Including poems from well known writers and less expected artists, Black Mountain Poems produces a keener vision of the interdisciplinary culture of the famed college.
Spilling Over: Painting in the 1960s at the Whitney Museum expands the common understanding of a pivot point in American art, while basking unapologetically in the pure pleasure of looking.
The Josef Albers in Mexico exhibition is a necessary corrective to Albers’s reputation as more pedagogue than painter and the misconception that abstraction can ever be free of outside influence.
I remember David Zwirner Gallery back in the 1990s, before Chelsea, when the New York art world was much smaller and more manageable.
When Ray Johnson killed himself at the age of 67, the air of mystery surrounding his personality, life, and art only thickened.
In Josef Albers: Midnight and Noon, Nicholas Fox Weber, Elaine de Kooning, Colm Tóibín, and more discuss the artist’s seminal Homage to the Square series.
An exhibition at Paris’s decorative arts museum hones in on the myriad ways that students and teachers at the Bauhaus sought to integrate art, architecture, and design into total artworks.
In his only lecture on photography, Albers warned students against approaching photography carelessly, and the collages he made of his own photos show how he put that mantra into practice.
BOSTON — Founded in 1933 by the classicist John Andrew Rice, Black Mountain College was a shoestring operation deep in the heart of the rural American South that opened as the Great Depression began and another World War loomed just over the horizon.
Ten years ago, the Morgan Library & Museum decided it was time to bring its collection up to speed on the art of drawing in the 20th and 21st centuries — a daunting task in itself, and even more improbable in the face of a superheated, late-capitalist art market: at the feast of the trophy-eaters, would the museum be forced to content itself with scraps?
The archival project Monoskop.org has posted the entirety of Alan Riddell’s Typewriter Art (1975), an out-of-print volume collecting typographical artwork made between the 1890s and the 1970s.
The 20th-century artist and academic Josef Albers made many significant contributions to the field of geometric abstraction, though the most enduring element of his pedagogical legacy is his 1963 textbook Interaction of Color.