Joseph Albers Fondazione Stelline Milano exhibition Nicholas Fox Weber

Josef Albers:

Sublime Optics September 26, 2013–January 6, 2014 Fondazione Stelline

Corso Magenta 61 Milan Hours: Tuesday–Sunday 10am–8pm



Learning to See:

Josef Albers as a Teacher, from the Bauhaus to Yale

October 2–December 1, 2013

Academia di Belle Arti di Brera

Via Brera 28 Milan

Hours: Monday–Friday 9am–6:30pm,

Saturday 9am–2pm

From September 26, 2013 to January 6, 2014, the Fondazione Stelline, in collaboration with the

Josef and Anni Albers Foundation, will host Milan’s first ever monographic exhibition of the work of the great modernist and Bauhaus artist Josef Albers.

Josef Albers: Sublime Optics explores the spiritual elements in Albers’s art.

Maintaining his religious practice lifelong, Albers incorporated traditional imagery in a lot of his work, and, even when he did not, regarded transformation of color and line as spiritual, even mystical, events.

It is the less religious sense of Albers’s spirituality that this exhibition addresses. Sublime Optics considers Albers’s experiments with line, form, and color, in turn, and evaluates how he was able to create further mysteries in the world—ones that can act as spiritual exercises for our eyes.

He is like a mystic optician, fitting us with lenses to better see the sublime around us.

Curated and installed by Nick Murphy, and based on an exhibition conceived and selected by Nicholas Fox Weber (Executive Director of the Josef and Anni Albers Foundation), Josef Albers: Sublime Optics offers a unique perspective on the Bauhaus Master.

At the Bauhaus, Italy was an important source of inspiration.

In 1934, the year following the closing of the Bauhaus, Wassily Kandinsky organized an exhibition of Albers’s prints in Milan.

This is the first time there has been an exhibition of Josef Albers’s work in Milan since that exhibition nearly 80 years ago.

The exhibition will present 78 works from Albers’s entire career—from his very first known drawing to his very last Homage to the Square.

This includes rare early drawings, stained-glass assemblages, sandblasted glass constructions, and a range of pure abstract paintings.

Underlying all these works is Albers’s reverence for clear and honest thinking, and his firm belief that devotion to craftsmanship and truthfulness can transform the everyday miraculously.

Albers always declared the need to make arts accessible to the greatest possible number of people, including those that cannot freely enjoy this privilege.

Both the Fondazione Stelline and the Josef and Anni Albers Foundation are pleased to announce that this exhibition will partner with the Prison of Milan to work with inmates on numerous components of the exhibition process, from the preparation of the exhibition to the attendance at artistic events and stage plays.

Concurrent with this exhibition, from October 2 to December 1, 2013, the Josef and Anni Albers Foundation has collaborated with the Accademia di Brera to bring Milan an exhibition of Josef Albers’s teaching methods and students’ work, Learning to See: Josef Albers as a Teacher, from the Bauhaus to Yale.

This additional exhibition will reveal the vibrancy and extraordinary impact of Albers’s groundbreaking pedagogical methods and will feature works spanning four decades of his teaching career.

For Albers, the origin of art was “the discrepancy between physical fact and psychic effect.

” The heightened visual attentiveness that Albers’s work creates in the visitor is the perfect tool for handling the contemporary cacophony of distractions that surrounds us.

Josef Albers was born on March 19, 1888, in Bottrop, Westphalia.

He enrolled in the Bauhaus in Weimar in 1920.

In 1923, Albers was appointed instructor of the Preliminary Course.

In 1933, Albers immigrated with his wife, Anni Albers, to the United States, where he created an art department at Black Mountain College in North Carolina.

In 1950, Albers started his “Homage to the Square” series of paintings and in the same year he accepted the appointment as Chair of the Department of Design at Yale University.

In 1963, Yale University Press published Albers’s Interaction of Color, demonstrating the principles of Albers’s exploration of the mutability and relativity of color and based on his renowned teaching of color.

In 1971, Josef Albers was the first living artist to have a retrospective exhibition at the Metropolitan Museum of Art, New York.


Text credit 

Nicholas Fox Weber

Lessons for Architects Open Reliefs Harry Holtzman






Open reliefs


” Lessons for Architects”.


Each consists of up-rights that are spaced apart in rhythmic relationships to the solid planes and spaces between them, which function as color and noncolor, respectively.

It seems to this reviewer that the principal lesson to be drawn from this exhibition, as well as from Burgoyne Diller’s recent memorial show at the Whithney, is that the use is pure, unmodulated colors and rights angles and the avoidance of the diagonal need to not hem in an artist or signify any loss in individual expression.

To the contrary, Holtzman Diller and Bolotowsky made distinctive works that bore relationships to Mondrian without copying them.

Source and credit



Abstract Art Exhibitions in America Art in Focus: St Ives Abstraction






Photo Ethnoflorence all rights reserved.


Art in Focus: St Ives Abstraction


Friday, April 12, 2013–Sunday, September 29, 2013

Curated by Yale undergraduate students, this exhibition explores the work of artists living in St Ives, Cornwall, during the twentieth century. With its striking coastal landscape, St Ives inspired and influenced the artists who visited and made it their home. These artists played a key role in defining British abstraction and landscape painting in the mid-twentieth century. Despite their remote place of residence, the artists maintained and cultivated links with international artistic networks.

Drawing on the Center’s remarkable collections of paintings and sculptures by St Ives artists, the students have investigated the concept of abstraction and its connections to landscape painting, the influence of World War II on artistic expression, and the artistic implications of living and working in a colony away from large urban centers. A total of nineteen works are on display by ten artists including Trevor Bell, Sandra Blow, Terry Frost, Barbara Hepworth, Patrick Heron, Roger Hilton, Peter Lanyon, John Minton, Ben Nicholson, and John Wells.

Art in Focus, now in its seventh year, is an academic initiative for members of the Student Guide Program of the Yale Center for British Art. Introduced to every aspect of exhibition practice, the students intensify their engagement with the Center’s collections, strengthen their research skills, and practice writing in new formats. Student curators select objects for exhibition, write text panels and object labels, and make decisions about installation under the mentorship of Center curators and staff.



Art in Focus: St Ives Abstraction has been curated by Daniel Roza (SM ’15), Kathryn Kaelin (SY ’15), Alexander Shaheen (TC ’13), Hannah Flato (DC ’14), and Juliana Biondo (ES ’13). Cassius Clay (BK ’13) provided editorial support. In researching and presenting the exhibition, the students have been led by Linda Friedlaender, Curator of Education, and Jaime Ursic, Assistant Curator of Education, with curatorial guidance from Imogen Hart, Assistant Curator of Exhibitions and Publications; Rosie Ibbotson, Postdoctoral Research Associate; and Cassandra Albinson, Curator of Paintings and Sculpture.