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Josef Albers
Study for Homage to the Square, 1963
oil on masonite
16 x 16 in. (40.6 x 40.6 cm)
1976.1.155
Anni Albers
Textile sample, n.d.
jute, cotton, metallic fiber, and linen
4 3/8 x 7 1/4 in. (11.1 x 18.4 cm)
1994.15.87

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.

Josef Albers
Palatial, 1965
from the portfolio Soft Edge–Hard Edge
screenprint
sheet: 17 x 17 in. (43.2 x 43.2 cm)

2018 New York

Saturated explores the elusive, complex phenomenon of color perception and how it has captivated artists, designers, scientists, and sages. Featuring over 190 objects spanning antiquity to the present from the collections of Smithsonian Libraries and Cooper Hewitt, the exhibition reveals how designers apply the theories of the world's greatest color thinkers to bring order and excitement to the visual world.

Anni Albers
Design for a 1926 unexecuted wallhanging, n.d.
gouache with pencil on photo offset paper
15 x 9 3/4 in. (38.1 x 24.7 cm)
1994.10.1
Anni Albers
With Verticals, 1946
cotton and linen
61 × 46.5 in. (154.9 × 118.1 cm)
2004.12.1
Anni Albers
Red and Blue Layers, 1954
cotton
24 1/4 × 14 3/4 in. (61.6 × 37.8 cm)
1998.12.1
Anni Albers
Knot, 1947
gouache on paper
17 × 20 in. (43.2 × 51 cm)
1994.10.3

2018 Düsseldorf + London

Anni Albers is a full-scale retrospective bringing together the most important examples of her work, from beautiful small-scale creations to wall hangings. The exhibition further explores the textiles Albers designed for mass-production and her use of new technologies and synthetic fibers. As a student at the radical and ostensibly egalitarian Bauhaus art school, Anni Albers, like other women, was barred from becoming a painter. Instead she enrolled in the weaving workshop and made textiles her means of expression. Albers rose to become an influential figure, exploring the technical limits of hand-weaving to pioneer innovative uses of woven fabric as art, architecture, and design.

Josef Albers
Homage to the Square: On an Early Sky, 1964
oil on masonite
48 x 48 in. (122 x 122 cm)
National Gallery of Australia

2018 Canberra, Australia

American Masters 1940–1980 examines how European émigrés such as Marcel Duchamp, Henri Matisse, and Josef Albers influenced a generation of young Americans to challenge local traditions and reinvent modern art. It also highlights the sensational international impact of the era's major artists, including Jackson Pollock, Andy Warhol, Claes Oldenburg, Chuck Close, Donald Judd, Eva Hesse, and Louise Bourgeois. The exhibition features works from the NGA's collection of American art, including its world-class holdings of paintings and works on paper by the New York School, most famously Pollock's Blue poles, Sol Lewitt's huge wall drawing (remade for the show) and a selection of spectacular light works by Dan Flavin, Bruce Nauman, Keith Sonnier, and James Turrell.

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
Josef Albers
Formulation: Articulation, Folio II / Folder 31, 1972
screenprint
sheet: 15 x 40 in. (38.1 x 101.6 cm)
1972.4.245.64
Josef Albers
Park, ca. 1923
glass, metal, wire, and paint
19 1/2 × 15 in. (49.5 × 38.1 cm)
1992.6.28
Anni Albers
Study for DO II, 1973
gouache on blueprint paper
18 1/4 × 18 1/2 in. (46.3 × 47 cm)
1994.10.44

2015 Weil am Rhein + Bonn + Lausanne

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
Study for Mantic I, ca. 1940
oil on blotting paper
12 5/8 x 13 3/4 in. (32.1 x 34.9 cm)
1976.2.231

