Anoka Faruqee is pleased to announce a symposium on October 16th at the Yale School of Art in conjunction with the current exhibition ‘Search Versus Re-Search: Josef Albers, Artist and Educator’ at the 32 Edgewood Gallery. Hope to see you there.
Further, the full short film she directed– videography and editing by Masha Vlasova, MFA ’16– “Search Versus Re-search: Recollections of Josef Albers at Yale” is now live at this link: https://youtu.be/k7wo14o3ftc I hope you can view the film online, in the exhibition, or at the symposium when we will be screening it at the end of the day. The film is dedicated to Robert James Reed, Jr., a valued artist and educator whose works will be on view at another Yale School of Art Gallery (Green Gallery) starting October 12: http://news.yale.edu/2015/10/06/yale-school-art-presents-work-discovered-studio-robert-reed-artist-and-educator
Yale School of Art Symposium
‘Search Versus Re-Search: Josef Albers, Artist and Educator’
Friday October 16, 2015, 10am-5pm
36 Edgewood Avenue, Room 204, New Haven, CT 06515
Free and open to the public (no reservations required except for the 4pm viewing session at Yale University Art Gallery- see schedule for details
With ten pithy presentations, this day-long symposium brings together leading historians and artists to address the impact of Josef Albers’ teaching and examine the influence of Latin American art on the work of Josef and Anni Albers. With time for discussion and questions, we hope to query the contemporary relevance of the works and ideas presented.
The symposium is funded by the Yale School of Art, The Edward J. and Dorothy Clarke Kempf Memorial Fund and the MacMillan Center for International and Area Studies at Yale.
10:00-10:45 Opening address by Anoka Faruqee
11:00-1:00 ‘Search Versus Re-Search, Albers as Educator,’
Chair: Eva Diaz
Panelists: Brenda Danilowitz, Jill Magid, Alexander Purves, and Robin Schuldenfrei
Albers was a visionary educator. He transformed the teaching of art and design in the 20th century by asserting that the point of making of art is not the finished product but the process — that art is not an object, it is an experience. Albers is well known for his 1963 volume Interaction of Color, a compilation of student responses to his teaching prompts, but lesser known are Albers’ methods in his drawing, design, and structural organization courses. Historians and artists will discuss the breadth and depth of Albers’ teaching time at the Bauhaus, Black Mountain College and Yale, particularly his unique approach to experimentation that asked students to test habits of perception through laboratory-like study of variables of the material constitution and appearance of form. Panelists will focus on the historical impact and contemporary relevance of Albers’ innovative ideas about structure, composition, materiality, and seriality.
2:15-3:45 ‘To see that the world is no accident: Anni and Josef Albers’ travels in Latin America,’
Chair: Jennifer Reynolds-Kaye
Panelists: Virginia Gardner Troy, Kiki Gilderhus and Sheila Hicks
Anni and Josef Albers shared a life-long passion for art from the Americas – an interest sparked during afternoon strolls through encyclopedic museum collections in Berlin. The couple became collectors of pre-Columbian art and textiles in their own right, acquiring over 1,400 pre-Columbian objects and more than 100 textiles from Mexico and Peru. Many of these objects were collected during their thirteen excursions through the Americas, where they drove hundreds of miles from their home in Black Mountain College to Mexico City and beyond. What motivated their collecting patterns and behaviors? What drew them to Latin America in the first place? Did this south-of-the-border turn have an impact on their art practice, teaching, or pedagogy? This panel explores these questions with responses guided by personal recollections, recent archival research, and extended meditations on their travels.
4:00-4:35: Screening of ‘Search Versus Re-Search: Recollections of Josef Albers at Yale”, Directed by Anoka Faruqee, videography and editing by Masha Vlasova
4:00-4:45: Viewing session of pre-Columbian objects collected by the Alberses alongside works by Sheila Hicks, Josef Albers, and Anni Albers at the Yale University Art Gallery. Space is limited and reservations are required; please email email@example.com to RSVP
Search Versus Re-Search: Josef Albers, Artist and Educator
On view through November 28, 2015
Free and open to the public Tuesdays-Sundays from noon to 6:00 pm (Note: on October 16th, the 32 Edgewood Gallery will open at 9:30 am.)
This exhibition explores the integration of artist Josef Albers’ teaching and artistic methods. “Search Versus Re-Search” includes 18 paintings, prints, drawings, and studies by Albers, chair of the school’s Department of Design from 1950 to 1958, alongside 60 student works from his classroom prompts, some of which have never been exhibited. The exhibition also features an original short film and documentary footage.
Note: In addition to the Edgewood Gallery exhibition, the Yale Art University Gallery will be open from 10-5pm for viewing works by Josef Albers in the permanent collection.
Anoka Faruqee has exhibited her paintings in the US and abroad. She received her MFA from Tyler School of Art in 1997 and her BA from Yale University in 1994 and attended the Whitney Independent Study Program, the Skowhegan School of Art, and the PS1 National Studio Program. Grants include the Pollock Krasner Foundation and Artadia. Faruqee is currently Director of Graduate Studies and Associate Professor of Painting/Printmaking at the Yale School of Art.
