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"Emotions," says Abstractionist Josef Albers, "are usually prejudices. When peo ple say my paintings have no emotion I say, O.K., precision can make you crazy too. A locomotive is without emotion - so is a mathematics book - but they are exciting to me."

Author: /time Magazine | Title: Art: Nothing Definite | 1/31/1949 | See Source »

Arp's own carvings were on exhibition in a Manhattan gallery this week, across the street from Josef Albers' two shows (see above). Like Albers, Arp chose never to "sully nature" with recognizable subject matter, but there the resemblance ended. While Albers' paintings looked like a number...

Author: /time Magazine | Title: Art: Nothing at All | 1/31/1949 | See Source »

This week Albers' emotionless abstractions went on exhibition in two Manhattan galleries at once. They were composed mostly of straight lines and right angles, thinly painted in pure colors. Coming at a time when many abstractionists content themselves with syrup, tar, mustard, muscle and a soup spoon, Albers'...

Author: /time Magazine | Title: Art: Nothing Definite | 1/31/1949 | See Source »

Not one picture had been achieved spontaneously; Albers makes a point of waiting at least a year between the time of his first sketch and the time he begins painting, measures his color areas to give them precise geometrical proportions. ("My paintings are recitals; too many artists stop with the...

Author: /time Magazine | Title: Art: Nothing Definite | 1/31/1949 | See Source »

National Reflection. The 215-picture American show is far & away the better. It ranges in style from Norman Rockwell's familiar, realistic The Four Freedoms, which hangs at the entrance, to Josef Albers' Growing, a pure abstraction of irregularly shaped pink and green rectangles, hung in a corner...

Author: /time Magazine | Title: Art: The U.S. & the United Nations | 6/4/1945 | See Source »

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