“If one says ‘Red’ (the name
of a color)
and there are 50 people
it can be expected that
there will be 50 reds in their minds.
And one can be sure that
all these reds will be very different...
of Color , Albers, J., Yale
University Press, 1963
His “Homage to the Square”
might be considered the premier art professor
of the 20th century. Though he began as a humble school teacher at the age of
20, he was the most tenured professor to teach at the Bauhaus, and once it
closed in 1933, he quickly became influential in the U.S. While molding the
young minds of Eva
Hesse and Robert Rauschenberg, among many others, his own artistic career
reached new heights, he published the ultimate color theory text, Interaction
, and he became the first living artist to have a solo show at the
Met. A tour through David Richard
’s Dallas Art Fair booth
this week—a riot of color including works by
, and other modern and
contemporary artists exploring
that Albers’s influence has immeasurable reach.
Albers, Anuszkiewicz—one of his Yale students—concerned himself with
juxtapositions of color, and its relationship to form. He became a major figure
in the rise of Op Art in the 1960s, a style based on principles of color theory
that furthered Albers’s interest in visual perception. On view is a work from
his popular “Translumina” series, which plays with optical illusions through
contrasting, graduated striations and overlapping forms that push the limits of
two-dimensionality. The gallery also offers two of the artist’s sculptural
works—minimal, enameled steel structures that are elegant studies of negative
space and intersecting lines.
On view nearby are the
works by fellow Yale alum
—two years Anuszkiewicz’s senior—who creates
fantastic illusory paintings that seem to effervesce through layers of color
and pattern. Stanczak often employs an uppermost application of dots, dashes,
or lines that create depth and produce a vibrational effect with the planes and
shapes of color below. These prime examples of his best known
series—“see-through” and “grid”—evince the artist’s incredible exactitude and
mastery of color, which he uses to create sensations and evoke emotions.
From Color Field paintings
by Washington Color School pioneers
, to intricately patterned compositions by
, and vertical stripe meditations by
vertical stripes—to name a few—the entire booth
is a pulsating celebration of color, in the spirit of Albers.
David Richard Gallery,
Dallas Art Fair 2014, Booth F12, Apr. 10th–13th.