約瑟夫·亞伯斯:無限的色彩可能性 | JOSEF ALBERS: INFINITE POSSIBILITIES OF COLOUR

卓納畫廊呈現藝術家約瑟夫·亞伯斯(Josef Albers,1888–1976)的作品展《原色》。由約瑟夫與安妮·阿爾伯斯基金會的首席策展人布蘭達·丹尼羅威茨(Brenda Danilowitz)策劃,聚焦於紅、黃、藍、黑等原色是如何為阿爾伯斯的創作帶來了無限的色彩可能性。藝術家在整個職業生涯中持續對色彩進行探索,並以標誌性的視覺形式呈現出令人驚嘆的構圖組合。

David Zwirner is pleased to present Primary Colors, an exhibition of work by Josef Albers (1888–1976). Curated by Brenda Danilowitz, chief curator of The Josef and Anni Albers Foundation, the show is a focused examination of how the primary colors red, yellow, and blue, along with black, encompassed an infinite range of chromatic possibilities for Albers, which he explored throughout his career in stunning combinations presented in his signature visual formats.

Why it matters:
約瑟夫·亞伯斯被公認為二十世紀最具影響力的抽象畫家之一,同時也是一位重要的設計師和教育家。他的藝術生涯將歐洲及美國的現代主義嫁接起來,專注於研習色彩與空間關係所帶來的感知體驗。阿爾伯斯擅長運用簡潔的幾何形式,讓色彩產生相互作用,以此探究一種顏色受相鄰色彩影響而帶給觀眾的不同感受。他以精準的色彩應用創造出空間與縱深的張力,使得作品中那些平坦的色彩形狀顯現出或後退,或凸出的視覺效果。

Josef Albers is considered one of the most influential abstract painters of the twentieth century as well as an important designer and educator. Albers’s artistic career, which bridged European and American modernism, consisted mainly of a tightly focused investigation into the perceptual properties of color and spatial relationships. Working with simple geometric forms, Albers sought to produce the effects of chromatic interaction, in which the visual perception of a color is affected by those adjacent to it. Albers’s precise application of color also created plays of space and depth, as the planar colored shapes that make up the majority of his works appear to either recede into or protrude out of the picture plane.

4 Highlights:
.此次展覽呈現了亞伯斯創作於1930年代的早期作品——正值他和安妮·亞伯斯移居北卡羅來納州的轉折時期,他們在著名的黑山學院創立了藝術系——一直延伸到他在1976年去世前不久的創作。
.展覽中的不少畫作出自亞伯斯最為知名的《向方形致敬》系列,這些作品的構圖基於一組呈嵌套狀排布的正方形,使亞伯斯得以充分試驗無盡的色彩組合及其感知效果。
.展覽還呈現了亞伯斯《變體/粘土》系列中的作品,創作靈感來自藝術家前往拉丁美洲的遊歷。
.此外也包括了一組罕見的以高音譜號為視覺主題進行描繪的早期繪畫,以及另外幾幅由多邊形和其他幾何形態構成的重要繪畫和習作,它們共同展現了亞伯斯的創作在形式和色彩探索方面的廣度。

.This exhibition features works by Albers from as early as the 1930s, a transitional period for the artist when he and Anni Albers immigrated to North Carolina, where they founded the art department at the famous Black Mountain College, and extending all the way to works he made shortly before his death in 1976.
.On view are several paintings from Albers’s Homage to the Square series, his most celebrated body of work. These paintings were based on a nested square format that allowed Albers to experiment with endless chromatic combinations and perceptual effects.
.2 Works from Albers’s Variant/Adobe series, inspired by the artist’s travels in Latin America.
.And works from an early, rare group of paintings that depicts the visual motif of the treble clef as well as several important paintings and studies for unique works comprised of polygons and other geometric forms will also be presented, illustrating the breadth of his formal and chromatic range.

Background – Josef Albers:
約瑟夫·亞伯斯(Josef Albers, 1888-1976)出生於德國博特羅普(Bottrop),曾在1919年短暫求學於慕尼黑的皇家巴伐利亞美術學院,並在1920年入學魏瑪包豪斯大學。1922年,亞伯斯留校任教,起先專注於彩色玻璃,自1923年起教授設計專業。在黑山學院任教期間,亞伯斯開始廣泛地在美國展出作品。亞伯斯夫婦一直在黑山學院生活到了1949年,並於1950年搬往康涅狄格州的紐黑文,在那裡,約瑟夫·亞伯斯受邀擔任耶魯大學藝術學院新近成立的設計系的主任。同樣是在1950年,他開始發展日後成為其最具影響力的《向方形致敬》系列,藝術家持續於這個系列的創作直至他離世的1976年。

Josef Albers (1888–1976) was born in Bottrop, Germany, and studied briefly at the Königliche Bayerische Akademie der Bildenden Künste, Munich, in 1919 before becoming a student at the Weimar Bauhaus in 1920. In 1922, Albers joined the school’s faculty, first working in stained glass and, starting in 1923, teaching design. During his time at Black Mountain College, Albers began to show his work extensively within the United States. The Alberses remained at Black Mountain until 1949 and in 1950 moved to New Haven, Connecticut, where Josef Albers was invited to direct a newly formed department of design at Yale University School of Art. In 1950, too, he developed what would become his seminal Homage to the Square series, which he continued to elaborate until his death in 1976.

Final Tips:
一幅紅色的繪畫從來不只是一幅紅色繪畫,亞伯斯會在一件《向方形致敬》的作品中採用三四種不同的紅色,並且反覆地使用各種紅色一遍遍地實踐,以此來證明這一點。從來沒有「原色」的紅,也沒有原色的藍或黃。
A red painting was never simply a red painting, and Albers would prove it by using three or four different reds in a single Homage to the Square painting and repeating this practice with a range of reds, over and over again. There is no “primary” red, or blue, or yellow.

約瑟夫·亞伯斯:原色
Josef Albers: Primary Colors
Date:

2022.1.18 – 3.5

Venue:
卓納畫廊
香港中環皇后大道中80號H Queen’s 5至6樓
David Zwirner
5–6/F, H Queen’s, 80 Queen’s Road Central, Hong Kong

Courtesy to MiA Collective Art and the Artists

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