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Josef Albers (1888-1976) has long been admired for his progressive vision as an artist who blurred distinctions between fine and applied art, but rarely has his work as a teacher been examined in detail. The German-born artist was a remarkable classroom performer whose colorful language, wit, and dramatic flair held his students spellbound and turned his lessons into high adventure. Whether at the Bauhaus in prewar Germany, Black Mountain College in rural North Carolina during the 1930s and 1940s, or at Yale in the 1950s, Albers was driven by one thing--the desire to open his students' eyes to a different way of perceiving art and, ultimately, life. JOSEF ALBERS: TO OPEN EYES takes the reader through Albers's life in teaching. He began his career in 1923, when Walter Gropius invited him to join the faculty of the Bauhaus in Germany, where he quickly replaced the school's standard course curriculum with his own innovative methods. After moving to the United States in 1933, he and his wife Anni became founding members and teachers at the experimental start-up Black Mountain College. In 1950, he was appointed to head Yale's newly restructured Department of Design and remained there until he retired in 1958.Although he is widely perceived as a strong-minded theoretician, as this book reveals, Albers opposed rigid dogma and encouraged his students to develop lively and original solutions to his many and varied design exercises. On their first day in his classroom, Albers's students were informed that his goal was to educate their eyes and that he was going to teach them how to think and to see--an agenda belied by the somewhat prosaic course names "Basic Drawing" and "Basic Design" and "Color."With energy and flair, Danilowitz and Horowitz have charted Albers's world-changing role as a teacher. Through their archival research of original correspondence, documents, student course notes, and student work produced in his courses, and their interviews of former students, colleagues, and associates of Albers, they reveal the way that Albers's ideas on education and his complex personality have made an indelible imprint in the lives and work of artists all over the world. This book provides not only a compelling study of a key figure of 20th century art, but also ponders what constitutes art and how it is made and taught. (deuxième de couverture)

Bauhaus --- Couleur --- Design --- Dessin --- Enseignement --- Perception --- Albers, Josef --- Albers, Josef 1888-1976 (°Bottrop, Ruhr, Duitsland) --- Schilderkunst ; onderwijs ; 20ste eeuw ; Josef Albers --- Kleurenleer --- Kunstonderwijs --- 75.07 --- 7.07 --- Schilderkunst ; schilders --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Frederick A. Horowitz and Brenda Danilowitz --- kunst --- twintigste eeuw --- Duitsland --- Verenigde Staten --- Albers Josef --- kleurenleer --- schilderkunst --- abstractie --- abstracte schilderkunst --- monochromie --- seriële schilderkunst --- monochrome schilderkunst --- kunstonderwijs --- Blackmountain College --- Yale University --- design --- kunst en design --- vakdidactiek --- 75.071 ALBERS --- 7.01 ALBERS --- 373.67 ALBERS --- 745.071 ALBERS --- 7.071 ALBERS

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The first in-depth study of a monumental wall hanging-rediscovered after many years-by renowned Bauhaus artist Anni Albers. Albers was influential in elevating textiles from craft to fine art. Her exquisite wall hanging Camino Real-seen for the first time outside of Mexico City at David Zwirner, New York, in 2019, and the subject of this book-is a superb example of this modern master's work. In 1967, noted architects Ricardo Legorreta and Luis Barragan commissioned Albers to create a work for the newly built Hotel Camino Real in Mexico City. Completed in 1968, her striking wall hanging Camino Real is heavily influenced by Latin American art and culture. Showcasing Albers's approach to working with textiles as a "many-sided practice," it is accompanied in this book by works Albers made following her move to the United States in 1933, including innovative wall hangings, weavings, and a range of works on paper. Together, these works reflect Albers's brilliant embrace of different materials and techniques and her ability to work at varied scales. The works in this publication offer additional context and motifs, demonstrating the artist's pioneering investment in textiles as an art form and her parallel interest in mass-produced designs. Published on the occasion of the Anni Albers exhibition presented at David Zwirner, New York, in 2019, this catalogue features new scholarship from the show's curator, Brenda Danilowitz, art historian and chief curator of The Josef and Anni Albers Foundation, and T'ai Smith, an expert on Bauhaus craft and weaving.

Arts décoratifs --- Albers, Anni --- Textile crafts --- Fabric crafts --- Textile arts --- Textile fiber crafts --- Handicraft --- Fancy work --- Fiberwork --- Albers, Annie --- Fleischmann, Anneliese --- Fleischmann, Annelise --- Exhibitions --- Fleischmann, --- Arts décoratifs - Exposition --- Albers, Anni - Exposition