Throughout his career as an art teacher, Josef Albers made clear his vision of a methodology of education that put the arts at its core, with the aim of teaching people to see and to understand the ...world through its visual and material aspects. He believed that experimentation and direct experience with reality would ultimately generate real knowledge and that it was only in this way that a conscious understanding of the world was possible: a requirement for the development of free and democratic people. This paper will analyse how Albers intertwined the ideas of art, education and democracy, and the how he understood these relations within his contemporary world. Cómo citar: Hernández, C. 2022. Josef Albers: art, education and democracy. Arte, Individuo y Sociedad 34 (4), 1389-1406, https://dx.doi.org/10.5209/aris.81122
Seurat to Riley: The Art of Perception, explores the history of Optical art-known more commonly as Op art. It's a genre in which artists experiment with perception through use of colour and shapes to ...generate a sense of movement in the brain. The curator of this show, Penelope Sexton, deliberately set out to explore how “the dependency on a close interaction between the eye and the brain-has been used by artists”.
The world-renowned teacher of art and abstract artist Josef Albers was born in 1888 in Bottrop, Germany, in the center of Westphalia, the Ruhr region of the country. His mother Magdalena died when he ...was 11 years old. He described his father Lorenz as "a housepainter...a tinkerer.
On November 28, 1959, Baldwin Dworschak (1906-1996), the Abbot of the Benedictine religious community in Collegeville in Minnesota, wrote a letter to the Bauhaus artist and educator, Josef Albers ...(1888-1976). The letter contained a rejection of Albers's design proposal for the north stained-glass window of the abbey church, which was under construction at the time (1953-1961). Although Dworschak conceded that if the 'decision could have been limited to the question of artistic merits or excellence of design', the decision would have been an 'easy one for the Committee to make', Dworschak was adamant they were not going to choose Albers's design. Dworschak's rejection appeared at the end of a series of committee meetings over a three-year period between 1956 and 1959. Among those present at the meetings were twelve Benedictine monks from different professional backgrounds, architectural consultants, and representatives of the Marcel Breuer Office.4 The purpose of the meetings was to make architectural decisions based on discussions and the advice of independent surveyors. These decisions were also informed by research conducted by both parties on architectural modernism, and on Benedictine history and aesthetics.5 The debate over the content and form of the main window, and its function vis-a-vis the broader architectural and religious context, was a consistent source of contention for a period of over one year between August 1958 and November 1959.6
Throughout his career as an art teacher, Josef Albers made clear his vision of a methodology of education that put the arts at its core, with the aim of teaching people to see and to understand the ...world through its visual and material aspects. He believed that experimentation and direct experience with reality would ultimately generate real knowledge and that it was only in this way that a conscious understanding of the world was possible: a requirement for the development of free and democratic people. This paper will analyse how Albers intertwined the ideas of art, education and democracy, and the how he understood these relations within his contemporary world.
In this paper, the unacknowledged presence of Schawinsky's tools and innovations in the contemporary theatre will be defined and termed as "Schawinskian Space." Because the American imagination ...historically distinguishes the South as a politically, socially, and artistically alien region, experimental expressions of citizenship conducted there can expand our understanding of theatre.3 Such contributions are compounded when a refugee's expressions are formalized by an educational institution and multiplied through the regenerative platform of progressive pedagogy. The highly stylized performances of the Bauhaus, be they theatrical or musical, were derivative of the school's mission of enacting the German principle of Total Art-altering how the world's visual order is perceived and sensed.6 The Bauhaus's pedagogy was pithily summarized in the de facto classroom catchphrase of Bauhaus-to-Black Mountain faculty member Josef Albers: "I will not make you artists; I will teach you to see. Pedagogue John Dewey, a champion of experiential learning, was in correspondence with Black Mountain College's cofounder Theodore Dreier and eventually joined the school's advisory board.10 During a visit to the college, Dewey even served as a substitute teacher for Rice.11 The students Rice sought to charter the college needed to be as independent as they were curious; as adventurously minded as they were academically so. Being dubbed "the red college" by European onlookers gave the school a fashionable mystique and a reality of free-range danger for anyone bound to Black Mountain College.14 Federal law enforcement saw the arrival of the mysterious Bauhaus artists as a radical leftist infection, not a boon.15 After a thorough (and hard-nosed) grilling by US immigration agents- which nearly provoked Schawinsky to call the whole move off-Black Mountain's newest Bauhausler arrived with his wife, Irene von Debschitz, to, as Schawinsky reflected, "live in freedom-to an extent at least.
Cambridge: Cambridge University Press, 2022. Chapel Hill, NC: Cambridge: Cambridge University Press, 2021. Wallace, Maurice O. King’s Vibrato: Modernism, Blackness, and the Sonic Life of Martin ...Luther King Jr. Cambridge: Cambridge University Press, 2022. Chapel Hill, NC: Cambridge: Cambridge University Press, 2021. Wallace, Maurice O. King’s Vibrato: Modernism, Blackness, and the Sonic Life of Martin Luther King Jr.
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