GLASS-COLOUR-LIGHT-INTERIOR-LANDSCAPE
ART AS EXPERIENCE
WHAT IS THE CAPACITY OF THE MATERIAL
Josef Albers
Life is change-day and night, cold and warm, sun and rain. It is more in-between the facts than the facts themselves.
I believe it is now time to make a change of method in our art teaching, that we now move from looking at art as a part of historical science to an understanding of art as part of life.
In art we can still experience revelation and wonder.
On Glass Pictures
Opaque Glass/Sandblasting
Colour Intensity
The flatness of the design elements offer an unusual and particular material and form effect.
Colour Intersection/Instant and a Spatial Flow
Colour Interaction
Square-on-square studies, of closely observed colour events staged within a controlled setting.
Oral History
Interview with Josef Albers, 1968 June 22-July 5
The role of art in society to reveal visually the attitude of our mentality
Working in Collage and Stained Glass under Itten
Collage to Montage
His belief that he teaches a philosophy (of how to see) not technique.
Guggenheim Museum. 1994
Catalogue
32. Skyscaper 11
1929
Sandblasted flashed glass 36.2 x 36.2cm.
30. Skyscraper 1
1927/1929
Sandblasted opaque flashed glass 34.9 x 34.9cm.
28. City
1928
Sandblasted opaque flashed glass with black paint, 33 x 55.3cm.
Badley damaged with sections of glass missing.
Alber's numerical notations in white chalk or pencil are visible on the surface.
21. Frontal
1927
Sandblasted opaque flashed glass with black paint, 34.8 x 47.9cm.
https://ia800808.us.archive.org/9/items/glascoli00albe/glascoli00albe.pdf
A Spiritual Documentation of Life
Marco Pierini
Art is something that cannot be taught, what can be taught is craft
His program focused mainly on the study, analysis, manipulation, assembly and transformation of matter.
Albers structured his teaching method as a natural, consistent consequence of his unusual training.
He brought to life works of art that are never merely the result of a thorough process or of the correct application of norms and rules. Rather, they are works of art that discover their own rules in the very process of their making.
Art is not an object but experience
The Artist as Alchemist
Nicholas Fox Weber
He (Albers) saw his art as representing an ideal for the integration of the individual in society both in its tone and in the simultaneous independence and interdependence of its forms and colours.
TEACHING FORM THROUGH PRACTICE 1928
Learning is better than teaching because it is more intensive : the more we teach/examine, the less the students can learn.
Learning and practicing techniques develops insight and dexterity, but not creative energies. Inventive construction and an attentiveness that leads to discoveries are developed, at least initially through experimentation that is undisturbed, independent, and thus without preconceptions. This experimentation is initially a playful tinkering with the material for its own sake.
That is to say, through experimentation that is amateurish (ie not burdened by training).
The Three Ecologies Institute
An Open Laboratory for Thinking in the Making
THOUGHT IN THE ACT
Passages in the ecology of experience
Erin Manning
Brian Massumi
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