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N.A.L.P. WITH THREE GUYS FROM DELANCY ST., INSTALLATION VIEW, FORMER STABLE. desire to deny the conventional distinction between interior and exterior. Feher’s work here is of course not similar to Judd’s in any formal sense, but there is nonetheless this persistent echo. If Feher’s installations do not take “dominion everywhere” like Stevens’s jar, they do insist on their presence far more than might at first be apparent. As Feher has said, “My art may appear fragile but it holds on. It’s the triumph of the meek.” 7 If the desert seems about to reclaim the stable and all its contents, it is nevertheless also true that Feher’s work inside and around the building begins to re-contextualize even the wild landscape that surrounds it. And his choice of phrase cannot help but resonate with Judd’s own desire that his buildings at Marfa be “meek and bold” together. 8 And perhaps I could end with a few more of Judd’s words, written in 1964 about Roy Lichtenstein’s work, yet still relevant, I think, for Feher’s as well: “A disregarded, ordinary, and suspect part of life has been made into art, supposedly one of the extraordinary parts of life. This questions both judgments, that of the de negar la distinción tradicional entre interior y exterior. La obra de Feher aquí, desde luego, no es similar a la de Judd en un sentido formal, pero de todas formas persiste un eco. Si las instalaciones de Feher no tienen “dominio dondequiera”, como el frasco de Stevens, sí insisten en su propia pre- sencia mucho más de lo que a primera vista se podría notar. Como dijo Feher: “Mi arte puede parecer frágil, pero se defiende. Es el triunfo de los mansos.” 7 Si parece que el desierto está a punto de apoderarse del establo y todo lo que hay en él, es verdad también que la obra de Feher en el interior y alrededor del edificio empieza a colocar en un nuevo contexto hasta el paisaje silvestre que lo rodea. Y la frase que usa encuentra su correlación con el deseo de Judd de que los edificios de Marfa sean “mansos y atrevidos” al mismo tiempo. 8 Tal vez sea conveniente finalizar con otra cita de Judd, referente a la obra de Roy Li- chtenstein. Estas palabras fueron escritas en 1964 pero siguen siendo pertinentes hoy en día, me parece, para Feher tam- bién: “Un aspecto inadvertido, ordinario y sospechoso de la vida ha sido transfor- mado en arte, supuestamente una de las partes extra-ordinarias de la vida. Esto cuestiona ambos juicios, el de la ordina- 43 ordinariness of many things and that of the extraordinariness of art.” 9 NOTES 1 Feher, interview with Adam Weinberg in Tony Feher (Annandale-on-Hudson, New York: Center for Curatorial Studies, Bard College, 2001), p.46. 2 Judd, “Specific Objects” (1965) in Com- plete Writings 1959-1975 (Halifax: Press of the Nova Scotia College of Art and De- sign, 2005), p.187. 3 Judd, “Some Aspects of Color in General and Red and Black in Particular” in Nicho- las Serota (ed.) Donald Judd (London: Tate, 2004), p.148. 4 Judd, “Some Aspects of Color in General and Red and Black in Particular” in Donald Judd, p.158. 5 Judd, “Some Aspects of Color in General and Red and Black in Particular” in Donald Judd, p.145. 6 Feher, interview with Weinberg in Tony Fe- her, p.55. 7 Feher, interview with Weinberg in Tony Fe- her, p.62. 8 Judd, “Marfa, Texas” (1985) in Complete Writings 1975-1986 (Eindhoven: van Ab- bemuseum, 1987), p.101. 9 Judd, “Roy Lichtenstein” (1964) in Com- plete Writings 1959-1975, p.130. riez de muchas cosas y el de la extraordi- nariez del arte.” 9 N O TA S 1 Feher, entrevista con Adam Weinberg en Tony Feher (Annandale-on-Hudson, Nueva York: Center for Curatorial Studies, Bard College, 2001), pág. 46. 2 Judd, “Objetos específicos” (1965) en Obras completas 1959-1975 (Halifax: Press of the Nova Scotia College of Art and Design, 2005), pág.187. 3 Judd, “Algunos aspectos del color en general y del rojo y negro en particular” en Nicholas Se- rota (ed.) Donald Judd (Londres: Tate, 2004), pág. 148. 4 Judd, “Algunos aspectos del color en general y del rojo y negro en particular” en Donald Judd, pág.158. 5 Judd, “Algunos aspectos del color en general y del rojo y negro en particular” en Donald Judd, pág.145. 6 Feher, entrevista con Weinberg en Tony Feher, pág.55. 7 Feher, entrevista con Weinberg en Tony Feher, pág.62. 8 Judd, “Marfa, Texas” (1985) en Obras completas 1975-1986 (Eindhoven: van Abbemuseum, 1987), pág.101. 9 Judd, “Roy Lichtenstein” (1964) en Obras completas 1959-1975, pág.130.
