​Introduction by Sarah Hermanson Meister. Texts by Elizabeth Otto, Lee Ann Daffner

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. 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 70 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 color through white, black, and gray, and the delicate balance between handcraft and industrial and mechanical form.

Albers’s photographs were first shown at MoMA in a modest exhibition in 1987, when the Museum acquired two photocollages. In 2015 the Museum acquired ten additional photocollages, making its collection the most substantial anywhere outside the Albers Foundation. This publication reproduces each of the photocollages Albers made at the Bauhaus, presenting the scope of this achievement for the first time. An introductory essay by Sarah Hermanson Meister situates them within the contexts of modernist photography, the Bauhaus ethos, and of Albers’s own practice.


Review

Real, and Unreal: Photography by Josef Albers at MoMA

The New York Times, by Randy Kennedy
November 16, 2016