Josef Albers, Study for Homage to the Square: Consent, 1971. Oil on Masonite, 40.3 x 40.2 cm. Solomon R. Guggenheim Museum, gift, The Josef Albers Foundation. © 2017 The Josef and Anni Albers Foundation/Artists Rights Society (ARS).
Evento finalizado
30
ene 2018
18:30

Compártelo en redes

Dónde: Solomon R. Guggenheim Museum / 1071 Fifth Avenue (at 89th Street). NY 10128-0173 / Nueva York, New York, Estados Unidos
Cuándo : El 30 ene de 2018
Precio: $15, $10 members, free for students with RSVP
Dirigido a: Artistas, Profesionales, Organizaciones
Organizada por: Solomon R. Guggenheim Museum
Enlaces oficiales Web 
Publicada el 10 ene de 2018      Vista 89 veces

Descripción de la Formación

In conjunction with the exhibition Josef Albers in Mexico, join Eva Díaz, Associate Professor, History of Art and Design, at Pratt Institute, for a lecture on Josef Albers’s artistic and teaching practices. Three quarters of a century after Josef Albers first visited Mexico, artist Jill Magid learned that for many years architect Luis Barragán had displayed two replica Homage to the Square works based on those by his friend Albers in his Mexico City home. Though Barragán hadn’t produced his this way, Magid used the annotations on the back of Albers’s works to paint her own body of copies modeled on the Homages. She went on to show her series, cleverly titled Homage, in Switzerland, building on a controversial body of work about the lack of public access to Barragán’s archives, which are housed in Basel. This talk will take up how Albers made pedagogical outreach a central part of his work, especially when the stakes of an educational process were understood as a creative enterprise that impelled personal growth and social transformation. He did this by offering perceptual tests through variation, seriality, and systems, as well as by implicitly allowing—in a remarkably nonproprietary way—that viewers might enact their own versions of his works, just as Magid did. The program concludes with an exhibition viewing and reception.

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el 10 ene de 2018 por ARTEINFORMADO

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