Josef Albers: Josef Albers: to Open Eyes Para Abrir Ojos
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Michael Boyd Offers Stunning Class in Color at Firestone Loft June 2, 2017 by Charles A
Michael Boyd Offers Stunning Class in Color at Firestone Loft June 2, 2017 by Charles A. Riley II A visit to the stunning Michael Boyd show at Eric Firestone Gallery Loft in New York might make visitors wish they had been pupils in the artist’s design class at Cornell. Exploring the studies along with the paintings in the glowing array gives the sense that the viewer might have dipped into any section of the course that dealt with color. The collective impact of these brilliantly hued abstract works, all produced during a marvelous creative jag from 1970 through 1972, is both contemplative and joyful. Michael Boyd (1936-2015) earned his art degree at the University of Northern Iowa and at one point lived in Ajijic, Mexico; the solar power of some of these canvases can be related to that stint. While teaching a popular Cornell course on design “cen- tered on ergonomics and environmental analysis” (according to a release from the gallery) he maintained a studio in a Soho “Michael Boyd: That’s How the Light Gets In: 1970 – 1972” at Eric loft. Firestone Loft. Courtesy of Eric Firestone Gallery. His earliest paintings were in the Abstract Expressionist mode, until just about the moment when he tightened down his composi- tions into the geometry of the work on view. His work is in the Al- bright Knox, Chrysler and Everson museums. The paintings in the Firestone Loft show were first seen in a solo exhibition at the Max Hutchinson Gallery in New York. The year was 1973. One of the most magnetic works in “Michael Boyd, That’s How the Light Gets In: 1970 - 1972” is Azimuth (1972), its glowing golden core retaining an elemental purity while the delicately modulat- ed lunar blue and lilac pulse around the periphery. -
Bright Futures
the exchange , 1942, TRUE COLORS Clockwise from left: c reative brief Anni and Josef Albers TENAYUCA I TENAYUCA at Black Mountain College in 1938; Anni’s first wall hanging, BRIGHT FUTURES from 1924, at the Josef and Anni Albers Foundation in Bethany, How modernist pioneers Anni and Josef Albers Connecticut; Josef’s furniture in the foun- became art stars for the 21st century. dation’s Trunk gallery; one of Anni’s looms. Opposite: A 1964 BY CAROL KINO study for Josef’s Hom- PHOTOGRAPHY BY DANILO SCARPATI age to the Square series (left) and his newly rediscovered 1942 work Tenayuca I. OW DO YOU MAKE an artist into a key fig- Albers shows in Europe and New York, including Anni ranging from $300,000 to over $2 million. (Zwirner is opens next June in Düsseldorf and travels to London suddenly contacted the gallery about the work. “I got prints, as well as her jewelry, inspired by pre-Colum- ure of art history? Take the case of Josef Albers: Touching Vision, opening October 6 at the doing its part too, with a show opening September 20 that October. “Altogether they seem to know every- one look at it and said, ‘We will buy it,’ ” Fox Weber bian adornments but made with dime-store finds like and Anni Albers, today considered lead- Guggenheim Museum Bilbao—the artist’s first ret- called Josef and Anni and Ruth and Ray, pairing the thing about these artists. And Nick Weber, he tells says. “It’s an extraordinary painting, in mint condi- washers, safety pins and ribbon. -
Leap Before You Look: Black Mountain
Reviews 1. Exhibition travelled to LEAP BEFORE YOU LOOK: BLACK MOUNTAIN COLLEGE 1933–1957, the Hammer Museum, Los Angeles, CA INSTITUTE OF CONTEMPORARY ART, BOSTON, 10 OCTOBER 2015– (21 February–15 May 24 JANUARY 20161 2016) and the Wexner Center for the Arts, Columbus, Ohio (17 Reviewed by Johanna Gosse, Columbia University September 2016– 1 January 2017). What is an exhibition? Is it a machine for generating experience? Or rather, is it a specific medium, equipped with its own inherent logic, or to borrow Clement Greenberg’s famous phrase, a ‘unique and proper area of compe- tence’? Leap Before You Look: Black Mountain College, 1933–1957, organized by the Institute of Contemporary Art (ICA) in Boston, offers an opportunity to reconsider what an exhibition is, and, more to the point, what