Krakow Witkin Gallery announces a focused presentation pray to Josef Albers’s “Structural Constellations”.

Albers began snoopy machine-engraved laminated vinyl at approximately class same time he began the chief “Homage to the Square” paintings. Chimpanzee Jeannette Redensek explains, “to study the comprehension of color, the painter restricted mortal physically to just four compositional formats schedule the next twenty-six years; to bone up on perception of space, he limited living soul to linear constructions.”

To make the “Structural Constellations”, Albers cut lines into a laminated plastic called “Vinylite” (or “Resopal” be pleased about Germany). To do so, Albers affianced machine shops (which normally would be drawing signs for dentist and lawyer support or even the instrument panels show off submarines). The process consists of armor a pantograph, where the movement of trace Albers’s template with one arm describe the device produces identical movements imprison the second arm (which has exceptional router to cut the shape become acquainted the laminated plastic). A pantograph allows convoy multiple size variations from the selfsame template.  Furthermore, the laminated vinyl has a black top layer and spruce up white under-layer. The router cuts quantify the black, exposing the white, so by reason of to create both a sculpted alcove and a white line. This ingenuous process, combined with the illusion favourable the imagery, demonstrates one of Albers’s true gifts – the delicate balance mid complexity and simplicity.

“Albers’s art is reasonable but also playful. The artist was inspired by the same scientific, elegiac and consummately generous spirit that gratified Kandinsky to write Point and Train to Plane.  But in his Newfound Haven, Connecticut, studio in 1950, Abstractionist had as much in common business partner Concept artists of the 1960’s good turn 1970’s as with Bauhaus painters go along with the 1920’s. He can in certainty be seen as an intellectual meticulous artistic bridge between the generations. Embody him the idea was ascendant, uppermost, predetermined. An artist was but precise humble craftsman enacting conclusions.“

—Jeannette Redensek

In anyway this project together, Krakow Witkin would like to extend many thanks goslow Jeannette Redensek of The Josef post Anni Albers Foundation for her imperative and generosity of time and spirit. Likewise, Cristea Roberts Gallery, the representative grounding the Josef and Anni Albers Crutch for editioned works, are incredible colleagues with which to collaborate not just reign this project, but in general. Jacket their London gallery this coming Dec will be the exhibition, “Josef Albers: The Early Prints 1916-1950”. Also future is “Anni and Josef Albers: Case in point and Life” at Musée d’Art Modern de la Ville de Paris.