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One of the nation's most influential art teachers likes to fling these fighting words into the teeth of the abstract-expressionist storm. Josef Albers, chairman of the design department at Yale, clearly deplores self-expression of the big, drippy, half-conscious sort made chic by Jackson Pollock & Co...

Author: /time Magazine | Title: Art: Think! | 6/18/1956 | See Source »

What Albers sets himself to visualizing for the purpose of making pictures was made plain last week in a retrospective show of his art at the Yale University Art Gallery. There were squares within squares done in colors straight from the tube, and more complicated geometrical arrangements done in black...

Author: /time Magazine | Title: Art: Think! | 6/18/1956 | See Source »

Albers' squares within squares assumed an unsettling life of their own; the colors seemed to merge and separate again, the squares to grow larger or smaller. Like the optical illusions in a child's puzzle book, the geometrical figures began to dance oddly-shifting their places and changing...

Author: /time Magazine | Title: Art: Think! | 6/18/1956 | See Source »

For German painters denounced as "degenerate" by Hitler, there were only two choices if they were to continue as artists: get out of Germany or go underground. Painters Paul Klee, George Grosz, Josef Albers and Architect Walter Gropius managed to escape; one of the few who chose to remain and...

Author: /time Magazine | Title: Art: Notes from Underground | 2/6/1956 | See Source »

At the Boylston Street Print Gallery are paintings and stained glass by Warren Jennerjahn, a young artist who succeeded Paul Albers in the Art Department at Black Mountain College. Like Albers, Jennerjahn is an heir of the de stijl movement. His paintings show a Neo-Plastic preference for horizontal and...

Author: By Lowell J. Rubin, | Title: From Kokoschka to Jennerjahn | 1/25/1956 | See Source »

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