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.

2018 Vienna, Austria

Painting with Method: Neoavantgarde Positions from the Mumok Collection explores paintings from the 1960s and 1970s, an era characterized by its radical breaks with tradition and by redefinitions of creative approaches and artistic media. The emergence of media-based art and the link between the theory and practice of art, in turn, led to innovative forms of painting. The general tendency to abandon figurative, or gestural-abstract painting went hand in hand with the emergence of focused, formal and configured work structures referencing the general conditions of image and painting, as well as links to new art forms and media. Featured artists include Josef Albers, Alan Charlton, Helen Frankenthaler, Roland Goeschl, Ellsworth Kelly, Richard Kriesche, Morris Louis, Karel Malich, Brice Marden, Agnes Martin, Kenneth Noland, Jules Olitski, Hermann Painitz, Larry Poons, Ad Reinhardt, Gerhard Richter, and Zdeněk Sýkora, among others.

2018 Siena + Cork + Zagreb

Voyage Inside a Blind Experience (VIBE) is an exhibition that has equal interest for seeing and for visually impaired people, examining the abstract works of Josef and Anni Albers. The project developed from a collaboration between Atlante Servizi Culturali and the Josef and Anni Albers Foundation, together with the Istituto dei Ciechi di Milano, and with the support of the three European museums presenting the exhibition.

2017 New York + Venice + Phoenix

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.

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.

2019 Cambridge, Massachusetts

The Bauhaus and Harvard presented in conjunction with the hundredth anniversary of the founding of the Bauhaus in Weimar, Germany, features nearly 200 works by 74 artists, drawn almost entirely from the Busch-Reisinger Museum's extensive Bauhaus collection. Founded in 1919 and closed just fourteen years later, the Bauhaus was the twentieth century's most influential school of art, architecture, and design. Harvard University played host to the first Bauhaus exhibition in the United States in 1930, and went on to become an unofficial center for the Bauhaus in America when founding director Walter Gropius joined Harvard's department of architecture in 1937. Today the Busch-Reisinger Museum houses the largest Bauhaus collection outside Germany, initiated and assembled through the efforts of Gropius and many former teachers and students who emigrated from Nazi Germany, including Anni and Josef Albers, Herbert Bayer, Lyonel Feininger, and László Moholy-Nagy.

The exhibition features rarely seen student exercises, iconic design objects, photography, textiles, typography, paintings, and archival materials. It explores the school's pioneering approach to art education, the ways its workshops sought to revolutionize the experience of everyday life, the widespread influence of Bauhaus instruction in America, and Harvard's own Graduate Center.

2019 Boston

Radical Geometries marks the 100th anniversary of the founding of the Bauhaus with a group of more than 60 works on paper—primarily prints in addition to drawings, photographs, and postcards designed by faculty and students for the first Bauhaus exhibition at Weimar in 1923. The objects on display are drawn from the museum's collection along with key loans from private collections. Featured artists include Josef Albers, László Moholy-Nagy, Lyonel Feininger, Wassily Kandinsky, and Paul Klee, among others.

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.

2019 Montgomery, Alabama

Josef Albers/Donald Judd, Thematic Variations explores the work of these two artists, and specifically their approaches to color and form. In his landmark series, Homage to a Square, 1962, and later in the portfolio Formulation: Articulation, 1972, among other works, Josef Albers investigated color interactions and how the human eye processes the shifting characteristics of color when placed in various configurations. Similarly, Judd proposed that art could be logical, direct, and unemotional. He wrote, "A shape, a volume, a color, a surface is something itself. It shouldn't be concealed as part of a fairly different whole." His austere and reductive forms are neutral, avoiding any symbolic associations.

2019 San Francisco

Paul Klee and Anni Albers explores linear and geometric constructions by both artists across a range of media—including weaving, painting, and drawing—in which line and the pliable plane are paramount. Under the tutelage of Bauhaus master Paul Klee, Anni Albers elevated the ancient art of weaving into a bold and vibrant Modernist art form.

2019 Nürnberg, Germany

Bau [spiel] haus features more than 100 works from over 100 years, celebrating the legacy of the Bauhaus era (1919–39) and the concepts of play and playfulness, a time-tested approach that was specific to the Bauhaus. Bauhaus masters like Walter Gropius and Johannes Itten already recognized the far-reaching social and artistic potential of play—at a time when something new had to be made out of the ruins of the old world. They made play the basis of their interdisciplinary preliminary courses, and the idea of combining work and play manifested in Itten's inaugural lecture of 1919 came to shape the Bauhaus program. The school used the human urge to play as an engine to drive development and design. Neues Museum examines this tradition and traces the way the Bauhaus legacy is being passed on via the present to the future.

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 Cologne, Germany

Interaction of Color and Form, presented on the occasion of the Bauhaus centenary, considers Josef Albers's legendary publication Interaction of Color in relation to works by Larry Bell, Ólafur Elíasson and Bridget Riley. Connected through their knowledge and studies of color and form, these artists explore the individual, aesthetic, and sensory interpretations of perception.

2019 New York

Josef Albers and Robert Mangold: The Essence of Form is a survey of selected prints presenting the artists' work in dialogue. The exhibition includes examples of Albers's early monochromatic woodcuts and lithographs from the 1940s and selected Homage to the Square screenprints from his iconic series. Among Robert Mangold's works on view are early "x" and "+" screenprints dating from 1981, the elongated rectangles of the Frame series from the mid 1980s, and examples in aquatint and woodcut from his architectonic Column series.