January 6 – February 18, 2012

Ward Jackson was born and grew up in Petersburg, Virginia. He studied painting at the Richmond Polytechnic Institute of the College of William and Mary, now Virginia Commonwealth University, earning his Master’s Degree there in 1952. While still in school Jackson began the correspondence with Guggenheim curator Hilla Rebay that would eventually lead to his long tenure with that institution. In a series of letters he sent drawings to her for comment and received critique and encouragement. Following graduation Jackson spent a summer studying under Hans Hofmann in Provincetown, Mass., settling in New York in the autumn of that year. Jackson’s student work had already attracted the attention of painter and critic George L.K. Morris who invited him to contribute to an American Abstract Artist annual exhibition in 1949. Morris, a founding member of the AAA, took Jackson under his wing and the two developed a close collegial relationship which lasted until Morris’ death in 1975. Jackson later was invited to join the group and was for many years its recording secretary.

Ward Jackson had his first solo exhibition in NYC at the Fleischman Gallery in 1956. In the early 60′s, inspired by the work of senior painters like Piet Mondrian and Josef Albers, Jackson moved away from the gestural style that had marked his work of the ’50′s, developing his signature style of austere, hard edged geometric compositions on square and diamond shaped canvases. In 1964 he showed a group of black and white diamonds in an important exhibition at the Kay Mar Gallery that included such figures as Jo Baer, Dan Flavin, Don Judd, Sol Lewitt, Robert Ryman, and Frank Stella, and which marked a pivotal moment in the early development of minimalism. For the rest of his life Jackson expanded upon this personal and rigorous approach to abstraction, developing his ideas in the hundreds of 4 x 6 inch “drawing books” that he always carried with him.

Ward Jackson continued to exhibit widely in NYC and throughout the United States as well as in exhibitions in Germany, Ireland, the Netherlands, Spain, and Japan. Some of the high lights of his career were solo exhibitions in the late 1960′s and 1970′s at the Graham Gallery, NYC, French and Company Gallery, NYC, and the short lived but seminal John Daniels Gallery, (founded by Dan Graham and David Herbert), NYC, and the Wilhelm Lehmbruck Museum, Duisberg. As winner of two Virginia Museum of Fine Arts fellowships; Ward Jackson had two solo exhibitions at The Virginia Museum of Fine Arts during the 1970′s. In the 1980′s into the 90′s, Ward Jackson developed an active career in Europe with numerous solo exhibitions in Germany, in Berlin at Galerie Adlung & Kaiser, at the Kunsthalle Bremen, the Museum Morsbroich, Leverkusen, and the Wilhelm Lehmbruck Museum, Duisburg. He continued to have a foothold in the New York art world throughout the 1980′s and 90′s, with regular exhibitions at the John Woodward and Marilyn Pearl galleries in Soho.

Posthumously his work has been championed, by Lisa Dennison who included his painting in the 2004 Guggenheim Museum exhibition; Singular Forms (Sometimes Repeated): Art from 1951 to the Present. In 2007 Ward Jackson had a comprehensive memorial retrospective at Metaphor Contemporary Art in Brooklyn NY, which included a catalog with an essay by Stephen Westfall and a panel discussion with Westfall, Jed Perl, Phong Bui, and Matthew Deleget. The show received several good reviews and was immortalized in a you-tube virtual tour with his artist nephew; Julian Jackson by the James Kalm Report. An informative interview about Ward Jackson’s work and life is available at the Minus Space blog: Ward Jackson – Heat at the Edges, A Conversation with Julian Jackson, by Matthew Deleget In 2008 Gary Snyder included Ward Jackson’s paintings in “New American Abstraction 1960 – 1975″ at his gallery in NYC. Gary Synder and David Richard Contemporary in Santa Fe, included Ward Jackson in “1960s Revisited” in the 2010 exhibition and catalog in Santa Fe where Jackson’s work was singled out in a favorable review. David Richard Contemporary is now representing Ward Jackson’s work.

His paintings and drawings can be found in numerous public collections including; The National Museum of American Art Smithsonian, Washington, D.C., Museum of Modern Art, NY, Solomon R. Guggenheim Museum, N.Y., The Brooklyn Museum of Art, N.Y., San Francisco Museum of Contemporary Art, CA, Rose Art Museum, Brandeis University MA, the Virginia Museum of Fine Art, Richmond, Va., Edward Albee Collection, British Museum, London, and in Germany at the Kunsthalle Bremen, Bremen, the Museum Morsbruch, Leverkusen, the Wilhelm Lehmbruck Museum, Duisburg.

In addition to his long career as a painter, Jackson was the archivist and the director of the viewing program at the Guggenheim Museum for nearly 40 years. Two visible legacies from this long involvement is the remarkable group of photographs that Jackson curated from the archives on permanent display in the cafe of that Museum illustrating the history of the Museum and its’ associated artists, and an art work in the Guggenheim collection by Dan Flavin dedicated to Ward Jackson and commemorating their time working at that museum together. In 1969 Jackson joined forces with publisher Roger Peskin and staff photographer Paul Katz to found an experimental folio publication, ART NOW New York. This interesting venture paired loose 8 1/2 x 11 inch prints of art works recently exhibited in the galleries with brief statements solicited from the artists. Over a four year run ART NOW New York published the work of well over a hundred of the most significant figures of that period, from Jasper Johns and Brice Marden, to Louise Bourgeois and Robert Smithson. ART NOW gradually developed into the ubiquitous and well known ART NOW Gallery Guide for which he served as advisory editor until 1998.

Widely known for his encyclopedic knowledge of art and artists, Ward Jackson was an active, opinionated, and informed participant in the New York art world that he so loved. He passed away in February of 2004.

- Julian Jackson / Rene Lynch

Carrie Patterson, Sign Series 1, number 6, 2010
Oil, acrylic, and enamel on wood and canvas
16 x 25 inches

January 5-28, 2012

The Painting Center is pleased to present Re-Generation, a traveling exhibition featuring the work of three generations of painter-teachers. This exhibition traces the regeneration of thought in painting and art education by linking the translation of visual ideas between students and teachers to the teaching of Josef Albers. The artists in Re-Generation are Heather Brammeier, Reni Gower, Heather Harvey, Ric Haynes, Victor Kord, Richard Lytle, Ron Markman, Deirdre Murphy, Richard Emery Nickolson, Alice Oh, Carrie Patterson, Richard Raiselis, Edward Shalala, Robert Slutzky, Reba Stewart, and Lois Swirnoff.

