GCB Kunstlexikon
JOSEF ALBERS
Nicholas Fox Weber on Josef Albers at Henie Onstad Kunstsenter |
On the occasion of the exhibition „Josef Albers Minimal Means, Maximum Effect“ at Henie Onstad Kunstsenter, Director Nicholas Fox Weber of the Josef and Anni Albers Foundation gives a presentation of and valuable insight into a selection of works in the exhibition. The exhibition is curated in collaboration with Josef and Anni Albers Foundation, Bethany, CT, and Fundación Juan March, Madrid, Spain. A catalog, To Tricks, No Twinkling of the Eyes is published by HOK on the occasion of the exhibition. The exhibition period is September-December 2014 | YouTube
Josef Albers | Mahler | Ich bin der Welt abhanden gekommen | Kozena Abbado | invesigo | YouTube | Josef Albers (19 de marzo de 1888 – 26 de marzo de 1976) fue un artista y profesor alemán cuyo trabajo, tanto en Europa como en los Estados Unidos, creó la base de algunos de los programas de educación artística más influyentes del siglo XX.
Josef Albers’s Homage to the Square: Aurora – YouTube
Michael Murawski discusses Josef Albers’s Homage to the Square: Aurora (1951-55), part of the Kemper Art Museum’s permanent collection. Presented in conjunction with the Museum’s Spotlight Series.
Zu sehen im Mildred Lane Kemper Art Museum in St. Louis – Washington University – USA
https://www.kemperartmuseum.wustl.edu/
VIDEO / FILM josef albers
Josef Albers | Interaction of Color | Op art and relative color | Imperfect Paintings | Josef Albers is known for his endless study and teaching of Interaction of Color. We think we know what we see but color can change each other. Josef Albers is the man to tell you otherwise. In his book Interaction of Color, Josef Albers explains, but especially gives you exercises and tells you the only way to learn is to do. With his series of paintings Homage to the square and his optical illusions he is put into the art movement Op Art or Optical Art. When you look at his paintings I can understand but you also miss the point because he is telling you how it works to get you thinking instead of tricking you. Of course I make my imperfect paintings of his artwork, but it was very rewarding. Enjoy | YouTube
Color in Context | Revisiting Albers with Anoka Faruqee | Yale University YouTube | At the Yale Presidential Inauguration Symposia on October 12th 2013, Anoka Faruqee, Associate Professor of Painting/Printmaking at Yale University, presented a lecture entitled, „Color in Context: Revisiting Albers“. In 1963, Josef Albers published his masterwork, Interaction of Color via Yale University Press, as a limited silkscreen edition. Fifty years later, the original volume and its various descendants continue to enlighten and delight art students, instructors, designers, and artists. This seminar will consider the publication’s pragmatic and philosophical relevance to our present moment.
Search Versus Re-Search | Recollections of Josef Albers at Yale | film by Anoka Faruqee | YouTube | Josef Albers transformed the teaching of art and design in the 20th century by asserting that the process of making and looking at art is more important than the finished product. “Art is not an object, art is an experience” is a simple and profound idea we still contend with today. For Albers, in artmaking, ideas are borne of material and perceptual possibilities and limitations. The same was true for his teaching: any theoretical position had to be formed and reformed through events in the classroom. Many describe Albers as a crucial mentor: openminded, progressive and democratic. Others found him overbearing or even autocratic. Nowhere is this paradox more pronounced than in the varied voices of women students amongst the boys’ club of 1950’s Yale. These first hand accounts of Albers from his former students and colleagues — William Bailey, Audrey Flack, Karsten Harries, Erwin Hauer, Sheila Hicks, and Richard Lytle — not only suggest Albers’ teaching methods and ideals, but also provide a glimpse into his personality and his relationships.
