ThoughtGallery.org > Eva Díaz: “Copies Have More Fun”–A Lecture on Josef Albers’s Practice

Eva Díaz: “Copies Have More Fun”–A Lecture on Josef Albers’s Practice

In conjunction with the exhibition Josef Albers in Mexico, join Eva Díaz, Associate Professor, History of Art and Design, at Pratt Institute, for a lecture on Josef Albers’s artistic and teaching practices.

Three quarters of a century after Josef Albers first visited Mexico, artist Jill Magid learned that for many years architect Luis Barragán had displayed two replica Homage to the Square works based on those by his friend Albers in his Mexico City home. Though Barragán hadn’t produced his this way, Magid used the annotations on the back of Albers’s works to paint her own body of copies modeled on the Homages. She went on to show her series, cleverly titled Homage, in Switzerland, building on a controversial body of work about the lack of public access to Barragán’s archives, which are housed in Basel.

This talk will take up how Albers made pedagogical outreach a central part of his work, especially when the stakes of an educational process were understood as a creative enterprise that impelled personal growth and social transformation. He did this by offering perceptual tests through variation, seriality, and systems, as well as by implicitly allowing—in a remarkably nonproprietary way—that viewers might enact their own versions of his works, just as Magid did.

The program concludes with an exhibition viewing and reception.











When: Tue., Jan. 30, 2018 at 6:30 pm
Where: Guggenheim Museum
1071 Fifth Ave. (at 89th St.)
212-423-3500
Price: 15
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In conjunction with the exhibition Josef Albers in Mexico, join Eva Díaz, Associate Professor, History of Art and Design, at Pratt Institute, for a lecture on Josef Albers’s artistic and teaching practices.

Three quarters of a century after Josef Albers first visited Mexico, artist Jill Magid learned that for many years architect Luis Barragán had displayed two replica Homage to the Square works based on those by his friend Albers in his Mexico City home. Though Barragán hadn’t produced his this way, Magid used the annotations on the back of Albers’s works to paint her own body of copies modeled on the Homages. She went on to show her series, cleverly titled Homage, in Switzerland, building on a controversial body of work about the lack of public access to Barragán’s archives, which are housed in Basel.

This talk will take up how Albers made pedagogical outreach a central part of his work, especially when the stakes of an educational process were understood as a creative enterprise that impelled personal growth and social transformation. He did this by offering perceptual tests through variation, seriality, and systems, as well as by implicitly allowing—in a remarkably nonproprietary way—that viewers might enact their own versions of his works, just as Magid did.

The program concludes with an exhibition viewing and reception.

Buy tickets/get more info now