Josef Albers, Variant / Adobe: “Gray Facade,” 1947-54
Oil on masonite
22 x 26 inches

November 2 – December 6, 2011

Waddington Custot Galleries, in collaboration with The Josef and Anni Albers Foundation, are pleased to announce an exhibition of paintings by Josef Albers, dating from 1931 to 1958. The exhibition includes early monochrome paintings from his Biconjugates and Kinetics series, as well as Variants, dating from the late 40s to 50s. Within these differing compositions, Albers experimented with form, line and colour to explore visual perception.

Steps (1931–1956), the earliest work in the exhibition, made after one of Albers’s glass pieces, has two stair-like constructions in black, white and grey; a larger one in the right foreground and a smaller version in the upper left, which “float” on a black background. Following the “steps”, up and down, in this ambiguous space, the folded forms appear to flip forwards and backwards, sometimes creating the illusion of motion. In Vice Versa (C) (1943), a biconjugate, Albers introduced a landscape format; geometric, interlocking, angular shapes appear to mirror each other on a horizontal plane.

Albers began his Variants series in 1947, the year he spent a sabbatical in Mexico. Also known as Adobes, the Variants derive their basic geometric composition, of multiple, interlocking and apparently overlapping rectangles, from the simple facades of the traditional Adobe houses, with their two windows set either side of the doorway. As well as monochrome paintings in this new format, in the Variant series, Albers used vibrant colour shapes which allowed him to closely examine colour relationships.

Born in 1888 in Bottrop, Germany, Josef Albers trained as a teacher, later moving into art education before studying art at the Kunstgewerbeschule, Essen, where he worked in stained glass and print-making. In 1920, Albers enrolled in the preliminary course at the Bauhaus, which had opened the previous year in Weimar. Within two years he was running the glass workshop and, in 1923, he set up the preliminary course in material and design, later taking charge of this course and rising to the position of assistant director to Mies van der Rohe in 1930. When the Bauhaus was closed down by the Gestapo in 1933, Albers, then aged forty-five, left Germany for the United States to initially take up a teaching post at the newly-formed Black Mountain College in North Carolina, moving to Yale University in 1950. Albers retired as Chairman of Yale University Art School in 1958 but retained his post as Visiting Professor until 1960. In 1959, he was awarded the Ford Foundation fellowship. Interaction of Color, his seminal account of over thirty years of his colour theory teaching, was published by Yale University Press in 1963. In 1971, Albers was the first living artist to be given a solo exhibition at the Metropolitan Museum of Art, New York. Josef Albers died on 25 March 1976 in Orange, Connecticut.

Ron Agam, Endless Universe, 2010
Ink and resin on canvas mounted on panel
36 x 36 inches

May 5 – June 6, 2011

Bertrand Delacroix Gallery is proud to present an exhibition of paintings by Ron Agam. Agam brings fresh, new elements to his work where he further examines the interaction of colors. He seeks to expose the harmony and effective balance of these varying colors with placement and scale.

Agam’s personal exploration in the world of painting is a testimony to his childhood, where he was influenced by the works of the masters of the early stages of geometric abstraction, such as El Lissitzky, Malevich, Mondrian and later Josef Albers. In various sizes, these paintings are meant to resonate beyond the two-dimensional surface and to utilize the varying energies of the colors that fuel his vision. Agam asserts that are the expression of an artist that lives in the present, creates for the future with a deep respect for the past.

Ron Agam was born in Paris and raised in Rehovot, Israel and Paris. From an early age Agam was encouraged by his father, artist Yaacov Agam, to pursue art. Ron studied at New York University, where he was captivated by the local art scene and the stimulating environment of the artists of that time, among them Andy Warhol. Throughout his career, Agam has exhibited across Europe, the Americas, and Asia, including the Corcoran Gallery of Art, Washington DC; Martin-Gropius-Bau, Berlin; New York Historical Society, New York; Mitsukoshi, Tokyo; and Zurich Kunsthaus, Zurich. His work has been featured in major news publications, such as Time and Newsweek.

His commitment to art as well as political efforts to bridge nations demonstrates his unique position as an artist and humanitarian. In 2008, he received the Chevalier of the Legion of Honor by the Government of France, the highest honor in France.

Russell Roberts, I Want That Information, 2004
Oil on linen
22 x 18 inches (55.9 x 45.7 cm)

April 6 – May 20, 2011

Jason McCoy Gallery is pleased to present 70 Years of Abstract Painting – Excerpts, which brings together an eclectic group of artists, including:

Josef Albers, Richard Anuszkiewicz, Peggy Bates, Norman Bluhm, Giorgio Cavallon, Cora Cohen, Gene Davis, Fridel Dzubas, Joe Fyfe, James Gahagan, Al Held, Maxwell Hendler, Hans Hofmann, Sharon Horvath, Terrell James, Paul Kelpe, Martin Kline, Nick Lamia, Jim Lee, Sarah Mattes, John McLaughlin, Martin Mullin, Rob Nadeau, George Negroponte, Kenneth Noland, Thomas Nozkowski, Paul Pagk, Charles Pollock, Jackson Pollock, Man Ray, Willy Bo Richardson, Jennifer Riley, Russell Roberts, Charles Seliger, Leon Polk Smith, Hedda Sterne, Robert Thiele, Gwenn Thomas, Marc Van Cauwenbergh, Vaclav Vytlacil, Leslie Wayne, Helen Miranda Wilson, John Zinsser

The installation will present a wide range of abstract paintings, each of which reflects a distinct style and unique aesthetic. Various movements, including Abstract Expressionism, Minimalism, Op Art, and Neo-Pattern & Decoration for example, will be addressed. Providing excerpts from seven decades worth of work, the exhibition aims to initiate an unusual dialogue between historic and contemporary paintings, as well as between the inherent modern and post-modern concerns.

It is our ambition to stress the timelessness of the abstract language in painting and to create a platform, which allows older works to appear in a new light and contemporary compositions to be viewed in the context of their influences.

Since its founding in 1982, the gallery has focused on furthering the understanding of abstract painting from a contemporary point of view. While in part marking an overview of our program to date, 70 Years of Abstract Painting – Excerpts also reflects the many sources of inspiration the gallery draws from. We would like to thank the many artists, private collectors and colleagues from other galleries, who are supporting this exhibition through generous loans.

