VIEW ACROSS THE SWANNANOA VALLEY TO THE BLUE RIDGE MOUNTAINS, BLACK MOUNTAIN COLLEGE. JOSEF AND ANNI ALBERS FOUNDATION (JAAF). exhibition, which Duchamp had organized, and met, among others, Georg Grosz—according to Albers “sehr sympatisch”—as well as their benefactors, MoMA’s Philip Johnson and Edward M.M. Warburg, and ex- Bauhaus student Werner Drewes. 7 Thanks to the publicity efforts of Ted Dreier’s mother, the news of their arrival, with an emphasis on Josef’s role as an educator, was carried in all the major New York newspapers, as well as in North Carolina. 8 “<strong>The</strong>re is a lot of interest here,” Albers wrote to [Franz] Perdekamp, “they want to write about us everywhere.” 9 <strong>The</strong>y spent the weekend in New York and then took the train to North Carolina. Soon after they reached Black Mountain, with its “beautiful view over the Blue Ridge Mountains,” 10 the Alberses reported that it was “wunderbar.” 11 <strong>The</strong> panoramic view from his studio of the mountains and the wide Swannanoa Valley reminded Josef of the Sauerland’s Harz mountains, where he had spent all his holidays as a young boy. 12 <strong>The</strong> mild climate and lush vegetation with wild rhododendrons “as tall as trees” added to the delights of their new home, where “the atmosphere is truly youthful and really beautiful. Much like the feel of the early Bauhaus. Even the faces are Bauhaus faces. And open arms for our work.” 13 Black Mountain College resembled the Bauhaus, not least in that it was a work in progress. Anni Albers would later describe John Andrew Rice’s desire to have art at the center of the Black Mountain College curriculum as no more than a “vague hunch that this might be a way of establishing a college.” 14 Rice said, “I don’t know how this thing’s going to work out. If I drew up any kind of plan I’d feel under an obligation to carry it through” 15 It was, said Anni, exactly the promise of being part of a new and largely undefined venture that attracted her and Josef. After the first telegram came to Berlin ask- ron, entre otros, a Georg Grosz – se- gún Albers “sehr sympatisch” – y a sus benefactores Philip Johnson y Edward M. M. Warburg, y al ex estudiante del Bauhaus, Werner Drewes. 7 Gracias a la publicidad hecha por la madre de Ted Dreier, la noticia de la llegada de Josef Albers, con énfasis en su papel como educador, apareció en todos los impor- tantes periódicos de Nueva York y tam- bién de Carolina del N. 8 “Hay mucho interés aquí”, Albers escribió a [Franz] Perdekamp. “Quieren escribir sobre no- sotros en todas partes.” 9 Pasaron el fin de semana en Nueva York y partieron en tren para Carolina del Norte. Al poco tiempo de llegar a Black Mountain, con su “hermosa vista de las Montañas Blue Ridge”, 10 los Al- bers opinaron que era “wunderbar”. 11 La vista panorámica desde el estudio en las montañas y el ancho valle Swanna- noa le recordaban a Josef las montañas Harz de Sauerland, donde de niño ha- bía pasado sus vacaciones. 12 El clima templado y la exuberante vegetación, con rododendros “tan altos como árbo- les”, aumentaba el encanto de su hogar, donde “la atmósfera es verdaderamen- te juvenil y hermoso. Muy parecido al del Bauhaus. Hasta las caras son caras del Bauhaus. Y nuestro trabajo lo aco- gen con los brazos abiertos.” 13 La Universidad Black Mountain se pa- recía al Bauhaus, entre otras razones porque era una obra en progreso. Anni Albers diría más tarde que el deseo de John Andrew Rice de poner el arte al centro del plan de estudios universita- rios no fue más que “una vaga cora- zonada de que ésta sería una buena manera de fundar una universidad”. 14 Rice dijo: “No sé cómo vaya a resultar la cosa. Si tuviera algún plan, me vería obligado a llevarlo a la práctica.” 15 Se- gún Anni, era precisamente la promesa de formar parte de algo nuevo e indefi- nido lo que les atraía tanto a ella como a su esposo: Después del primer telegrama a Berlin sobre la posibilidad de ir a Black Mountain, llegó una larga carta… en alemán de Ted Dreier que incluía las palabras “ésta es una aven- 45 ing about going to Black Mountain, a long letter…came in German from Ted Dreier in which [were] the words “this is a pioneer- ing adventure.” … When we came across this word “pioneering” we both said “This is our place.” You know, leaving the Bau- haus, which was certainly a pioneering place…to continue this. And I believe that this played a great part in our staying on [at Black Mountain for so many years]…. <strong>The</strong>re was nothing and there was a chance to build something up, and in other places there was already a framework and you had to fit in, squeeze in, and so that made Black Mountain especially desirable and we loved it for that reason. 16 Rice, an admirer of Thomas Jefferson as well as of John Dewey, believed that education should prepare students for life in a truly democratic society. 17 Although the goal of Rollins College had been progressive tura pionera”… Cuando nos topamos con esta palabra “pionera” nos dijimos: “Éste es nuestro lugar.” O sea, el abandonar el Bau- haus, que era sin lugar a dudas un lugar pio- nero,… para continuar esto. Y yo creo que esto influyó mucho para que nos quedára- mos [tanto tiempo en Black Mountain]…No había nada, pero había la oportunidad de construir algo, y en otros lugares ya existía un marco en el que había que encajar, y por eso Black Mountain nos parecía sumamente atractivo y nos encantaba por esa razón. 16 Rice, un admirador de Tomás Jefferson y de John Dewey, creía que la educación debía preparar a los estudiantes para vivir en una sociedad verdaderamente democrática. 17 Aunque el objetivo de la Universidad Rollins había sido una edu- cación progresista, Rice y sus codeser- tores consideraban que el autocrático presidente de Rollins había pisoteado las libertades académicas del personal ANNOUNCEMENT IN THE ASHEVILLE CITIZEN OF THE ARRIVAL OF JOSEF AND ANNI ALBERS AT BLACK MOUNTAIN COLLEGE, 5 DECEMBER 1933. JAAF.
STUDENTS DANCING ON THE PORCH OF LEE HALL, BLACK MOUNTAIN COLLEGE, CA. 1936. PHOTOGRAPH BY JOSEF ALBERS. JAAF.
- 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 44 and 45: N.A.L.P. WITH THREE GUYS FROM DELAN
- 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