Category Archives: DESIGN

ON ANNI AND JOSEF ALBERS

This week, Nicholas Fox Weber—executive director of the Josef and Anni Albers Foundation—will join David Zwirner gallery’s David Leiber for a conversation about Fox Weber’s new book ANNI & JOSEF ALBERS: EQUAL AND UNEQUAL.

The online discussion will be moderated by Lauren Hinkson, associate curator at the Guggenheim. See link below to register.

ON ANNI and JOSEF ALBERS—EQUAL AND UNEQUAL

Phaidon and David Zwirner

Wednesday, November 18.

10 am on the West Coast; 1 pm East Coast; 6 pm London; 7 pm Paris.

Top: Josef Albers, photographs of Hawaii (Anni Albers and Josef Albers), 1954. Image © 2020 the Josef and Anni Albers Foundation / ARS, New York / DACS.

Above: Nicholas Fox Weber, Anni & Josef Albers: Equal and Unequal (2020). Images (8) courtesy and © the Josef and Anni Albers Foundation and Phaidon.

Below: Josef Albers and Anni Albers. Image © 2020 the Josef and Anni Albers Foundation / ARS, New York / DACS.

EMMA WOLF-HAUGH — DOMESTIC OPTIMISM

DOMESTIC OPTIMISM—a show by Emma Wolf-Haugh—opens this month in Austria.

An exhibition about mangled and mistold modernist legacies, the project begins with furniture, inanimate objects that come loaded with social connections and invisible histories. Through the displacement of cultural detritus Wolf-Haugh retells modernist architectural history in the collective key of queer-feminist and decolonial practices, continually unearthing filth in times of hygiene, and complicating things that were never simple to begin with.*

EMMA WOLF-HAUGH—DOMESTIC OPTIMISM

ACT ONE—MODERNISM: A LESBIAN LOVE STORY*

Opening: Thursday, September 24, 3 pm to 7 pm.

Exhibition on view through November 20.

Grazer Kunstverein

Palais Trauttmansdorff

Burggasse 4, Graz.

Emma Wolf-Haugh, Domestic Optimism, Act One—Modernism: A Lesbian Love Story, Grazer Kunstverein, September 24, 2020–November 20, 2020. Images courtesy and © the artist.

HANNE DARBOVEN AND RUTH WOLF-REHFELDT

SIGN OF THE TIMES / TIMES OF THE SIGN—an exhibition curated by Julia Schleicher, tracing the parallel working lives of Hanne Darboven and Ruth Wolf-Rehfeldt—is on view in London.

Hanne Darboven submitted her works to a clear, artist-defined structure that allowed her to generate a visual form for the contingencies and relationships that emerged from the numerical process. Darboven’s method strikes a contrast to Ruth Wolf-Rehfeldt, who composed her work using patterns and combinations of typewriter characters. Despite their differences, both artists shared an interest in the productive potential of external structures.*

HANNE DARBOVEN and RUTH WOLF-REHFELDT—SIGN OF THE TIMES / TIMES OF THE SIGN*

Through September 19, by appointment.

Sprüth Magers

7A Grafton Street, Mayfair, London.

From top: Ruth Wolf-Rehfeldt, Divided Planet, circa mid-1970s, carbon copy of original typewriting; Hanne Darboven, Untitled (Early Construction Drawings New York), 1966 / 1967, pencil and ballpoint on graph paper; Hanne Darboven, Dostojewski, Monat Januar, 1990, ink and silver gelatin silver print on paper; Darboven, photograph by Angelika Platen; Wolf-Rehfeldt, portrait, circa 1960, courtesy and © Robert Rehfeldt and Ruth Wolf-Rehfeldt; Hanne Darboven, Untitled (Early Construction Drawings New York), 1966 / 1967, pencil on paper; Hanne Darboven, Ost-West-Demokratie, 1983, felt-tip pen on postcards, textile flags of the Soviet Union, United States, GDR, and BRD. Images courtesy and © Ruth Wolf-Rehfeldt, the Hanne Darboven Foundation, and Sprüth Magers.

ELECTRONIC — FROM KRAFTWERK TO THE CHEMICAL BROTHERS

Evoking the experience of being in a club, the exhibition ELECTRONIC—FROM KRAFTWERK TO THE CHEMICAL BROTHERS will transport you through the people, art, design, technology, and photography that have been shaping the electronic music landscape.*

See link below for details.

ELECTRONIC—FROM KRAFTWERK TO THE CHEMICAL BROTHERS

Through February 14, by appointment.

Design Museum

224–238 Kensington High Street, Kensington, London.