Installation view

March 17 – April 30, 2011

Mitchell-Innes & Nash is pleased to announce its first solo exhibition of paintings by Kenneth Noland, on view in the Chelsea gallery from March 17 – April 30. The exhibition, “Kenneth Noland: Paintings, 1958-1968,” will feature major paintings dating from the artist’s first decade of mature work. It will include significant early examples of the circle, stripe and chevron compositions that would become Noland’s signature forms throughout his career. The exhibition will be accompanied by a fully illustrated catalogue with an essay by art historian Paul Hayes Tucker.

Kenneth Noland (1924-2010) is among the most influential Post-War abstract artists and one of the central figures of Color Field painting. His unprimed canvases with geometric forms painted in thin washes of pure, saturated color forged a new direction in abstract art. The artist’s stated aim was to explore “the infinite range and expressive possibilities of color.” Later referred to in the New York Times as “paradigms of American plain statement,” these spare, reductive works were seen as bold departures from Abstract Expressionism and as ‘minimalist’ painting. This exhibition and extensive catalogue will present new insight into the artist’s life, his influences, and the impact American popular culture had on his art and vice-versa.

In the late 1950s and early 1960s Noland began working with two motifs, the circle and the chevron, which would have lasting importance in his work. These seemingly simple forms resonated deeply within Noland’s history, calling to mind badges on military uniforms from his army days, logos for cars and other consumer products ubiquitous in the post-war economy, and even the theories of Wilhelm Reich whose writings Noland encountered in the 50s. The catalogue essay by Paul Hayes Tucker explores these themes in depth, allowing for a dynamic new understanding of Noland’s art as inextricably linked to the ‘atomic age’ in America.

Noland was featured in a number of international survey exhibitions that helped define American art in the 1960s: the Venice Biennale XXXII, organized by Alan Solomon of the Jewish Museum; Documenta 4, the final Documenta organized by founder Arnold Bode; “Post-Painterly Abstraction” curated by Clement Greenberg at the Los Angeles County Museum of Art in 1964; “The Responsive Eye” curated by William C. Seitz at the Museum of Modern Art, New York in 1965; and “New York Painting and Sculpture, 1940-1970,” curated by Henry Geldzahler at the Metropolitan Museum of Art, New York in 1969.

About the Artist:
Kenneth Noland was born in 1924 in Asheville, NC. After serving in the Air Corps of the US Army during World War II, he attended Black Mountain College in North Carolina, where he studied under Josef Albers and Ilya Bolotowsky. He developed a friendship with painters Helen Frankenthaler and Morris Louis early in his career and was championed by influential critics Clement Greenberg and Michael Fried. Noland later developed strong associations with Bennington College in Vermont, where Anthony Caro, Jules Olitski and Paul Feeley were instructors.

Noland’s work is included in countless museum collections in the US and internationally. His 1977 retrospective at the Solomon R. Guggenheim Museum in New York traveled extensively. More recent notable exhibitions include “Action/Abstraction” at the Jewish Museum, New York, 2007. In May 2010 the Guggenheim mounted the exhibition “Kenneth Noland, 1924-2010: A Tribute,” to honor the late artist and his long history with the museum. The Estate of Kenneth Noland is represented by Mitchell-Innes & Nash.

December 3, 2010 – January 14, 2011

For its inaugural exhibition, Arevalo Gallery presents From Absolute to Minimal a group exhibition featuring works by Post-War Latin American artists and their international counterparts all of whose work was defined by the ultimate search for the Absolute.

It was through Kazimir Malevich’s search for an artistic expression void of representation that the quest for the absolute was first conceived. In the search for such, the most elemental form, the square, became the focal point of his manifesto. From there the incorporation of geometry and a constant search for the sublime ensued.

From the rebel causes championed by Theo van Doesburg to the esoteric aesthetic introspections of Mondrian, the concern for total dematerialization became their mission. This reflected their need for art to evolve towards a more pure manifestation of the human spirit.

For their first exhibit, Arevalo Gallery identifies those Latin American and International artists that best expressed this quest for the absolute, and in doing so, led to an art form void even of the absolute itself. From Concretismo, through Constructivismo and ending in Minimalismo, all the movements that embraced Modernism in Latin America are represented in this exhibition.

Highlights of the exhibition include a primordial work of Joaquin Torres Garcia from his Paris period (1929), a Josef Albers created immediately after his retirement from Black Mountain College (1959) and appropriately titled “Michoacán” and perhaps the most important artwork of Carmelo Arden Quin exhibited in his first MADI exhibition in Uruguay (1946). Movements such as the Brazilian Concrete and Neoconcrete, Argentinean Arte Nuevo and Arte Generativo, Group Zero and Minimalism are also represented.

Historically relevant works by Jesus Raphael Soto (1969), Carlos Cruz-Diez (1966), Gego (1981), Luis Tomasello (1969), César Paternosto (1967), Asis (1959), Gregorio Vardanega (1950), Mathias Goeritz (1957), and Ivan Serpa (1953) are just some of the artworks representing the avant-garde movements of Latin American Modernism.

Adding to it, works by Joseph Albers, Vordemberge-Gildewart, Bridget Riley, François Morellet, Lucio Fontana, Enrico Castellani, Sol Lewitt, and Walter Leblanc among others, complement the International phase of our the exhibition.

Arevalo Gallery has been established for the promotion of 20th Century Latin American and International art, and to gain a greater understanding of the relationships between modern art movements and their influence on Contemporary Art.

December 16, 2010 – March 6, 2011

Kim Uchiyama, Element, 2008-2010
Oil on canvas
20 x 16 inches

September 8 – October 9, 2010

Lohin Geduld Gallery presents their first solo exhibition of new paintings by Kim Uchiyama. The centuries-old axiom that color is of the emotions while drawing is of the intellect comes into question in front of a Kim Uchiyama painting. While sensuality abounds in Uchiyama’s resonating palette, the mind is instantly engaged with the strategy of her stacked horizontal bands of color. Uchiyama’s reductive painting language clears the way for a meditation on rhythm, interval, cadence and movement. Like Josef Albers before her, Uchiyama presents a deceivingly simple geometry that allows for an infinite variety of expression.

A recent stint at an artist residency in southern Italy inspired Uchiyama to contemplate the multilayered history of that Mediterranean crossroad. The results can be seen in her new paintings, where excavations of paint films reveal past efforts and decisions. An archeology of sorts emerges, as one color band is supplanted by an overlapping new choice of hue or saturation level. The end result is a beautiful tapestry of actions and reactions, woven into a harmonious state of equilibrium.

