Ringling Summer Interns 2011

1. Josef Albers Modern Master of Color Mery-et Lescher Summer 2011

2. Bauhaus School 1923 - 1933 Black Mountain College 1933 - 1949 Yale University 1950 - 1958 Josef Albers (1888-1976)

3. Josef Albers. Interaction of Color. New Haven: Yale University Press, 1963.

4. Josef Albers. Formulation: Articulation. New York: Harry N. Abrams Inc., 1972. Limited Edition: 545/1000.

5. Folio I/Folder 1

6. Folio I/Folder 2

7. Folio I/Folder 4

9. Top: Folio II/Folder 16 Right: Folio I/Folder 18

10. Brenda Danilowitz. The Prints of Josef Albers: A Catalogue Raisonné 1915-1976. New York: Hudson Hills Press, 2001.

11. Upper: Folio II/Folder 11 Right: Folio II/Folder 12

12. The Ringling Edition of Formulation: Articulation Portfolio II Left: Folio II/Folder 2 Right: Folio II/Folder 12

13. Danilowitz’s Catalogue Raisonné Upper: Folio II/Folder 2 Right: Folio II/Folder 3

14. Joanna Weber. Josef Albers: Color Genius New Haven: Yale University Press, 2006.

16. Folio I/Folder 21 – Skyscrapers and Windows – demonstrates how the eyereferences vertical and horizontal lines in composition.

17. Folio I/Folder 31 –Graphic Tectonic series, Albers’ theory of Synopsis and Syntax.

18. Folio II/Folder 17 – Albers talks about color theory in his art.

19. Folio II/Folder 18 – A poem by Albers called, On My Work.

20. Folio II/Folder 20 – Wood as water, where the woodblock texture resemblesthe moving surface of water.

22. Homage to the Square North Wall

23. East Wall Flat Cases Folio I/Folder 16 Folio II/Folder 15

24. Title Wall Looking North

25. South Wall Didactic Panel

26. West Wall Variants

27. Educational Outreach

28. N Gallery J Searing Wing Overhead View W E S

29. Formulation: Articulation Top: Folio I/Folder 18 Middle; Folio I/Folder 21 Bottom: Folio II/Folder 16

30. Thank You to all the departments that contributed to my project this summer. I couldn’t have done it without you.

31. Josef Albers Art in its very nature is new in formulation, articulation, though constant in its task to reveal and to arouse emotion. All real art is or was modern in its time, daring and new, demonstrating a constant change in seeing and feeling. If revival had been a perpetual virtue, we still would live in cave and earth pits. In art, tradition is to create, not to revive. (J A from “Present and/or Past,” printed in Design, 1946.)