One and one is four : the Bauhaus photocollages of Josef Albers / Sarah Hermanson Meister with additional texts by Elizabeth Otto and Lee Ann Daffner ; edited by Jason Best.
Material type:
TextPublisher: New York : The Museum of Modern Art, [2016]Copyright date: ©2016Description: 140 pages : illustrations (black and white, and colour) ; 32 cmContent type: text | still image Media type: unmediated Carrier type: volumeISBN: 9781633450172 (hbk.) :Subject(s): Albers, Josef | Photocollage | Photography | PhotographyDDC classification: 779'.092 Summary: Josef Albers is widely recognized as a crucial figure in 20th-century art, both as an independent practitioner and as a teacher at the Bauhaus, Black Mountain College, and Yale University. Albers made paintings, drawings, and prints and designed furniture and typography, all of which have been extensively collected, exhibited, and studied at The Museum of Modern Art. Arguably the least familiar aspect of his extraordinary career was his inventive engagement with photography, only widely known after his death, including his production of approximately seventy photocollages that feature photographs he made at the Bauhaus between 1928 and 1932. These works anticipate concerns that he would pursue throughout his career - the effects of adjacency, the exploration of colour through white, black and grey, and the delicate balance between handcraft and industrial and mechanical form.
| Item type | Current library | Home library | Shelving location | Class number | Status | Date due | Barcode | Item reservations | |
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Paul Hamlyn Library | Paul Hamlyn Library | Floor 3 | 779.092 ONE (Browse shelf(Opens below)) | Available | 06364454 |
Includes bibliographical references.
Josef Albers is widely recognized as a crucial figure in 20th-century art, both as an independent practitioner and as a teacher at the Bauhaus, Black Mountain College, and Yale University. Albers made paintings, drawings, and prints and designed furniture and typography, all of which have been extensively collected, exhibited, and studied at The Museum of Modern Art. Arguably the least familiar aspect of his extraordinary career was his inventive engagement with photography, only widely known after his death, including his production of approximately seventy photocollages that feature photographs he made at the Bauhaus between 1928 and 1932. These works anticipate concerns that he would pursue throughout his career - the effects of adjacency, the exploration of colour through white, black and grey, and the delicate balance between handcraft and industrial and mechanical form.
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