Uchiyama works on several paintings of equal proportions at the same time. These groupings of paintings can be seen to share color choices and visual weights. But each one is uniquely different as the artist paints in an improvisational manner to the needs and dictates of each work. The paintings take on different moods and personalities, and Uchiyama’s geometry suddenly becomes highly subjective. Like a musical score, her formal compositions have the potential to pack an emotional wallop. These are works to be savored and compared, for they suggest not one but many conclusions.

Catalogue available with essay by Lilly Wei.

Geraldo de Barros, Pampulha, Sao Paulo, Brazil,
[From the Series Fotoforma], 1949
Silver gelatin, 29 x 28 cm
Edition 5 of 15, Print 2006

September 8 – October 6, 2010

Austin/Desmond Fine Art, London is delighted to present Abstraction-Creation, an exhibition uniting twenty-nine abstract artists from South America and Europe.

The title Abstraction-Creation refers to the European abstract art movement of the same name founded by Theo van Doesburg in Paris in 1931. This somewhat loose association of artists increasingly looked towards geometric abstraction and concrete art. Although many of the artists in this exhibition moved away from Van Doesburg’s notion of geometric abstraction, they all championed a purely non-representational abstract art that was not derived from observed reality and began with the idea that abstract art is the search for the absolute and the struggle for pure meaning.

This exhibition brings together works by early European modern masters such as Max Bill, Josef Albers and Victor Vasarely along with later proponents of Concretism in South America including Hélio Oiticica, Lygia Clark and the lesser know figures, Judith Lauand, Lothar Charoux and Geraldo de Barros. This exhibition also displays early works by British Constructivist artists such as Anthony Hill and Kenneth and Mary Martin who further explored geometric abstract art through the use of mathematical theories and the juxtaposition of modular forms.

Although geographically and historically disparate, all of these artists looked to abstraction with renewed fervour in the post-war era and saw it as a mode of expression that made a clean break away from the restraints of subjective representation. A variety of works, ranging from three dimensional sculptures, to paintings, photography, collage, works on paper and journals will be on display. Recent years have seen a new widespread interest and appreciation of Latin American art. The inauguration of Latin America’s most prestigious art fair, Pinta, in London for the first time in June 2010 is a reminder of this.

A fully illustrated catalogue will be available.

Julian Stanczak, Untitled #15, 1969
Acrylic on panel, 24 x 24 inches

April 15 – July 9, 2010

D. Wigmore announces the exhibition with catalogue, Op Out of Ohio: Anonima Group, Richard Anuszkiewicz, and Julian Stanczak in the 1960s. The exhibition will feature over 30 paintings from 1959 to 1970 by Richard Anuszkiewicz (b.1930), Julian Stanczak (b.1928), and the three artists of the Anonima Group: Ernst Benkert (b.1928), Francis Hewitt (1936-1992), and Ed Mieczkowski (b.1929). A highlight will be four paintings from the Museum of Modern Art’s groundbreaking 1965 exhibition The Responsive Eye, curated by William Seitz, which placed optical, kinetic, and concrete art into one perception-based movement which the press dubbed “Op Art.”

Each of the artists in the exhibition studied or taught at Ohio institutions. Richard Anuszkiewicz and Julian Stanczak met as undergraduates at the Cleveland Institute of Art in the early 1950s before both studied at Yale University with Josef Albers from 1954-1956. Stanczak returned to the Cleveland Institute in 1964 to teach painting, which he did until 1995. Francis Hewitt and Ernst Benkert met as graduate students at Oberlin College in 1959. After meeting as students at Carnegie Tech in the mid-1950s, Hewitt and Ed Mieczkowski both taught at the Cleveland Institute in the early 1960s. Mieczkowski continued to teach there until 1990.

The Anonima Group, all artists interested in the psychology of perception and the European Constructivists, did their first work together at Ernst Benkert’s Springs, Long Island studio the summer of 1960. The group was unique in the United States, but its formation paralleled such European groups as Gruppo N and Gruppo T in Italy; Zero in Germany; and Groupe de Recherche d’Art Visual (GRAV) in France. After several exhibitions in Cleveland, the Anonima Group had its first New York exhibition in 1964. In the winter of 1964-1965 they participated in major exhibitions of perceptual art: Vibrations 11 at Martha Jackson Gallery and Mouvement II at Galerie Denise René in Paris, as well as MoMA’s The Responsive Eye in February 1965. In 1966 the Anonima Group’s project Black/White and Gray 24” Square, with ten paintings by each artist, was exhibited in New York and at the Institute of Contemporary Arts, London and Galeria Foksal in Warsaw. Anonima participated in the New Tendencies exhibitions in Zagreb in 1965 and 1969.

The Anonima Group set up a loft on West 28th Street in 1966 which functioned as a shared studio for the three artists and an exhibition space for Anonima’s work, as well as for their students. The artists developed a four-year plan to examine the four perceptual cues that create the reading of spatial dimension on a two-dimensional surface: overlap, relative size change, brightness ratio, and light and shade. Over the course of a year for each project, the group painted alongside each other using the same limit while creating independent work. Each project was then exhibited in the Anonima Gallery. D. Wigmore’s exhibition includes six examples from the group’s first project Perceptual Inquiry I: Overlap, exhibited in April 1967.

Richard Anuszkiewicz and Julian Stanczak are considered the two students who most embraced Josef Albers’s theories on color interaction. Anuszkiewicz’s work applied the latest findings in color theory and visual perception to measured, geometric compositions of precise linear patterns within gridded or square formats, which often emanate outwards from the center of the canvas. Stanczak applied the same knowledge to nature-inspired compositions of wiggles and juxtapositions of curved and angular forms, which radiate energy and internal illumination. With two different approaches, Anuszkiewicz and Stanczak express the excitement of color and make an event of the act of seeing.

