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.

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 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 New York

Spilling Over: Painting Color in the 1960s gathers paintings from the 1960s and early 1970s that inventively use bold, saturated, and even hallucinatory color to activate perception. During this period, many artists adopted acrylic paint—a newly available, plastic-based medium—and explored its expansive technical possibilities and wider range of hues. Color Field painters poured paint and stained unprimed canvas, dramatizing painting's materiality and visual force. Painters associated with Op art deployed pattern, geometric arrangement, and intense color combinations to emphasize that vision is a commingling of physical response and unconscious association. At the same historical moment, an emerging generation of artists of color and women explored color's capacity to articulate new questions about perception, specifically its relation to race, gender, and the coding of space. The exhibition looks to the divergent ways color can be equally a formal problem and a political statement. Featured artists include Josef Albers, Emma Amos, Richard Anuszkiewicz, Carmen Herrera, Ellsworth Kelly, Robert Reed, and Bob Thompson, among others.

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 Tampa, Florida

Abstract Expressionism: A Social Revolution presents twenty-five works from the Haskell Collection indicative of Abstract Expressionism as a unifying direction in Post-World War II art. The exhibition highlights artists associated with the influential first and second generations of Abstract Expressionist painters including Willem de Kooning, Hans Hofmann, Helen Frankenthaler, Franz Kline, Morris Louis, Joan Mitchell, Robert Motherwell, Kenneth Noland, Mark Rothko, and Theodoros Stamos. Later works by Gerhard Richter, Jack Goldstein, Robert Rauschenberg, and Frank Stella respond to or reflect on the lasting legacy of Abstract Expressionism in both the US and abroad. Viewed together, the works address how individual artistic expression and independence from institutional values altered the course of painting. Additional artists include Josef Albers, Richard Anuszkiewicz, Karel Appel, Sam Francis, Michael Goldberg, Paul Jenkins, Jean Miotte, Judy Pfaff, Jean-Paul Riopelle, James Rosenquist, and Jack Tworkov.

2019 Tucson, Arizona

Learning to See: Josef Albers features Albers's portfolio of screenprints Formulation: Articulation. Completed in 1972 the portfolio was published by Harry N. Abrams and printed by the well-known fine art printing firm Ives-Sillman. The series includes screenprints based on works from forty years of Albers's career.

2019 Hong Kong

A Luta Continua is an exhibition of the Sylvio Perlstein Collection. Over the course of more than five decades, Perlstein has assembled an intensely personal collection rooted in a passion for the work of groundbreaking artists. The Collection traces the course of twentieth-century art, from Dada and Surrealism to Abstraction, Land Art, Conceptual Art, Minimal Art, Pop Art, Op Art, Arte Povera, Nouveau Réalisme, and Contemporary Art. But above all, A Luta Continua testifies to the power of connoisseurship and collecting as a talent, an art in itself. The exhibition focuses on four main pillars of the Perlstein collection: Dada and Surrealism, vintage photography from the twentieth-century, Minimalism, and a compilation of contemporary artists Perlstein is deeply passionate about. There are around 200 works on view by some 112 artists. Among these are Josef Albers, Carl Andre, Diane Arbus, Hans Bellmer, André Breton, Marcel Broodthaers, Marcel Duchamp, Max Ernst, Hannah Höch, Jenny Holzer, Donald Judd, Sol LeWitt, René Magritte, Man Ray, Bruce Nauman, Brice Marden, Robert Morris, Edward Ruscha, Robert Ryman, Fred Sandback, and Andy Warhol.

2019 Zurich

Max Bill: Bauhaus Constellations explores the dynamic interactions among Max Bill and the artists he met at the influential German school. The exhibition investigates Bill's creative development at the Bauhaus, which ultimately led to the establishment of his own internationally acclaimed design school, the Hochschule für Gestaltung in Ulm, Germany, and solidified his place as a seminal figure in the Concrete Art movement. Artists featured alongside Bill include Josef Albers, Lyonel Feininger, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Kurt Schwitters, Oskar Schlemmer, Sophie Taeuber-Arp, and Georges Vantongerloo.

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.