it can be expected to do. Black Mountain College was a short-lived experiment in liberal arts educa- tion located near Asheville, North Carolina. Though the school shut down in 1957, it has since achieved mythical status as a home-grown American avant- garde utopia. During its near quarter-century of existence, the College was host to catalytic encounters between an international cast of artists, writers and thinkers, many of whom influenced or directly participated in what Allan Kaprow called ‘the alchemies of the 1960s’ (1958). As a result, the name ‘Black Mountain’ refers not so much to a specific time and place or cohesive style, but rather, to an illustrious list of faculty and alumni who collectively have exerted a disproportionate influence on post-war American art. Beyond its influential diaspora, the College’s broader legacy (and its persistent utopian myth) is rooted in the communal ethos and intersecting practices that char- acterized campus life: experiential learning, interdisciplinary collaboration, the work programme, direct democracy, and the opportunity to create art in relative freedom from market pressures. -
Rendering Rhythm and Motion in the Art of Black Mountain College
A Lasting Imprint Rendering Rhythm and Motion in the Art of Black Mountain College Movement and music—both time-based activities—can be difficult to express in static media such as painting, drawing, and photography, yet many visual artists feel called to explore them. Some are driven to devise new techniques or new combinations of media in order to capture or suggest movement. Similarly, some visual artists utilize elements found in music—rhythms, patterns, repetitions, and variations—to endow their compositions with new expressive potency. In few places did movement, music, visual arts, and myriad other disciplines intermingle with such profound effect as they did at Black Mountain College (BMC), an experiment in higher education in the mountains of Western North Carolina that existed from 1933 to 1957. For many artists, their introduction to interdisciplinarity at the college resulted in a continued curiosity around those ideas throughout their careers. The works in the exhibition, selected from the Asheville Art Museum’s Black Mountain College Collection, highlight approaches to rendering a lasting imprint of the ephemeral. Artists such as Barbara Morgan and Clemens Kalischer seek to capture the motion of the human form, evoking a sense of elongated or contracted muscles, or of limbs moving through space. Others, like Lorna Blaine Halper or Sewell Sillman, approach the challenge through abstraction, foregoing representation yet communicating an atmosphere of dynamic change. Marianne Preger-Simon’s drawings of her fellow dancers at BMC from summer 1953 are not only portraits but also a dance of pencil on paper, created in the spirit of BMC professor Josef Albers’s line studies as she simultaneously worked with choreographer Merce Cunningham. -
Black Mountain College As a Form of Life Lyubov Bugaeva
BLACK MOUNTAIN COLLEGE AS A FORM OF LIFE Education as Experience Lyubov Bugaeva Saint-Petersburg State University [email protected] Pragmatist ideas that were shaped and employed in unique practices of teaching and organizing students’ life ABSTRACT: The paper focuses on a unique experiment in in Black Mountain College came from several sources – education that was realized in Black Mountain College (North Carolina) in 1933–1957 and seeks to find answers directly from John Dewey’s writings, and indirectly chan- to a number of questions. What connects the notions of neled through John Andrew Rice and Josef Albers. In the democracy, education, and the arts? To what extent is Dewey’s version of pragmatism, known as instrumental- 1930s John Dewey visited the College on several occa- ism, applicable to education in the arts? And finally, what sions. In 1936 he was elected a member of the Advisory makes Black Mountain College a revolutionary experiment in education, the importance and memory of which con- Council of Black Mountain College and served for three siderably outlasts its less than a quarter of a century exist- years, and in 1939 was re-elected for the next term. The ence? library comprised many of Dewey’s writings donated by Keywords: Black Mountain College, John Andrew Rice, the author during his visits. Dewey attended classes, Joseph Albers, John Dewey, progressive education, art, advised on the curriculum, and enjoyed formal and democracy, democratic man informal communication with students and faculty, who had meals and extracurricular activities together. In a “The democratic man, we said, must be an artist” letter to Myrtle B. -