Nicholas Fox Weber and Toshiko Mori | Josef Albers | Minimal Means, Maximum Effect | YouTube
Josef Albers. Sublime Optics | Fondazione Stelline | YouTube
Prima esaustiva esposizione monografica, realizzata dalla Fondazione Stelline in collaborazione con la Josef and Anni Albers Foundation, la mostra segna il ritorno a Milano di Josef Albers (Bottrop, 19 marzo 1888 — New Haven, 25 marzo 1976) dopo quasi ottant’anni da quella organizzata da Wassily Kandinsky. Josef Albers. Sublime Optics esplora la componente spirituale dell’arte dell’autore tedesco, grande artista modernista ed esponente del Bauhaus. Albers, di formazione cattolica, ha incorporato il linguaggio figurativo della tradizione cristiana in molti suoi lavori, interpretando la trasformazione del colore e del tratto come eventi spirituali, se non addirittura di natura mistica. Gli esperimenti di Albers con la linea, la forma e il colore, agiscono come esercizi spirituali per i nostri occhi. Il suo“obiettivo“ nell’arte è stato la“ rivelazione ed evocazione della visione“, per aiutarci a vedere meglio il sublime che ci circonda. Il percorso espositivo presenta settantotto opere – rari disegni giovanili, vetri colorati, vetri sabbiati e una selezione di dipinti astratti – realizzate dall’inizio della sua carriera artistica fino agli ultimi giorni della sua vita: dal primissimo disegno conosciuto fino all’ultimo Omaggio al Quadrato. La mostra non è allestita cronologicamente, bensì articolata secondo i tre strumenti primari nella pratica artistica di Albers: linea, forma e colore. In questo modo, possiamo ammirare le opere di diverse serie accostate tra loro, e quelle che appartengono alla stessa serie in contesti diversi dal solito.
BIOGRAFIE josef albers
Geburtsjahr 1888 | Geburtstag 19. März | Geburtsort Bottrop |
Gestorben 25. März 1976 | New Haven, Connecticut, Vereinigte Staaten
1933 Emigration in die USA | Übernahme von Lehrämtern, denen die unterschiedlichsten amerikanischen Künstler Anregungen verdanken
AUSBILDUNG josef albers
1905 -1908 Ausbildung am Lehrerseminar in Büren
unterrichtete anschließend als Volksschullehrer
1913 erstes abstraktes Bild – durch Piet Mondrian inspiriert
1913 – 1915 Studium an der Königlichen Kunstschule in Berlin
1916 – 1919 Kunstgewerbeschule in Essen
1919 – 1920 Studium an der Akademie der Bildenden Künste in Berlin
1919 – 1920 Studium bei Franz von Stuck an der Kunstakademie in München.
1920 Studium am Bauhaus Weimar – Teilnahme am Vorkurs von Johannes Itten
LEHRTÄTIGKEIT josef albers
1922 Einrichtung einer Glaswerkstatt
1923 Lehrauftrag zur Durchführung des Vorkurses
1925 Berufung von Walter Gropius als Jungmeister an das Bauhaus Dessau
1925 – 1928 Leitung des Vorkurses gemeinsam mit László Moholy-Nagy, danach alleine
1930 Stellvertretender Direktor des Bauhauses – lehrte schwerpunktmäßig Glastechnik und Holzverarbeitung
1932 – 1933 Leiter des Vorkuses und Lehrer für Zeichnen und Schrift
1933 Bauhaus wurde durch die Nationalsozialisten geschlossen und alle Lehrkräfte wurden entlassen
Emigration in die USA.