The Museum of Modern Art purchased a painting by Anuszkiewicz in 1960 from the artist’s first New York solo exhibition at The Contemporaries. The D. Wigmore exhibition includes one of Anuszkiewicz’s paintings exhibited in MoMA’s Americans 1963 (The Harpist and Nine Muses, 1963), as well as the artist’s All Things Do Live in the Three, 1963 exhibited in The Responsive Eye. Julian Stanczak had his first solo exhibition in New York in the fall of 1964 at Martha Jackson Gallery. The exhibition’s title Julian Stanczak: Optical Paintings played on the growing talk of the “optical” style; the exhibition led artist and critic Donald Judd to use the term “Op Art” for the first time in print in his review of the exhibition for Arts Magazine. Stanczak and his teacher Albers preferred the use of “perceptual art” to describe these paintings which engaged the viewer’s eye and mind, but critics preferred Op as a counter to “Pop Art.” The D. Wigmore exhibition will have a major 1970 painting by Stanczak titled Burning Through, #III. Two other examples from this series are in the JPMorgan Chase Art Collection and the Carnegie Museum of Art.

John Ferren, Paris Abstract, ca. 1935
Oil on canvas, 25 ½ x 31 ¾ inches
Collection Newark Museum, NJ

Presented by the Newark Museum and the Colección Patricia Phelps de Cisneros

Saturday, April 10, 2010, 10am – 5pm
Billy Johnson Auditorium, Newark Museum

The Newark Museum and the Colección Patricia Phelps de Cisneros present Dialogues in South and North American Abstraction, an important international symposium that explores the conceptual and aesthetic parallels that linked artists across the Americas during the first half of the twentieth century. The free symposium will be held on Saturday, April 10, 2010 from 10 am to 5 pm in the Billy Johnson Auditorium at the Newark Museum. Pre-registration is required; call 973-596-6550 or e-mail: rsvp@newarkmuseum.org.

The panelists, a distinguished group of both emerging and established scholars, will explore a diversity of issues as seen in the work of individual artists. These include John Ferren, Juan Melé, Charles Biederman, Alexander Calder, Carlos Raúl Villanueva, Josef Albers, and Lygia Pape, all of whom are represented in the Newark Museum’s major exhibition Constructive Spirit: Abstract Art in South and North America, 1920s–50s. The symposium brings to life the artists’ own call for exchange with each other in order to transcend national and geographical borders.

Program:

Introduction: “We Beg for Exchange”
Mary Kate O’Hare, Associate Curator of American Art, Newark Museum, and Curator, Constructive Spirit

Identity/Crisis: John Ferren’s Early Transnationalism
Marshall Price, Curator of Modern and Contemporary Art,
National Academy Museum, New York City

Abstraction on the Edge: The Structured Frame in Argentina 1944–48
Gabriel Pérez-Barreiro, Director, Colección Patricia Phelps de Cisneros,
New York and Caracas

Charles Biederman and the Colors of Light
Susan C. Larsen, Consulting Curator, Clinton Hill/Allen Tran Foundation, Rancho Mirage, California

“Sensitive and non-discursive things”: Lygia Pape’s Tecelares Series, 1955–59
Adele Nelson, Doctoral Candidate, New York University, New York City

Josef Albers: From North Carolina to Mexico and Beyond
Brenda Danilowitz, Chief Curator, The Josef and Anni Albers Foundation, Bethany, Connecticut

Villanueva and Calder: The Politics and Poetics of a Dialogue
Monica Amor, Assistant Professor, Department of Art History, Theory and Criticism, Maryland Institute College of Art, Baltimore

Roundtable Discussion with Presenters
Moderated by Mary Kate O’Hare

For more information, including abstracts of papers, please visit www.newarkmuseum.org.

This symposium is held in conjunction with the Newark Museum’s exhibition Constructive Spirit: Abstract Art in South and North America, 1920s –50s, which is on view through May 23, 2010. Constructive Spirit, the first exhibition to bring together South American and U.S. geometric abstraction, provides a fresh and innovative look at a dynamic and cosmopolitan period of modernism in the Americas. It includes many never-exhibited works from the Newark Museum’s preeminent collection of U.S. art, along with a variety of loans from public and private collections throughout the hemisphere, including the Colección Patricia Phelps de Cisneros, New York and Caracas; Malba-Costantini Foundation, Buenos Aires; The Museum of Modern Art, New York; Philadelphia Museum of Art; Pinacoteca do Estado de São Paulo, and Whitney Museum of American Art, New York.

Included is work by such renowned artists as Alexander Calder, Joaquín Torres-García, Jesús Rafael Soto, Gyula Kosice, and Arshile Gorky, as well as artists who are less well-known but deserve much greater recognition, including Charmion von Wiegand, Geraldo de Barros, Lidy Prati, and many others.

Installation view

February – June 2010

The works of Josef Albers and Ken Price reveal a similarity of sensibilities and a kind of parallel thinking that stems from a shared interest in Mexico and the American Southwest. Drawing from polar extremes of the cultural spectrum, unexpectedly the two artists arrive at complimentary forms of visual expression.

After immigrating to America in 1933, Josef Albers visited Mexico and became interested in Pre-Columbian ceramics and Mayan and Aztec structures; he focused on their underlying geometric forms and repetitive architectural
motifs. These influences can be seen in his photographs of Mexico and the Graphic Tectonic series (1941). In the late 40’s, pueblo architecture
and Mayan temple facades merged with Albers’ overlapping colors in a series of paintings alternatively known as Adobes or Variants.

Growing up in Los Angeles, Ken Price was surrounded by popular Mexican culture, particularly curio shop ceramics and clichéd tourist graphics. In
the spirit of folk pottery, Price embarked upon the ambitious project of Happy’s Curios (1972-1977), along with numerous drawings and works on paper. Over time this spirit evolved into works such as Hefty (2005) that, while amorphous in shape, retain a sense of the arid and colorful landscape characteristic of the Southwest.

The work of Albers and Price connect in different and shifting ways, at times
through color, other times through composition, or both. The exhibition is about the visual links through a variety of media including paintings, drawings, prints, sculptures, and photographs.

Installation view of Formulation : Articulation, 1972
Portfolio 2 : Folders 1 and 2

March 12 – May 8, 2010

Peter Blum is pleased to announce the exhibition Josef Albers: Formulation : Articulation, 1972, a suite of 127 silkscreen plates.

Published by Harry N. Abrams and Ives and Sillman, just 4 years before Albers’ death in 1976, Formulation : Articulation is a collection of 127 silkscreen plates, 121 in color, organized into two portfolios, each containing 33 folders on which one, two, or four silkscreen plates are printed. The portfolio is accompanied by a text with Albers’ notes on each of the plates. Albers refers to these notes as “Statements of Content” in which he discusses the design and color selections and often comments on the work in relation to the plate previous to it. In fact, Albers took great care in selecting the order of the plates to create particular juxtapositions or series of his visual explorations.