Anni and Josef Albers: Mexican Travels
ANNI AND JOSEF ALBERS: MEXICAN TRAVELS, TOURISTIC EXPERIENCES, AND ARTISTIC RESPONSES by Kathryn Fay Submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Art History Chair: Helen Langa, Ph.D. Juliet Bellow, Ph.D. Dean of the College of Arts and Sciences Date 2014 American University Washington, D.C. 20016 © COPYRIGHT by Kathryn Fay 2014 ALL RIGHTS RESERVED i ANNI AND JOSEF ALBERS: MEXICAN TRAVELS, TOURISTIC EXPERIENCES, AND ARTISTIC RESPONSES BY Kathryn Fay ABSTRACT Anni and Josef Albers made fourteen trips to Mexico between 1935 and 1967. These visits inspired in a prodigious amount of work, including photo collages, published essays, paintings, drawings, prints, and weavings. Investigating these artistic responses to their experiences in Mexico reveals how Josef and Anni negotiated the cross-cultural inspiration they gained from their travels to create work which they felt matched their Bauhaus-influenced ideals. Examining the subjects that captivated the Alberses, and how they incorporated their experiences into their artistic production, also discloses how they wanted to be understood as artists. As husband and wife, and travel companions, their respective works of art show an interplay of shared opinions and experiences, but also demonstrate what resonated with each artist individually and how each one integrated these influences into their own works of modern, abstract art. ii ACKNOWLEDGMENTS I would first like to thank my advisor, Dr. Helen Langa for her enthusiasm, patience, and guidance which helped shaped this thesis in countless ways. I am also grateful to Dr. -
An Oral Interpretation Script Illustrating the Influence
379 AN ORAL INTERPRETATION SCRIPT ILLUSTRATING THE INFLUENCE ON CONTEMPORARY AMERICAN POETRY OF THE THREE BLACK MOUNTAIN POETS: CHARLES OLSON, ROBERT CREELEY, ROBERT DUNCAN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By H. Vance James, B.A. Denton, Texas August, 1981 J r James, H. Vance, An Oral Interpretation Script Illustrating the Influence on Contemporary American Poetry of the Three Black Mountain Poets: Charles Olson, Robert Creeley, Robert Duncan. Master of Science (Speech Communication and Drama), August, 1981, 87 pp., bibliography, 23 titles. This oral interpretation thesis analyzes the impact that three poets from Black Mountain College had on contemporary American poetry. The study concentrates on the lives, works, poetic theories of Charles Olson, Robert Creeley, and Robert Duncan and culminates in a lecture recital compiled from historical data relating to Black Mountain College and to the three prominent poets. @ 1981 HAREL VANCE JAMES All Rights Reserved TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . iv Chapter I. INTRODUCTION . 1 History of Black Mountain College Purpose of the Study Procedure II. BIOGRAPHICAL INFORMATION . 12 Introduction Charles Olson Robert Creeley Robert Duncan III. ANALYSIS . 31 IV. LECTURE RECITAL . 45 The Black Mountain Poets: Charles Olson, Robert Creeley, Robert Duncan "These Days" (Olson) "The Conspiracy" (Creeley) "Come, Let Me Free Myself" (Duncan) "Thank You For Love" (Creeley) "The Door" (Creeley) "Letter 22" (Olson) "The Dance" (Duncan) "The Awakening" (Creeley) "Maximus, To Himself" (Olson) "Words" (Creeley) "Oh No" (Creeley) "The Kingfishers" (Olson) "These Days" (Olson) APPENDIX . -
Josef Albers: Process and Printmaking (1916-1976)