1933 – 1949 Tätigkeit am Mountain College in North Carolina
1950 – 1959 Direktor am Art Department der Yale-Universität – zahlreiche Gastdozenturen (Harvard, Hartford, Havanna und Santiago de Chile)
1954 – 1955 Gastprofessor an der neu gegründeten Hochschule für Gestaltung in Ulm
MITGLIEDSCHAFTEN JOSEF ALBERS
1936 Josef Albers tritt bei den American Abstract Artists bei
WERKBESCHREIBUNG JOSEF ALBERS
SCHWERPUNKTE / MEDIEN
Malerei | Offsetdrucke | Sefigrafien
STIL
abstrakt | konkret | konstruktiv | Hard Edge
THEMEN/MOTIVE/WERKE
1949 Schaffung „Struktureller Konstellationen“, dies sind architektonisch verschränkte Zeichnungen, die sich in optischer Umkehrunginterpretieren lassen
Quadrat | Geometrische Abstraktionen
ab 1950 Homage to the Square
DEFINITION | BESCHREIBUNG | MERKMALE
„Strukturelle Konstellationen“ = architektonisch verschränkte Zeichnungen lassen sich in optischer Umkehrung interpretieren – Eigengesetzlichkeit der Farbe bleibt immer zentrales Thema – „Die Farbe wird zum relativsten Mittel der Kunst (Josef Albers) – Werkhöhepunkte sind die Folgen HOMAGE TO THE SQUARE die von 1950 bis 1965 als „Huldigung an das Quadrat“, in stets gleichbleibendem linearen Aufbau aber mit unterschiedlichsten Farbvariationen, immer neue Raumwirkungen entfalteten
STICHWORTE JOSEF ALBERS
ZITATE josef albers
„Kunst ist zuerst Vision nicht Expression.“ | Josef Albers
text / BIBLIOGRAPHIE josef albers
Der Bauhausmeister Josef Albers zu Gast im Centre Pompidou (FAZ)
Interaction of color: Die Wechselbeziehungen der Farbe (1963)
Interaction of color: Grundlegung einer Didaktik des Sehens (1963)
Search versus research (1969)
LINKS josef albers
JOSEF & ANNI ALBERS FOUNDATION
Farben Denken? Vom revolutionären Gehalt Josef Albers
JOSEF ALBERS
Nicholas Fox Weber on Josef Albers at Henie Onstad Kunstsenter |
On the occasion of the exhibition „Josef Albers Minimal Means, Maximum Effect“ at Henie Onstad Kunstsenter, Director Nicholas Fox Weber of the Josef and Anni Albers Foundation gives a presentation of and valuable insight into a selection of works in the exhibition. The exhibition is curated in collaboration with Josef and Anni Albers Foundation, Bethany, CT, and Fundación Juan March, Madrid, Spain. A catalog, To Tricks, No Twinkling of the Eyes is published by HOK on the occasion of the exhibition. The exhibition period is September-December 2014 | YouTube
Josef Albers | Mahler | Ich bin der Welt abhanden gekommen | Kozena Abbado | invesigo | YouTube | Josef Albers (19 de marzo de 1888 – 26 de marzo de 1976) fue un artista y profesor alemán cuyo trabajo, tanto en Europa como en los Estados Unidos, creó la base de algunos de los programas de educación artística más influyentes del siglo XX.
Josef Albers’s Homage to the Square: Aurora – YouTube
Michael Murawski discusses Josef Albers’s Homage to the Square: Aurora (1951-55), part of the Kemper Art Museum’s permanent collection. Presented in conjunction with the Museum’s Spotlight Series.
Zu sehen im Mildred Lane Kemper Art Museum in St. Louis – Washington University – USA
https://www.kemperartmuseum.wustl.edu/
VIDEO / FILM josef albers
Josef Albers | Interaction of Color | Op art and relative color | Imperfect Paintings | Josef Albers is known for his endless study and teaching of Interaction of Color. We think we know what we see but color can change each other. Josef Albers is the man to tell you otherwise. In his book Interaction of Color, Josef Albers explains, but especially gives you exercises and tells you the only way to learn is to do. With his series of paintings Homage to the square and his optical illusions he is put into the art movement Op Art or Optical Art. When you look at his paintings I can understand but you also miss the point because he is telling you how it works to get you thinking instead of tricking you. Of course I make my imperfect paintings of his artwork, but it was very rewarding. Enjoy | YouTube
Color in Context | Revisiting Albers with Anoka Faruqee | Yale University YouTube | At the Yale Presidential Inauguration Symposia on October 12th 2013, Anoka Faruqee, Associate Professor of Painting/Printmaking at Yale University, presented a lecture entitled, „Color in Context: Revisiting Albers“. In 1963, Josef Albers published his masterwork, Interaction of Color via Yale University Press, as a limited silkscreen edition. Fifty years later, the original volume and its various descendants continue to enlighten and delight art students, instructors, designers, and artists. This seminar will consider the publication’s pragmatic and philosophical relevance to our present moment.