2018 Asheville, North Carolina

Between Form and Content: Perspectives on Jacob Lawrence and Black Mountain College is the first exhibition to focus on Lawrence's experiences during the summer of 1946, when Josef Albers invited Lawrence to teach painting at Black Mountain College. One of the most widely regarded American artists of the 20th century, Jacob Lawrence (1917–2000) is known for his paintings, drawings, and prints that hover between abstraction and socially inspired narrative realism, chronicling African-American history and experience during his lifetime. In addition to Lawrence's paintings, the exhibition features works by Gwendolyn Knight Lawrence, Josef and Anni Albers, Leo Amino, Jean Varda, Ruth Asawa, Ray Johnson, and Beaumont and Nancy Newhall. The exhibition also examines Lawrence's paintings, pedagogy, and legacy in a contemporary context, through the lens of four multimedia artists: Animator/filmmaker Martha Colburn; composer/performer Tyondai Braxton; installation artist Grace Villamil; and writer and interdisciplinary artist Jace Clayton (DJ Rupture).

Josef Albers
Variant VI, 1966
from the portfolio Ten Variants
screenprint
sheet: 17 x 17 in. (43.2 x 43.2 cm)
Whitney Museum of American Art
Josef Albers
Homage to the Square I, 1967
from the portfolio Homage to the Square
screenprint
sheet: 24 3/16 × 24 3/16 in. (61.4 × 61.4 cm)
Whitney Museum of American Art

2018 New York

Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 establishes connections between works of art based on instructions, spanning over fifty years of conceptual, video, and computational art. The pieces in the exhibition are all "programmed" using instructions, sets of rules, and code, but they also address the use of programming in their creation. The exhibition links two strands of artistic exploration: the first examines the program as instructions, rules, and algorithms with a focus on conceptual art practices and their emphasis on ideas as the driving force behind the art; the second strand engages with the use of instructions and algorithms to manipulate the TV program, its apparatus, and signals or image sequences. Featuring works drawn from the Whitney's collection, Programmed looks back at predecessors of computational art and shows how the ideas addressed in those earlier works have evolved in contemporary artistic practices. At a time when our world is increasingly driven by automated systems, Programmed traces how rules and instructions in art have both responded to and been shaped by technologies, resulting in profound changes to our image culture.

Anni Albers
TR III, 1970
screenprint
sheet: 16 1/2 x 18 1/2 in. (42 x 47 cm)
1994.11.21
Anni Albers
GR I, 1970
screenprint
sheet: 29 x 24 in. (73.6 x 60.9 cm)
1994.11.18
Josef Albers
Variant IX, 1967
screenprint
sheet: 17 x 17 in. (43.2 x 43.2 cm)
1976.4.173.9

2018 Old Lyme, Connecticut

Paper Trail: American Prints, Drawings, and Watercolors draws from the museum's collection and features significant works by Connecticut artists from colonial times to the present. Works on paper have been cherished in Old Lyme since the art colony's heyday, when artists gathered around Florence Griswold's parlor table to play the "Wiggle Game"—an amusement where one artist was challenged to finish a drawing of disparate lines begun by another. The museum's collection has grown in scope to include works on paper by Josef and Anni Albers, Fidelia Bridges, Thomas Nason, and Sol LeWitt, among many others.

Anni Albers
B, 1968
screenprint
sheet: 29 1/2 x 25 13/16 in. (75 x 65.5 cm)
1994.11.8
Anni Albers
Camino Real, 1969
screenprint
23 1/2 x 22 in. (59.7 x 55.9 cm)
1994.11.6

2018 London

Anni Albers Connections: Prints 1963–1984 is a major retrospective of the artist's prints, accompanied by unseen archival material. The exhibition coincides with the Tate Modern's first comprehensive survey of Albers's textile works. Together the exhibitions shed new light on Albers's contribution to twentieth century art, architecture, and design.

Admired for her pioneering wallhangings and textiles works, Albers was also a prolific printmaker. First turning her attention to the medium in her mid-60s, she quickly started to use printmaking techniques to achieve results not possible in any other medium. By 1970, declaring she had no space left for her looms, Albers gave up weaving and devoted herself entirely to printmaking. As her graphic work progressed Albers created designs that made use of layering and rotation, a subtle combination of techniques to create optically challenging, often mesmerizing, works on paper.