Todos nuestros catálogos de arte All our art catalogues desde/since 1973 JOSEF ALBERS PROCESS AND PRINT MAKING 2014 El uso de esta base de datos de catálogos de exposiciones de la Fundación Juan March comporta la aceptación de los derechos de los autores de los textos y de los titulares de copyrights. Los usuarios pueden descargar e imprimir gra- tuitamente los textos de los catálogos incluidos en esta base de datos exclusi- vamente para su uso en la investigación académica y la enseñanza y citando su procedencia y a sus autores. Use of the Fundación Juan March database of digitized exhibition catalogues signifies the user’s recognition of the rights of individual authors and/or other copyright holders. Users may download and/or print a free copy of any essay solely for academic research and teaching purposes, accompanied by the proper citation of sources and authors. www.march.es FUNDACIÓN JUAN MARCH www.march.es 9 11117884111111 70111 11117562071111111111 111 Josef Albers Process and Printmaking (1916 1976) Fundación Juan March Fundación Juan March 6 Fundación Juan March 6 Fundación Juan March 6 Fundación Juan March Josef Albers Process and Printmaking (1916–1976) Fundación Juan March Fundación Juan March This catalogue and its Spanish edition have been published on the occasion of the exhibition Josef Albers Process and Printmaking (1916–1976) Museu Fundación Juan March, Palma April 2–June 28, 2014 Museo de Arte Abstracto Español, Cuenca July 8–October 5, 2014 And it is a companion publication to the exhibition catalogue Josef Albers: -
Selected Solo Exhibitions
JOSEF BREITENBACH (1896-1984) Selected Solo Exhibitions: 2013 Gitterman Gallery, New York 2008 Gitterman Gallery, New York 2005 Memorial de la Shoah, Paris 2004 Center for Creative Photography, Tucson 2004 The Towers, Dublin 2004 Camera Work, Berlin 2003 Josef Breitenbach: Munich, Paris, New York, Stephen Daiter Gallery, Chicago 2001-2002 Josef Breitenbach, 1896-1984, Une Photographie impure, Musée Nicéphore Niépce, Chalon-sur-Saône 2001 Galerie 1900 – 2000, Paris 2001 Photographs by Josef Breitenbach, Scottish National Portrait Gallery, Edinburgh 2000 Photographs by Josef Breitenbach, Fox Talbot Museum, Lacock 1998 Galerie Bodo Niemann, Berlin 1998 Jackson Fine Art, Atlanta 1996-1997 Josef Breitenbah, Photographien, Retrospektive zum 100. Geburtstag, Münchner Stadtmuseum, Munich 1996 Galerie Bodo Niemann, Berlin 1996 Josef Breitenbah, Photographien, Retrospektive zum 100. Geburtstag, Staatliche Galerie Moritzburg, Halle 1996 Houk Friedman Gallery, New York 1996 Mead Art Museum, Amherst, Massachusetts 1996 Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY 1995 Peconic Gallery, Riverhead, New York 1993 Houk Friedman Gallery, New York Josef Breitenbach bio page 2 1993 Hirschl & Adler Gallery, New York 1991 Hirschl & Adler Gallery, New York 1988 Parkerson Gallery, Houston 1987 Edwynn Houk Gallery, Chicago 1987 Pace/MacGill Gallery, New York 1986 Stadtmuseum, Munich 1983 Stadtmuseum, Munich 1979 Stadtmuseum, Munich 1973 50 Photos by Josef Breitenbach, Goethe House, New York 1971 Dartmouth College, Hopkins Center Art Galleries, Hannover, New Hampshire 1965 Wanderung – 250 Photographien 1930 bis 1965 von Josef Breitenbach, Münchner Stadtmuseum, Munich 1961 New School for Social Research, New York 1960 The Newark Museum 1954 Josef Breitenbach: Korea, Limelight Gallery, New York 1950 Portraits and Landscapes by Josef Breitenbach, The Brooklyn Museum, New York 1950 Pictorial Photographs, Smithsonian Institute, Washington, D.C. -
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Studi di estetica, anno XLVII, IV serie, 3/2019 ISSN 0585-4733, ISSN digitale 1825-8646, DOI 10.7413/18258646102 David A. Granger1 The legacy of John Dewey’s Art as experience: from Black Mountain College to “happenings” Abstract This is a companion piece to an article in a previous issue of the journal that offered an overview of the contrasts between John Dewey’s naturalistic aes- thetics, primarily as presented in his classic work Art as experience, and the more formalist aesthetics of art collector, philanthropist and educator Albert Barnes. This contrast was then used to explore and explain their disparate compatibilities and relationships with the pioneering work of the iconic 20th century American artists Thomas Hart Benton and Jackson Pollock. The cur- rent article does the same with respect to the avant-garde art and artistic legacy of the members of the creative community who lived and worked at Black Mountain College in North Carolina. As with the previous article, this examination ultimately underscores both the genuine catholicity of Dewey’s aesthetics and its deep roots in the endless meaning-making possibilities of everyday experience. The article then concludes with a brief discussion of the educational implications of these findings for our thinking about Dewey in the context of art and aesthetic education. Keywords Dewey, Aesthetics, Art education Dedicated to my mother, Julia Merriwether Arnold 1. Introduction There is perhaps no more intriguing aspect of John Dewey’s personal and professional life than his over thirty-year friendship with the in- imitable art collector, philanthropist and educator Albert Barnes. -