Search Versus Re-Search | Recollections of Josef Albers at Yale | film by Anoka Faruqee | YouTube | Josef Albers transformed the teaching of art and design in the 20th century by asserting that the process of making and looking at art is more important than the finished product. “Art is not an object, art is an experience” is a simple and profound idea we still contend with today. For Albers, in artmaking, ideas are borne of material and perceptual possibilities and limitations. The same was true for his teaching: any theoretical position had to be formed and reformed through events in the classroom. Many describe Albers as a crucial mentor: openminded, progressive and democratic. Others found him overbearing or even autocratic. Nowhere is this paradox more pronounced than in the varied voices of women students amongst the boys’ club of 1950’s Yale. These first hand accounts of Albers from his former students and colleagues — William Bailey, Audrey Flack, Karsten Harries, Erwin Hauer, Sheila Hicks, and Richard Lytle — not only suggest Albers’ teaching methods and ideals, but also provide a glimpse into his personality and his relationships.
Nicholas Fox Weber and Toshiko Mori | Josef Albers | Minimal Means, Maximum Effect | YouTube
Josef Albers. Sublime Optics | Fondazione Stelline | YouTube
Prima esaustiva esposizione monografica, realizzata dalla Fondazione Stelline in collaborazione con la Josef and Anni Albers Foundation, la mostra segna il ritorno a Milano di Josef Albers (Bottrop, 19 marzo 1888 — New Haven, 25 marzo 1976) dopo quasi ottant’anni da quella organizzata da Wassily Kandinsky. Josef Albers. Sublime Optics esplora la componente spirituale dell’arte dell’autore tedesco, grande artista modernista ed esponente del Bauhaus. Albers, di formazione cattolica, ha incorporato il linguaggio figurativo della tradizione cristiana in molti suoi lavori, interpretando la trasformazione del colore e del tratto come eventi spirituali, se non addirittura di natura mistica. Gli esperimenti di Albers con la linea, la forma e il colore, agiscono come esercizi spirituali per i nostri occhi. Il suo“obiettivo“ nell’arte è stato la“ rivelazione ed evocazione della visione“, per aiutarci a vedere meglio il sublime che ci circonda. Il percorso espositivo presenta settantotto opere – rari disegni giovanili, vetri colorati, vetri sabbiati e una selezione di dipinti astratti – realizzate dall’inizio della sua carriera artistica fino agli ultimi giorni della sua vita: dal primissimo disegno conosciuto fino all’ultimo Omaggio al Quadrato. La mostra non è allestita cronologicamente, bensì articolata secondo i tre strumenti primari nella pratica artistica di Albers: linea, forma e colore. In questo modo, possiamo ammirare le opere di diverse serie accostate tra loro, e quelle che appartengono alla stessa serie in contesti diversi dal solito.
BIOGRAFIE josef albers
Geburtsjahr 1888 | Geburtstag 19. März | Geburtsort Bottrop |
Gestorben 25. März 1976 | New Haven, Connecticut, Vereinigte Staaten
1933 Emigration in die USA | Übernahme von Lehrämtern, denen die unterschiedlichsten amerikanischen Künstler Anregungen verdanken
AUSBILDUNG josef albers
1905 -1908 Ausbildung am Lehrerseminar in Büren
unterrichtete anschließend als Volksschullehrer
1913 erstes abstraktes Bild – durch Piet Mondrian inspiriert
1913 – 1915 Studium an der Königlichen Kunstschule in Berlin
1916 – 1919 Kunstgewerbeschule in Essen
1919 – 1920 Studium an der Akademie der Bildenden Künste in Berlin
1919 – 1920 Studium bei Franz von Stuck an der Kunstakademie in München.