Eva Diaz’s ‘The Experimenters: Chance and Design at Black Mountain College’ has been released by the University of Chicago Press. Díaz’s writing appears in magazines and journals such as The Art Bulletin, Art Journal, Art in America, Cabinet, The Exhibitionist, Frieze, Grey Room, October, and Tate Etc. and she is a regular contributor to Artforum. She was recently awarded a Creative Capital/Warhol Foundation Art Writers Grant to research for her book about Buckminster Fuller’s work, titled The Fuller Effect: The Critique of Total Design in Postwar Art. Diaz is Assistant Professor of History of Art and Design at Pratt Institute.
Jennifer Reynolds-Kaye is the Lewis B. and Dorothy Cullman-Joan Whitney Payson Fellow at the Yale University Art Gallery. She completed her PhD in Art History at the University of Southern California in 2014. Her dissertation, “Contemporary Pre-Columbian Art: Recasting Artifacts through Object Biographies,” focused on three contemporary Mexican artists who reinterpret pre-Columbian images in their work. She is curating an exhibition that looks at the Alberses as collectors of pre-Columbian objects and ancient Peruvian textiles. In her current position, she is also responsible for overseeing academic affairs for the Gallery.
Brenda Danilowitz is chief curator at the Josef and Anni Albers Foundation, where she has worked since 1988. She received BA Hons., BSC and MA degrees from the University of the Witwatersrand in Johannesburg. She is a leading scholar and exhibition curator of the works of Josef and Anni Albers; author of and contributor to numerous books and catalogues including co-author of ‘Josef Albers: To Open Eyes,’ the major work about Albers’s teaching; and curator of the 2006 traveling exhibition ‘Anni and Josef Albers: Latin American Journeys’ for the Reina Sofia Museum in Madrid.
Jill Magid has had solo exhibitions at institutions around the world including Tate Modern, London; Whitney Museum of American Art, New York; Tate Liverpool; the Stedelijk Museum Bureau Amsterdam; and Yvon Lambert, Paris. Magid has received awards from the Fonds Voor Beeldende Kunsten and the Netherland-American Foundation Fellowship Fulbright Grant. Magid has participated in the Liverpool, Bucharest, Singapore, Incheon, Gothenburg, and Performa Biennials. She is an Associate of the Art, Design and the Public Domain program at Harvard University, and a 2013-15 fellow at the Vera List Center for Art and Politics. An adjunct teacher at Cooper Union, Magid is the author of four novellas.
Alexander Purves After ten years of professional practice in New York City, primarily in the area of housing with Davis, Brody & Associates, Mr. Purves returned to teach at the Yale School of Architecture. A member of the faculty since 1976, he maintains his professional practice in New Haven, where his work with Allan Dehar includes the Cushing/Whitney Medical Library at the Yale School of Medicine. Purves received his MArch from Yale in 1965. He continues to teach his undergraduate course, Introduction to Architecture, a course he developed which is open to any student in the University, and for the past fourteen years has led an intensive drawing seminar in Rome for graduate students in the School of Architecture. In addition to his professional work as an architect and a teacher of design, he has drawn and painted all his life.
Robin Schuldenfrei is Lecturer in 20th Century Modernism at The Courtauld Institute of Art, University of London. Recent publications include ‘Capital Dwelling: Industrial Capitalism, Financial Crisis and the Bauhaus’s Haus am Horn’ in Architecture and Capitalism, edited by Peggy Deamer (2013), the edited volume ‘Atomic Dwelling: Anxiety, Domesticity, and Postwar Architecture’ (2012) and the co-edited volume ‘Bauhaus Construct: Fashioning Identity, Discourse, and Modernism’ (2009). Current projects include a full-length study of luxury and modernism in architecture and design in early twentieth-century Germany and, concurrently, a book focusing on objects in exile, World War II and the displacement of design.
Virginia Gardner Troy is a scholar of twentieth century art and design. She has a secondary field of expertise in Pre-Columbian art and architecture. She is particularly interested in textiles, including non-Western textiles, in shaping modernism. Selected publications include ‘The Modernist Textile: Europe and America 1890-1940’, (2006) and ‘Anni Albers and Ancient American Textiles: From Bauhaus to Black Mountain’, (2002). She earned her BA from Western Washington University, her MA from University of Washington and her Ph.D from Emory University. She is Associate Professor in Art at Berry College.
Kiki Gilderhus serves as the Associate Dean of the College of Performing and Visual Arts at the University of Northern Colorado. Dr. Gilderhus received her Ph.D and MA in Art History at the University of Wisconsin-Madison. Her research focuses and the intersections between modern European and Latin American art, particularly the relationship between ancient Mexican architecture and geometric abstraction in the work of Josef Albers. Dr. Gilderhus teaches art history surveys, modern Latin American art, modern German art, and American art.
Sheila Hicks received her BFA and MFA degrees from Yale University. She received a Fulbright scholarship in 1957-58 to paint in Chile. While in South America she developed her interest in working with fibers. After founding workshops in Mexico, Chile, and South Africa, and working in Morocco and India, she now divides her time between her Paris studio and New York. Hicks has exhibited extensively worldwide. She was included in the 2014 Whitney Biennial in New York and the 2012 São Paulo Biennial in Brazil. She now has concurrent solo exhibitions at the Contemporary Arts Museum in Houston, Espace Louis Vuitton in Munich, and David and Langdale Company New York.