988). Josef
Albers: A Retrospective (exh. cat.). New York:
Guggenheim Museum Publications. ISBN 978-08109-1876-4.
Weber, Nicholas Fox; Licht, Fred; Danilowitz,
Brenda (1994). Josef Albers: Glass, Color, and
Light (exh. cat., Peggy Guggenheim Collection,
Venice). New York: Guggenheim Museum Publications. ISBN 978-0-8109-6864-6.
5
Wurmfeld, Sanford; Rector, Neil K.; Ratli, Floyd
(August 1, 1996). Color Function Painting: The
Art of Josef Albers, Julian Stanczak and Richard
Anuszkiewicz. Contemporary Collections. ISBN
978-0-9720956-0-0.
External links
The Josef & Anni Albers Foundation
Art Signature Dictionary, examples of genuine signatures by Josef Albers
Brooklyn Rail, record jackets
Cooper Hewitt Museum Exhibition, 2004
Josef Albers Guggenheim Museum
Josef Albers at the Museum of Modern Art
Josef Albers, National Gallery of Australia, Kenneth Tyler Collection
Pace Gallery
Tate Modern Exhibition, London 2006
Josef Albers Papers, 1933-1961, The Frick Collection/Frick Art Reference Library Archives.
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10.3
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