1920 Studium am Bauhaus Weimar – Teilnahme am Vorkurs von Johannes Itten
LEHRTÄTIGKEIT josef albers
1922 Einrichtung einer Glaswerkstatt
1923 Lehrauftrag zur Durchführung des Vorkurses
1925 Berufung von Walter Gropius als Jungmeister an das Bauhaus Dessau
1925 – 1928 Leitung des Vorkurses gemeinsam mit László Moholy-Nagy, danach alleine
1930 Stellvertretender Direktor des Bauhauses – lehrte schwerpunktmäßig Glastechnik und Holzverarbeitung
1932 – 1933 Leiter des Vorkuses und Lehrer für Zeichnen und Schrift
1933 Bauhaus wurde durch die Nationalsozialisten geschlossen und alle Lehrkräfte wurden entlassen
Emigration in die USA.
1933 – 1949 Tätigkeit am Mountain College in North Carolina
1950 – 1959 Direktor am Art Department der Yale-Universität – zahlreiche Gastdozenturen (Harvard, Hartford, Havanna und Santiago de Chile)
1954 – 1955 Gastprofessor an der neu gegründeten Hochschule für Gestaltung in Ulm
MITGLIEDSCHAFTEN JOSEF ALBERS
1936 Josef Albers tritt bei den American Abstract Artists bei
WERKBESCHREIBUNG JOSEF ALBERS
SCHWERPUNKTE / MEDIEN
Malerei | Offsetdrucke | Sefigrafien
STIL
abstrakt | konkret | konstruktiv | Hard Edge
THEMEN/MOTIVE/WERKE
1949 Schaffung „Struktureller Konstellationen“, dies sind architektonisch verschränkte Zeichnungen, die sich in optischer Umkehrunginterpretieren lassen
Quadrat | Geometrische Abstraktionen
ab 1950 Homage to the Square
DEFINITION | BESCHREIBUNG | MERKMALE
„Strukturelle Konstellationen“ = architektonisch verschränkte Zeichnungen lassen sich in optischer Umkehrung interpretieren – Eigengesetzlichkeit der Farbe bleibt immer zentrales Thema – „Die Farbe wird zum relativsten Mittel der Kunst (Josef Albers) – Werkhöhepunkte sind die Folgen HOMAGE TO THE SQUARE die von 1950 bis 1965 als „Huldigung an das Quadrat“, in stets gleichbleibendem linearen Aufbau aber mit unterschiedlichsten Farbvariationen, immer neue Raumwirkungen entfalteten
STICHWORTE JOSEF ALBERS
ZITATE josef albers
„Kunst ist zuerst Vision nicht Expression.“ | Josef Albers
text / BIBLIOGRAPHIE josef albers
Der Bauhausmeister Josef Albers zu Gast im Centre Pompidou (FAZ)
Interaction of color: Die Wechselbeziehungen der Farbe (1963)
Interaction of color: Grundlegung einer Didaktik des Sehens (1963)
Search versus research (1969)
LINKS josef albers
JOSEF & ANNI ALBERS FOUNDATION
Farben Denken? Vom revolutionären Gehalt Josef Albers
JOSEF ALBERS
Nicholas Fox Weber on Josef Albers at Henie Onstad Kunstsenter |
On the occasion of the exhibition „Josef Albers Minimal Means, Maximum Effect“ at Henie Onstad Kunstsenter, Director Nicholas Fox Weber of the Josef and Anni Albers Foundation gives a presentation of and valuable insight into a selection of works in the exhibition. The exhibition is curated in collaboration with Josef and Anni Albers Foundation, Bethany, CT, and Fundación Juan March, Madrid, Spain. A catalog, To Tricks, No Twinkling of the Eyes is published by HOK on the occasion of the exhibition. The exhibition period is September-December 2014 | YouTube
Josef Albers | Mahler | Ich bin der Welt abhanden gekommen | Kozena Abbado | invesigo | YouTube | Josef Albers (19 de marzo de 1888 – 26 de marzo de 1976) fue un artista y profesor alemán cuyo trabajo, tanto en Europa como en los Estados Unidos, creó la base de algunos de los programas de educación artística más influyentes del siglo XX.
Josef Albers’s Homage to the Square: Aurora – YouTube
Michael Murawski discusses Josef Albers’s Homage to the Square: Aurora (1951-55), part of the Kemper Art Museum’s permanent collection. Presented in conjunction with the Museum’s Spotlight Series.