2019 Annual Report
2019 ANNUAL REPORT Dear Friends, This has been another year of unparalleled exhibitions and performances, a celebration of what’s possible in our new home and with the support of our community. At the beginning of 2019, we were in the last few weeks of the inaugural exhibition at 120 College Street, Between Form and Content: Perspectives on Jacob Lawrence and Black Mountain College, which was a major accomplishment in its scope and its expansion of community partnerships. Next, we presented an intimate look at the school’s political dimensions, both internal and external, through the exhibition Politics at Black Mountain College. During the same time period, the exhibition Aaron Siskind: A Painter’s Photographer and Works on Paper by BMC Artists revealed the photographer’s elegant approach to abstraction alongside works by others in his circle of influence. From June through August, our galleries filled with sound as part of Materials, Sounds + Black Mountain College, an exploration of contemporary experimental and material-based processes rooted in theories and practices developed at Black Mountain College. We closed out the year with VanDerBeek + VanDerBeek, an exhibition that bridges the historic and contemporary through an intergenerational artistic conversation. 2019 also marked the 100th birthday of Merce Cunningham, and 100 years since the founding of the Bauhaus, which closed in the same year Black Mountain College opened, seeding the latter with its faculty and utopian values. Both centennials sparked global celebrations, transcending geographic and disciplinary boundaries to honor the impact of courageous communities and collaborators. Image credit: Come Hear NC (NCDNCR) | Ken Fitch We joined the world in these celebrations through a special installation of historic dance films of the Cunningham Dance Company at this year’s {Re}HAPPENING, the exhibition BAUHAUS 100, and a virtual reality exploration of the Bauhaus Dessau building, on loan from the Goethe- Institut. -
Press Release
For Immediate Release Contact: Kate Averett Outreach Manager [email protected] | 828.350.8484 Please contact for high-resolution images Exhibition webpage: https://bit.ly/2Ruyb5x “She [Black Mountain College] was born in controversy and died in controversy, splendid in the between, as she inspired and shattered dreams of liberation and fulfillment. She lay on her side as the hills did across from Lake Eden, female in form. She hooted with the owls, and sat at peace with whatever her fate was to be.” - M.C. Richards, Black Mountain College: a personal view of creativity Asheville, NC (November 27, 2019) – Black Mountain College Museum + Arts Center (BMCM+AC) is pleased to announce the Winter/Spring 2020 exhibition Question Everything! The Women of Black Mountain College, opening January 24th. This exhibition will celebrate the work and impact of the women associated with Black Mountain College, featuring borrowed works alongside pieces from the BMCM+AC collection by a wide-ranging group of artists. Highlights will include the never-before-exhibited films of Hazel Larsen Archer and her students, showing daily life at Black Mountain College; textiles and prints by Anni Albers; a selection of woven wire sculptures and paper folded work by Ruth Asawa; an Elaine de Kooning work on paper; newly acquired additions to BMCM+AC's permanent collection from Abstract Expressionists Pat Passlof and Jo Sandman; and the first public showing of Faith Murray Britton's 1942 mural on the Studies Building art room door. Now is a timely moment for highlighting the stories of the women who made their way to Black Mountain College.