Over a period of two years of concentrated work, Albers, while in his eighties, created the prints for Formulation : Articulation. The collection is not a retrospective of past works, yet the images represent a gathering of over 4 decades of the artist’s investigation into color, perception, and abstraction.

From his iconic Homage to the Square series, to lesser-known images, the prints display the optical possibilities of color and design. Ever the consummate teacher, Formulation : Articulation can be seen as a summation of the artist’s pedagogy. Albers’ writing, work, and teaching profoundly influenced a generation of artists and visual arts instruction the world over.

Poul Gernes, Zielscheibenbild / Target B, 1966-68

Opening: March 25, 2010

Curated by Renate Wiehager, “Pictures about Pictures. Discourses in Painting” – is the Daimler Art Collection’s exhibition title for the Museum Moderner Kunst in Vienna. About 130 works ranging from Classical Modernism and the post-war avant-garde via European Zero and Minimalism to international contemporary art are being presented. The exhibition is structured into thematic fields, each of which presents discursive references to historical and current positions: Bauhaus and De Stijl, Hard Edge and New Color School USA, Constructive and Concrete Tendencies, European Zero avant-garde, Minimalism and design aspects, Neo Geo and contemporary positions. The show brings together about 75 artists from roughly twenty countries, and the works cover a time span of one hundred years, from 1908 (Adolf Hölzel) to 2010 (Andreas Schmid).

As already suggested by the exhibition title – “Pictures about Pictures. Discourses in Painting” – this show is not showcasing a museum-style sequence of styles and isms. The presentation is in fact attempting to create a referential dialogue between the works and to reveal discursive links between individual formal ideas and subject matter. The intention here is to consider art history not in the sense of ‘invention’ and ‘progression’, but as an argumentative union of pictures in temporary contexts and transitional forms. Dialogue situations of this kind come about in the first place within the horizon of epochs transcribed by time and rendered visible by the exhibition – European avant-garde movements before 1939; re-adoption and reformulation of abstract tendencies in Western art after 1945; analytical deconstructions, remakes and media cross-dressing in the direction of architecture, design and Ambient Art in Contemporary Art. But discursive references can also be discerned over and above the passage of time or developments that diverge culturally and ideologically – Simone Westerwinter and Anselm Reyle make an ironic allusions to the European Zero avant-garde; Jonathan Monk translates Kazimir Malevich’s “Black Square” into an endless loop; Andreas Reiter Raabe and Olivier Mosset analyse the “end of painting” topos with pictorial forms of emptiness and nothingness; Eva Berendes reconfigures the material aesthetics and formal inventory of Russian Constructivism; Jens Wolf develops rhythmic-serial cover versions of Josef Albers’s “Homage” paintings; Markus Ebner and Tom Sachs ‘repeat’ pictures by their teachers Günter Fruhtrunk and Peter Halley.

Participating Artists:
Absalon (IL) – Josef Albers (D) – John M Armleder (CH) – Hans Arp (F) – Jo Baer (USA) – Eva Berendes (D) – Ilya Bolotowsky (RUS) – Daniel Buren (F) – Andre Cadere (PL) – Enrico Castellani (I) – Krysten Cunningham (USA) – Dadamaino (I) – Stephane Dafflon (CH) – Ian Davenport (GB) – Gene Davis (USA) – Robyn Denny (GB) – Markus Ebner (D) – Maria Eichhorn (D) – Helmut Federle (CH) – Ulrike Flaig (D) – Adolf Fleischmann (D) – Günter Fruhtrunk (D) – Rupprecht Geiger (D) – Poul Gernes (DK) – Liam Gillick (GB) – Hermann Glöckner (D) – Mathias Goeritz (PL) – Terry Haggerty (GB) – Peter Halley (USA) – Al Held (USA) – Jan Henderikse (NL) – Nic Hess (CH) – Adolf Hölzel (A/CZ) – Donald Judd (USA) – Michael Kidner (GB) – Jim Lambie (SCO) – Alexander Liberman (UKR) – Sylvan Lionni (GB) – Richard Paul Lohse (CH) – Heinz Mack(D) – Almir da Silva Mavignier (BRA) – John McLaughlin (USA) – Christian Megert (CH) – Mathieu Mercier (F) – Gerold Miller (D) – Jonathan Monk (GB) – Jeremy Moon (GB) – Francois Morellet (F) – Sarah Morris (USA) – Olivier Mosset (CH) – John Nixon (AUS) – Kenneth Noland (USA) – Julian Opie (GB) – Phillipe Parreno (DZ) – Henk Peeters (NL) – Danica Phelps (USA) – Lothar Quinte (D) – Martial Raysse (F) – Andreas Reiter Raabe (A) – Anselm Reyle (D) – Gerwald Rockenschaub (A) – Ugo Rondinone (CH) – Tom Sachs (USA) – Pietro Sanguineti (D) – Eckhard Schene (D) – Oskar Schlemmer (D) – Andreas Schmid (D) – Oli Sihvonen (USA) – Ferdinand Spindel (D) – Katja Strunz (D) – Jean Tinguely (CH) – John Tremblay (USA) – Georges Vantongerloo (B) – Gerhard von Graevenitz (D) – Simone Westerwinter (D) – Jens Wolf (D) – Michael Zahn (USA) – Heimo Zobernig (A)

Charlotte Posenenske, Vierkantrohre Serie D, 1967
(Reconstruction 2009)

March 12 – May 30, 2010

The initial exhibition at Daimler Contemporary in 2010 will show major 1960s trends in German abstract art from the Daimler Art Collection: Constructivism, Zero, Minimal Art, Concept and Seriality. Starting with 1950s predecessors – such as Josef Albers, Norbert Kricke and Siegfried Cremer – the show considers abstract art developments in the cities of Frankfurt, Düsseldorf, Krefeld, Stuttgart, Berlin and Munich, but also looks at contiguous Swiss positions. About 60 works by 28 artists are being presented, all developing a specifically German Minimalism in the period from 1954 to 1974 in various media (sculpture, painting, film and drawing).