BRENDA DANILOWITZ Josef Albers: To Open Eyes To coincide with an exhibition of Josef Albers’s paintings opening at the Chinati Foundation in October 2006, the following pages feature an excerpt from Brenda Danilowitz’s essay in Josef Albers: To Open Eyes, a study of Albers as teacher, and essays on the artist written by Donald Judd over a 30-year period. At the very moment Josef and Anni Albers found themselves unable to imagine their future in Germany, the offer of a teaching position at Black Mountain College arrived. This surprising invitation, which came in the form of a telegram from Philip Johnson, then head of the fledgling department of architecture and design at New York’s Museum of Modern Art, was an unintended consequence of three events: John Andrew Rice’s resignation from Rollins College in Winter Park, Florida; the attendant dismissals and sympathetic resignations of a group of Rice’s colleagues; and the founding by this group of idealistic and disenchanted academics of a new college where they hoped to realize, independently, their educational philosophies and dreams. 1 Perhaps only at a time like that, at the depth of the Great Depression, in a general atmosphere of uncertainty and living on the edge, would five outof-work academics, with scant financial resources, have considered such a daunting project. 2 Rice, part pragmatist, part visionary, an acquaintance and follower of John Dewey, embraced freedom and democracy in education, and balked, especially, at the control that donors and wealthy trustees were able to exert over colleges and universities. Fortunately for Rice, one of his staunchest allies and a co-defector from Rollins was physics teacher Theodore (Ted) Dreier. Dreier, a passionate idealist, completely without affectation, was from a wealthy and well-connected background, and it was he together with Rice who found the money to make a start at Black Mountain College. 3 One of Dreier’s aunts was the nowlegendary Katherine Dreier, painter, patron, and pioneering collector of avant-garde art. “We were both interested in life and education,” Ted Dreier told Rice’s biographer sixty years later, “[The idea that art should be central to B R E N D A D A N I L O W I T Z Josef Albers: Para abrir ojos Para corresponder con la apertura de una exhibi- ción de pinturas de Josef Albers en la Fundación Chinati este octubre, incluimos a continuación un extracto del libro Josef Albers: To Open Eyes por Brenda Danilowitz, un estudio de Albers como maestro, y ensayos sobre el artista escritos por Donald Judd a lo largo de treinta años. En el preciso momento cuando Josef y Anni Albers ya no podían imaginar su futuro en Alemania, llegó la oferta de una cátedra en la Universidad Black Mountain. Esta sorprendente invitación, en forma de un telegrama mandado por Philip Johnson, director del nuevo Departamento de Arquitectura y Diseño del Museo de Arte Moderno de Nueva York, fue una consecuencia fortuita de tres acontecimientos: la dimisión de John Andrew Rice de Rolins College en Winter Park, Florida, los concomitantes despidos y dimisiones solidarias de un grupo de colegas de Rice, y el estable- cimiento, por este grupo de académicos idealistas y decepcionados, de una nueva universidad donde aspirarían a realizar en forma independiente sus filosofías y sus sueños en el campo de la educación. 1 Quizá sólo en una época como aqué- lla, en los peores momentos de la Gran Depresión, en un ambiente general de incertidumbre y de vida precaria, se hubieran atrevido cinco académicos desempleados y con escasos recursos financieros a emprender semejante proyecto. 2 Rice, un hombre práctico pero visionario, amigo y discípulo de John Dewey, valoraba la libertad y la democracia en la educación, y le des- agradaba en particular el control que los donantes y síndicos acaudalados ejercían sobre las universidades. Afor- tunadamente para Rice, uno de sus más acérrimos aliados era el profesor de física Theodore (Ted) Dreier, otro deser- tor de la Universidad Rollins. Dreier, un idealista apasionado y sin afectaciones, provenía de una familia próspera e in- fluyente, y fueron él y Rice quienes ob- tuvieron el financiamiento para fundar la Universidad Black Mountain. 3 Una de las tías de Dreier era la ahora legenda- ria Katherine Dreier, pintora, patrona de las artes y coleccionista pionera del arte de vanguardia. “Ambos nos interesábamos en la vida y la educación”, le dijo Ted Dreier al bió- grafo de Rice sesenta años más tarde. “[La idea de que el arte ocupara un lu- 44 the curriculum] was natural to me. I think it was one of the things that drew Rice and I together. ” 4 Dreier’s mother “was in touch with Aunt Kate [Katherine Dreier] and some of her friends were on the board of the Museum of Modern Art.” Through these connections, Ted Dreier learned that Philip Johnson had recently returned from Germany with news of Albers. “So Rice and I went up [to New York] to see Philip Johnson…[he] showed Rice and I pictures of things Albers’s students had done, including a picture of a sculpture just made out of wire, and studies of folded paper… the minute Rice saw this, he looked up and said ‘This is the kind of thing we want.’ I wrote to Albers and Philip Johnson sent a letter. I told him this was a new, pioneering college. I offered him a thousand dollars and told him to wire back ‘ja’ if the answer was yes. The money was put up by Edward M.M. Warburg of MoMA and by Mrs. Abby Rockefeller.” 5 The Alberses arrived in New York on Friday, 24 November 1933, their vessel, the S.S. Europa, having been delayed by ten hours on account of a hurricane at sea. It was Thanksgiving weekend, and they spent it in New York, dining with Ted Dreier’s parents in Brooklyn Heights, where they met “Aunt Kate” and Marcel Duchamp, whom Albers pronounced “a great fellow.” 6 They visited the Museum of Modern Art’s Brancusi gar central en los estudios] me parecía natural. Creo que fue una de las cosas que nos unía a Rice y a mí.” 4 La madre de Dreier “estaba en contacto con la tía Kate [Katherine Dreier], y algunos de sus amigos estaban en la mesa directiva del Museo de Arte Moderno.” A través de estas conexiones, Ted Dreier se en- teró de que Philip Johnson acababa de regresar de Alemania con noticias de Albers. “Así es que Rice y yo fuimos [a Nueva York] para ver a Philip Johnson… quien nos enseñó a Rice y a mí fotogra- fías de las obras que los estudiantes de Albers habían hecho, incluyendo una escultura hecha sólo de alambre y estudios de papel doblado… tan pronto como Rice vio esto fijó su mirada en mí y me dijo ’Este es el tipo de cosas que que- remos.’ Yo le escribí a Albers, y Johnson mandó una carta. Le dije que la nuestra sería una universidad pionera. Le ofrecí mil dólares y le dije que me contestara ‘ja’ si aceptaba la oferta. El dinero lo aportaron Edward M. M. Warburg, del MoMA, y la Sra. Abby Rockefeller.” 5 Llegaron los Albers a Nueva York el vier- nes 24 de noviembre de 1933 en el bar- co S.S. Europa, con una demora de diez horas debido a un huracán en alta mar. Fue el fin de semana del Día de Acción de Gracias y lo pasaron en Nueva York, cenando con los padres de Ted Dreier en Brooklyn Heights, donde conocieron a la tía Kate y a Marcel Duchamp, a quien Albers llamó “un gran tipo”. 6 Visitaron la exhibición de Brancusi en el MoMA, organizada por Duchamp, y conocie-
Page 2 and 3: 2 4 8 16 18 30 34 Contents Contenid
Page 4 and 5: gathered for an exhibition at China
Page 6 and 7: Laurel Gonsalves Elvira González D
Page 8 and 9: Josef Albers Carl Andre Ingólfur A
Page 11 and 12: CONVERSATION WITH JOHN CHAMBERLAIN
Page 13 and 14: K K : As different as that was, at
Page 15 and 16: K K : And how far did that get you?
Page 17 and 18: UNTITLED,1991, PANORAMIC PHOTOGRAPH
Page 19 and 20: RO B E R T C R E E L E Y para john
Page 21 and 22: REDWING, 1960, PAINTED STEEL. on Do
Page 23 and 24: MISS LUCY PINK, 1962, PAINTED AND C
Page 25 and 26: ists who have combined old and new
Page 27 and 28: UNTITLED, c.1964, CAR PAINT AND CHR
Page 29 and 30: JOHN CHAMBERLAIN BUILDINIG, CHINATI
Page 31 and 32: DAVID TOMPKINS It’s All in the Fi
Page 33 and 34: fore us. An intuitive response, on
Page 35 and 36: UNTITLED, 1966, URETHANE FOAM AND C
Page 37 and 38: RUSSELL FERGUSON Disregarded, Ordin
Page 39: N.A.L.P. WITH THREE GUYS FROM DELAN
Page 42 and 43: specting the pre-existing context s
Page 46 and 47: VIEW ACROSS THE SWANNANOA VALLEY TO
Page 48 and 49: education, Rice and his co-defector
Page 50 and 51: LEAFLET SHOWING ALBERS’S LOGO DES
Page 52 and 53: students identified themselves with
Page 54 and 55: instead of second hand analysis and
Page 56 and 57: 14 Josef and Anni Albers, interview
Page 58 and 59: JOSEF ALBERS, HOMAGE TO THE SQUARE
Page 60 and 61: that price it is an institutional p
Page 62 and 63: general view are absent. They were
Page 64 and 65: WINDOW OF ADOBE HOUSE, UNDATED, 194
Page 66 and 67: Before the conclusion Larson wrote
Page 68 and 69: absent, say that what is present is
Page 70 and 71: intensity of the color varies accor
Page 72 and 73: sertive and retiring, stolid and pr
Page 74 and 75: BRIAN KIRK NELMS, UNTITLED, 2006. L
Page 76 and 77: OLIVER CROY, ALL FANTASIES, GENTLEM
Page 78 and 79: Open House 2006 The Chinati Foundat
Page 80 and 81: THE DANDY WARHOLS AND FRIENDS VISIT
Page 82 and 83: CAITLIN MURRAY KATHERINE KORDARIS A
Page 84 and 85: MAYOR DAVID LANMAN AND CHINATI ADMI
Page 86 and 87: Anna Friebe-Reininghaus Yoko Fukuda
Page 88 and 89: Emerson Head Josef Helfenstein Mart
Page 90 and 91: David B. Walek Jeanne & John (Ned)
Page 92 and 93: John Wesley B’s Stair, 2001 Five

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