Zu sehen im Mildred Lane Kemper Art Museum in St. Louis – Washington University – USA
https://www.kemperartmuseum.wustl.edu/
VIDEO / FILM josef albers
Josef Albers | Interaction of Color | Op art and relative color | Imperfect Paintings | Josef Albers is known for his endless study and teaching of Interaction of Color. We think we know what we see but color can change each other. Josef Albers is the man to tell you otherwise. In his book Interaction of Color, Josef Albers explains, but especially gives you exercises and tells you the only way to learn is to do. With his series of paintings Homage to the square and his optical illusions he is put into the art movement Op Art or Optical Art. When you look at his paintings I can understand but you also miss the point because he is telling you how it works to get you thinking instead of tricking you. Of course I make my imperfect paintings of his artwork, but it was very rewarding. Enjoy | YouTube
Color in Context | Revisiting Albers with Anoka Faruqee | Yale University YouTube | At the Yale Presidential Inauguration Symposia on October 12th 2013, Anoka Faruqee, Associate Professor of Painting/Printmaking at Yale University, presented a lecture entitled, „Color in Context: Revisiting Albers“. In 1963, Josef Albers published his masterwork, Interaction of Color via Yale University Press, as a limited silkscreen edition. Fifty years later, the original volume and its various descendants continue to enlighten and delight art students, instructors, designers, and artists. This seminar will consider the publication’s pragmatic and philosophical relevance to our present moment.
Search Versus Re-Search | Recollections of Josef Albers at Yale | film by Anoka Faruqee | YouTube | Josef Albers transformed the teaching of art and design in the 20th century by asserting that the process of making and looking at art is more important than the finished product. “Art is not an object, art is an experience” is a simple and profound idea we still contend with today. For Albers, in artmaking, ideas are borne of material and perceptual possibilities and limitations. The same was true for his teaching: any theoretical position had to be formed and reformed through events in the classroom. Many describe Albers as a crucial mentor: openminded, progressive and democratic. Others found him overbearing or even autocratic. Nowhere is this paradox more pronounced than in the varied voices of women students amongst the boys’ club of 1950’s Yale. These first hand accounts of Albers from his former students and colleagues — William Bailey, Audrey Flack, Karsten Harries, Erwin Hauer, Sheila Hicks, and Richard Lytle — not only suggest Albers’ teaching methods and ideals, but also provide a glimpse into his personality and his relationships.
Nicholas Fox Weber and Toshiko Mori | Josef Albers | Minimal Means, Maximum Effect | YouTube
Josef Albers. Sublime Optics | Fondazione Stelline | YouTube
Prima esaustiva esposizione monografica, realizzata dalla Fondazione Stelline in collaborazione con la Josef and Anni Albers Foundation, la mostra segna il ritorno a Milano di Josef Albers (Bottrop, 19 marzo 1888 — New Haven, 25 marzo 1976) dopo quasi ottant’anni da quella organizzata da Wassily Kandinsky. Josef Albers. Sublime Optics esplora la componente spirituale dell’arte dell’autore tedesco, grande artista modernista ed esponente del Bauhaus. Albers, di formazione cattolica, ha incorporato il linguaggio figurativo della tradizione cristiana in molti suoi lavori, interpretando la trasformazione del colore e del tratto come eventi spirituali, se non addirittura di natura mistica. Gli esperimenti di Albers con la linea, la forma e il colore, agiscono come esercizi spirituali per i nostri occhi. Il suo“obiettivo“ nell’arte è stato la“ rivelazione ed evocazione della visione“, per aiutarci a vedere meglio il sublime che ci circonda. Il percorso espositivo presenta settantotto opere – rari disegni giovanili, vetri colorati, vetri sabbiati e una selezione di dipinti astratti – realizzate dall’inizio della sua carriera artistica fino agli ultimi giorni della sua vita: dal primissimo disegno conosciuto fino all’ultimo Omaggio al Quadrato. La mostra non è allestita cronologicamente, bensì articolata secondo i tre strumenti primari nella pratica artistica di Albers: linea, forma e colore. In questo modo, possiamo ammirare le opere di diverse serie accostate tra loro, e quelle che appartengono alla stessa serie in contesti diversi dal solito.