Participating Artists:
Karl Heinz Adler, Josef Albers, Joachim Albrecht, Peter Benkert, Hartmut Böhm, Siegfried Cremer, Hanne Darboven, Karl Gerstner, Imi Giese, Mathias Goeritz, Kuno Gonschior, Gerhard von Graevenitz, Hajo Hangen, Erwin Heerich, Gottfried Honegger, Norbert Kricke, Thomas Lenk, Heinz Mack, Karl Georg Pfahler, Verena Pfisterer, Charlotte Posenenske, Christian Roeckenschuss, Peter Roehr, Ulrich Rückriem, Eckhard Schene, Klaus Staudt, Franz Erhard Walther, Herbert Zangs

In the early sixties in Germany, a new kind of Minimalism developed that was initially largely independent from the developments in America at the time. This German Minimalism was in many cases stimulated by, but also in conflict with, Concrete Art and the European Zero avant-garde, which drew attention to it from 1957 on, starting in Düsseldorf, with unusually staged exhibitions and spectacular projects for public space. The steles, cubes, and picture objects produced by the Zero artists, which lay in the space or stood in front of the wall, represent a significant new step for German art in terms of quality around 1959/60. The Düsseldorf Kunstakademie played an important role in the transition to a specifically German Minimalism from 1962 until around 1970. In the sixties, it provided many of its students with a basis for examining minimalized sculpture. Among them, the young Franz Erhard Walther developed his first proto-Minimalist objects starting in 1962, followed in 1964/65 by Imi Knoebel, Imi Giese, and Blinky Palermo. At the same time, Hanne Darboven in Hamburg, Charlotte Posenenske in Offenbach and, outside academic contexts, Peter Roehr in Frankfurt conceived their first attempts at Minimalist works.

On the occasion of this pioneering exhibition there will be a three-day symposium on May 15 -17, 2010, held at Daimler Contemporary in Berlin. The publicly accessible symposium is inviting protagonists, important collectors, curators and active gallery owners of the time, academics, art critics and journalists, who will give insights in talks, panel discussions and specific lectures. By engaging experts from the respective genres the symposium aims to draw an encompassing picture of the minimalist movement in the field of music, literature, film and dance in Germany.

Anne Appleby, Little Sweet Pea, 2008
Oil and wax on wood, 36.6 36.6 inches

Both followers of artist and colour theorist Josef Albers, the American painter Anne Appleby and German artist Kuno Gonschior have a common aspiration of capturing colours, by means of abstraction and through analytical observation of natural experiences.

Anne Appleby (born 1954), former Bay area painter, who works and lives in Montana, is often referred to as a Colour Field artist from her use of large “all over” abstract canvases. After graduating in 1989 with an MFA in Painting at the San Francisco Art Institute, she has for 20 years tried to render the subtle variations of tones and light passing through and over the organic subjects she chooses, for nature is her inspiration and concern. The technique she uses by mixing oil and wax on canvas enables her to obtain, layer upon layer, a delicate sensation of translucence and depth observed in nature, from its ephemeral events. Appleby likes to work in large triptychs or associations of panels, which allows the viewer to enter the fields easily. The contemporary art collector Guiseppe Panza, who commissioned her for the Phaeton’s room at the Ducal Palace of Sassuolo (Modena) is one of her admirers: “Her paintings are the landscapes of a nature that is invisible to our eyes but not to our conscience, which goes beyond the visible.” (Memories of a Collector, Abbeville Press, 2007, p.284).

After studying at the art academy of Düsseldorf and Cologne from 1957-1963, Kuno Gonschior (born 1935) started to create series of chromatic experiences. These series, based on capturing colours as a pure element, only differ from each other by their nuances. Gonschior’s works are playful and experimental, studying colour in all its variation and without the association of the psyche. The Mayor Gallery is showing a selection from the first two decades of his research as a Concrete artist. Often painted on small un-primed canvases, Gonschior applied small dabs of paint, as particles, bearing similarities with the impressionists and his palette, without limit, explored fluorescent colours to black.

Gonschior and Appleby, although two very distinctive artists, aim to touch a wider public, who often reject abstract, but as Gonschior explained at his recent museum exhibition in Germany: “It isn’t about having the right education, you just have to free your mind from these constraints and do the one thing that most people don’t do: concentrate and study the painting for a while, give the painting a chance –for say – 5 minutes. That will have an impact.” (in conversation with W. Smerling, “Just for you and me”, exhibition catalogue, MKM Duisburg, p.28)

The Mayor Gallery will also exhibit a number of paintings by Josef Albers to compliment their works.

February 17 – May 23, 2010

The first exhibition to bring together South American and US geometric abstraction, Constructive Spirit: Abstract Art in South and North America, 1920s-50s features more than 90 works by 70 artists from Argentina, Brazil, the United States, Uruguay and Venezuela.

Constructive Spirit examines the connections, both conceptual and personal, among abstract artists, suggesting parallels that cut across time, national borders, and a range of media, including paintings, sculptures, prints, photographs, drawings and films. Featured artists include Alexander Calder, Joaquín Torres-García, Jesús Rafael Soto, Gyula Kosice, Lygia Clark, Ellsworth Kelly, Geraldo de Barros and many others.

Constructive Spirit includes many never-before-seen works from the Newark Museum’s preeminent collection of US art, as well as major loans from acclaimed private and public collections and galleries across both continents.

Complementing the exhibition are related programs and events. On Saturday, April 10 from 10 am to 5 pm the Newark Museum and the Colección Patricia Phelps de Cisneros will present an international symposium that will offer new perspectives on South American and US abstract artists including John Ferren, Juan Melé, Charles Biederman, Gego, Josef Albers and Lygia Pape. Other related programs include a lecture series, gallery talks and family events. For information, click here.

Constructive Spirit: Abstract Art in South and North America, 1920s-50s is accompanied by a major publication of the same name that will be available February 2010 at the Newark Museum Shop. Fully illustrated and co-published by Pomegranate Press, it features seven essays that place North and South American abstraction in dialogue. Authors include Karen A. Bearor, Tricia Laughlin Bloom, Aliza Edelman, Adele Nelson, Mary Kate O’Hare and Cecilia de Torres. The 196-page publication will be available in hardcover for $39.95. Call 973-596-6696 to pre-order your copy today.

December 12, 2009 
- January 30, 2010

MINUS SPACE is delighted to announce a new exhibition of seven album covers designed by Josef Albers (1888-1976) for Command Records between 1959-1961. The exhibition will also include additional Command Records album covers designed by other artists, such as Charles E. Murphy, Barbara Brown Peters, and Gerry Olin, as well as photographic reproductions of materials from The Josef & Anni Albers Foundation’s archives.

About Command Records
“This is the most unusual record you have ever put on your turntable. It is a unique mixture of entertainment, excitement, beauty and practicality.” — Persuasive Percussion (1959) liner notes

Command Records was founded in 1959 by Enoch Light (1905-1978), a classical violinist, bandleader, and sound recording engineer. Light went to extraordinary technical lengths, and often great expense, to create recordings of the absolute highest quality possible that took full advantage of new technical capabilities of home audio equipment in the late 1950s and early 1960s. Light specifically perfected stereo effects that bounced sounds between the right and left channel speakers, which was called a “ping-pong effect”.

On each album sleeve, Light would include lengthy technical descriptions about each song, the musicians, the depth and breadth of the sounds, and how they were recorded. In order to fit his descriptions, he doubled the size of a standard album sleeve and enabled it to fold open like a book, thereby inventing the gatefold-packaging format. The gatefold sleeve became highly popular in following decades.

Light’s first Command Records LP, Persuasive Percussion, which featured an Albers cover, was a highly successful popular hit. The album was listed as one of the 25 best-selling albums of the modern era by Joel Whitburn. For further information about Light, please see the Enoch Light web site (www.enochlight.com).

Josef Albers’ Designs
Command Records was distinguished by its highly modern, boldly graphic, abstract album cover designs. Charles E. Murphy was the label’s art director and he worked closely with a number of artists, including Albers, Barbara Brown Peters, and Gerry Olin, on designs for the label. Enoch Light’s daughter, Julie Light, first made the connection to Albers -– she studied with him at Black Mountain College.

Albers’ designs for Command Records in 1959-1961 came at a pivotal and highly-productive point in his professional career. In 1958, at age 70, he had just retired from his position as chairman of the Department of Design at Yale University. In the short period between 1959-1961, he completed many, large-scale public commissions, including for the Corning Glass and Time & Life Buildings in New York City; the Manuscript Society Building in New Haven, CT; and St. Patrick’s Church in Oklahoma City, OK. Several years later, in 1963, he published his seminal book Interaction of Color.

By 1959, Albers had been working on his Homage to the Square series for nearly a decade. He would continue to work on this series until his death in 1976. His designs for the Command Records, however, were a bit of a stylistic anomaly for him. Although references to music do appear in his work 25 years earlier, in works such as Keyboard (1932) and his Treble Clef series (1932-1935), his designs for Command Records prominently featured new formal elements for the first time, specifically circles and grids of circles. There are only two other instances of Albers using circles in his work: first, in the Christmas/New Year’s greeting cards he designed for his personal use (1952, 1957); and second, the sand-blasted glass door panels he designed for the Todd Theater in Chicago (1957).

Albers designed the following seven album covers for Command Records:

* Provocative Percussion (Volume 1), 1959
* Provocative Percussion (Volume 2), 1960
* Provocative Percussion (Volume 3), 1961
* Persuasive Percussion (Volume 1), 1959
* Persuasive Percussion (Volume 3), 1960
* Pictures at an Exhibition, Mussorgsky – Ravel, 1961
* Leonid Hambro and Jascha Zayde, Magnificent Two-Piano Performances, Mozart, Mendelssohn, Schubert, 1961

About Josef Albers
Josef Albers (1888-1976) was an influential artist, teacher, and writer. He is widely known for his painting series Homage to the Square (1950-1976), his innovative publication about color theory Interaction of Color (1963), and the legacy of his teaching at the Bauhaus, Black Mountain College, and Yale University.

Interestingly, a short biography about Albers was included on many of the Command Records albums he designed. It read: “JOSEPH ALBERS is one of America’s foremost contemporary painters, was born in Westphalia, Germany in 1888. After studying in Berlin, Essen and Munich he taught at the famous Bauhaus school from 1923-1933. When the Bauhaus was closed by order of the German government in 1933 Mr. Albers came to the United States to head the Art Department at Black Mountain College where he remained until 1950. After leaving Black Mountain, Mr. Albers took over the direction of the Department of Design at Yale University. At the present time, Mr. Albers lives and works in New Haven, Connecticut.”

For further information about Josef Albers, please see The Josef & Anni Albers Foundation’s web site (www.albersfoundation.org).

PRESS
Albers’ Record Jackets: Doing an Artful Job, by Joseph Masheck (The Brooklyn Rail, December 2009/January 2010)
Josef Albers Cover Art (Generation Next blog, January 18, 2010)
Josef Albers for Command Records (The Silver Lining blog, February 4, 2010)
Josef Albers Album Covers (AisleOne blog, February 4, 2010)
Josef Albers (Crew Design blog, February 5, 2010)
Josef Albers Album Covers (Bridging the Gap blog, February 6, 2010)
Tangents: Gordon’s Psycho, Gordon’s Miami, Albers’s Covers (Disquiet blog, February 12, 2010)
MINUS SPACE: Josef Albers (Workpath blog, February 12, 2010)

SUPPORT
We greatly thank the wonderful staff at The Josef & Anni Albers Foundation, especially Nicholas Fox Weber, Brenda Danilowitz, Oliver Barker, and Andres Garces, for their tremendous support of this exhibition. We would also like to thank artists Mark Dagley and Gilbert Hsiao for their assistance.

MINUS SPACE’s programming is made possible by the generous support of The Golden Rule Foundation, as well as individual donors. We thank you!

Oskar Schlemmer, Bauhaus Stairway, 1932
Oil on canvas. 63 7/8 x 45 inches
Collection The Museum of Modern Art
Gift of Philip Johnson

November 8, 2009 – January 25, 2010

This survey is MoMA’s first major exhibition since 1938 on the subject of this famous and influential school of avant-garde art. Founded in 1919 and shut down by the Nazis in 1933, the Bauhaus brought together artists, architects, and designers in an extraordinary conversation about the nature of art in the age of technology. Aiming to rethink the very form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped our visual world today.

The exhibition gathers over four hundred works that reflect the broad range of the school’s productions, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater design, painting, and sculpture, many of which have never before been exhibited in the United States. It includes not only works by the school’s famous faculty and best-known students—including Anni Albers, Josef Albers, Herbert Bayer, Marianne Brandt, Marcel Breuer, Lyonel Feininger, Walter Gropius, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lucia Moholy, Lilly Reich, Oskar Schlemmer, and Gunta Stölzl—but also a broad range of works by innovative but less well-known students, suggesting the collective nature of ideas.