BIOGRAFIE josef albers
Geburtsjahr 1888 | Geburtstag 19. März | Geburtsort Bottrop |
Gestorben 25. März 1976 | New Haven, Connecticut, Vereinigte Staaten
1933 Emigration in die USA | Übernahme von Lehrämtern, denen die unterschiedlichsten amerikanischen Künstler Anregungen verdanken
AUSBILDUNG josef albers
1905 -1908 Ausbildung am Lehrerseminar in Büren
unterrichtete anschließend als Volksschullehrer
1913 erstes abstraktes Bild – durch Piet Mondrian inspiriert
1913 – 1915 Studium an der Königlichen Kunstschule in Berlin
1916 – 1919 Kunstgewerbeschule in Essen
1919 – 1920 Studium an der Akademie der Bildenden Künste in Berlin
1919 – 1920 Studium bei Franz von Stuck an der Kunstakademie in München.
1920 Studium am Bauhaus Weimar – Teilnahme am Vorkurs von Johannes Itten
LEHRTÄTIGKEIT josef albers
1922 Einrichtung einer Glaswerkstatt
1923 Lehrauftrag zur Durchführung des Vorkurses
1925 Berufung von Walter Gropius als Jungmeister an das Bauhaus Dessau
1925 – 1928 Leitung des Vorkurses gemeinsam mit László Moholy-Nagy, danach alleine
1930 Stellvertretender Direktor des Bauhauses – lehrte schwerpunktmäßig Glastechnik und Holzverarbeitung
1932 – 1933 Leiter des Vorkuses und Lehrer für Zeichnen und Schrift
1933 Bauhaus wurde durch die Nationalsozialisten geschlossen und alle Lehrkräfte wurden entlassen
Emigration in die USA.
1933 – 1949 Tätigkeit am Mountain College in North Carolina
1950 – 1959 Direktor am Art Department der Yale-Universität – zahlreiche Gastdozenturen (Harvard, Hartford, Havanna und Santiago de Chile)
1954 – 1955 Gastprofessor an der neu gegründeten Hochschule für Gestaltung in Ulm
MITGLIEDSCHAFTEN JOSEF ALBERS
1936 Josef Albers tritt bei den American Abstract Artists bei
WERKBESCHREIBUNG JOSEF ALBERS
SCHWERPUNKTE / MEDIEN
Malerei | Offsetdrucke | Sefigrafien
STIL
abstrakt | konkret | konstruktiv | Hard Edge
THEMEN/MOTIVE/WERKE
1949 Schaffung „Struktureller Konstellationen“, dies sind architektonisch verschränkte Zeichnungen, die sich in optischer Umkehrunginterpretieren lassen
Quadrat | Geometrische Abstraktionen
ab 1950 Homage to the Square
DEFINITION | BESCHREIBUNG | MERKMALE
„Strukturelle Konstellationen“ = architektonisch verschränkte Zeichnungen lassen sich in optischer Umkehrung interpretieren – Eigengesetzlichkeit der Farbe bleibt immer zentrales Thema – „Die Farbe wird zum relativsten Mittel der Kunst (Josef Albers) – Werkhöhepunkte sind die Folgen HOMAGE TO THE SQUARE die von 1950 bis 1965 als „Huldigung an das Quadrat“, in stets gleichbleibendem linearen Aufbau aber mit unterschiedlichsten Farbvariationen, immer neue Raumwirkungen entfalteten
STICHWORTE JOSEF ALBERS
ZITATE josef albers
„Kunst ist zuerst Vision nicht Expression.“ | Josef Albers
text / BIBLIOGRAPHIE josef albers
Der Bauhausmeister Josef Albers zu Gast im Centre Pompidou (FAZ)
Interaction of color: Die Wechselbeziehungen der Farbe (1963)
Interaction of color: Grundlegung einer Didaktik des Sehens (1963)
Search versus research (1969)
LINKS josef albers
JOSEF & ANNI ALBERS FOUNDATION
Farben Denken? Vom revolutionären Gehalt Josef Albers