Electronic: From Kraftwerk to the Chemical Brothers, Design Museum, London, July 31, 2020–February 14, 2021, from top: Adam Smith and Marcus Lyall’s sensory experience for the Chemical Brothers’ track “Got to Keep On,” photograph by Guy Bell / Rex / Shutterstock; Kraftwerk, photograph by Guy Bell / Rex / Shutterstock; installation view, photograph by Felix Speller; Yuri Suzuki and Jeff Mills, The Visitor; masks from the Aphex Twin video Windowlicker (1999), photograph by Speller; Smith and Nyall’s “Got to Keep On” installation; Haçienda club designs by Ben Kelly and Peter Saville; Electronic: From Kraftwerk to the Chemical Brothers exhibition catalog; Jean-Michel Jarre’s imaginary studio, photograph by Speller; Weirdcore, Aphex Twin’s Collapse; 1024 Architecture, Core; Bruno Peinado, Untitled (The Endless Summer), 2007, photograph by Speller. Images courtesy and © the artists, the photographers, and the Design Museum.

NICK MAUSS — TRANSMISSIONS CATALOG

I came upon the word transmissions while thinking about how the ethereal, corporeal, and technical dimensions of ballet resonate in the artworks and souvenirs it produces. Transmissions are subject to interference and interruption. Ballets are conveyed to us through mediations, anecdotes, and bodies. And often when I’m watching ballet in its contemporary manifestations, I wonder how these transmissions have occurred.

I started looking into the history of ballet in the twentieth century… Through a web of genealogies, I eventually arrived at the flamboyant intersection of ballet and art in New York, beginning in the 1930s. There the avant-garde experiments of the previous decades in Europe incited a particularly intense cross-contamination, an overt articulation of homosexual erotics long before the emergence of a public language around queerness. Looking at modern American art of this period through the prism of ballet reveals a tangle of interrelationships, collaborations, derivations, and hybrid aesthetic programs that still feel surprisingly contemporary. Nick Mauss*

Two years after the close of TRANSMISSIONSNick Mauss’ multimedia installation at the Whitney Museum of American Art—the museum and Dancing Foxes Press have published an exhibition catalog that beautifully extends the show, combining performance and exhibition images from the Whitney with an extensive selection of new illustrative and textual documentation.

Essays by Mauss, Joshua Lubin-Levy, and exhibition organizers Scott Rothkopf, Elisabeth Sussman, and Allie Tepper—as well as a conversation between Mauss and the dancers who performed during the run of the show—round out this essential volume, a complement to and in dialog with recent catalogs by Jarrett Earnest (The Young and Evil—Queer Modernism in New York 1930–1955) and Samantha Friedman and Jodi Hauptman (Lincoln Kirstein’s Modern).

I drew multiple webs of interrelationships, elective affinities, and echo waves of influence, focusing as much on the social, professional, sexual, and collaborative points of contact as on transhistorical resonances that were in some cases perhaps fantasy—eschewing standard mappings of modern art… [embracing] anachrony and distortion over apparent objectivity…

My decision to insist on ballet as the fulcrum in TRANSMISSIONS was also a response to the ubiquity of postmodern dance derivations within the contemporary museum environment and the reductive version of modernity that these prequalified dance idioms signify and cement. Contemporaneity is reduced to a “look” of modernity. Modernist ballets make for engaging historical documents precisely because their own relationship to history is a kind of suspension of disbelief; they are intrinsically modernist, even if they don’t “signal” modernity to contemporary eyes.— Nick Mauss*

The world of the spectator, the receiver, was a primary lens through which I constructed TRANSMISSIONS, and the flux of the exhibition’s daily audience over the course of two months took on a central role within it. This book is similarly directed at the wholly different—private, rather than social—negotiations of the reader. — Nick Mauss*

NICK MAUSS, TRANSMISSIONS (Brooklyn: Dancing Foxes Press; New York: Whitney Museum of American Art, 2020).

See Benedict Nguyen on performing in Transmissions.

Listen to Fran Lebowitz and Nick Mauss in conversation on the occasion of Transmissions at the Whitney, 2018.

*Nick Mauss text—from the catalog essay “Gesturing Personae” and TRANSMISSIONS jacket copy—courtesy and © the artist.

Nick Mauss, Transmissions, Whitney Museum of American Art, March 16, 2018–May 14, 2018; exhibition catalog, Whitney and Dancing Foxes Press, 2020, from top: installation view, Whitney, 2018, photograph by Ron Amstutz; Carl Van Vechten, Janet Collins in New Orleans Carnival, 1949, Jerome Robbins Dance Division, New York Public Library for the Performing Arts; George Platt Lynes, Tex Smutney, 1941, Kinsey Institute, Indiana University , Estate of George Platt Lynes; Transmissions performance photograph of Quenton Stuckey, March 13, 2018, by Paula Court, with Gaston Lachaise, Man Walking (Portrait of Lincoln Kirstein), 1933, at left; Dorothea Tanning, cover of Ballet Russe de Monte Carlo’s 1945–1946 program, Artists Rights Society, New York / ADAGP, Paris; installation view, Whitney, 2018, images on scrim, Lynes, Ralph McWilliams (dancer), 1952, Lynes, Tex Smutney, Carl Van Vechten slideshow on rear wall, dancers Brandon Collwes, Quenton Stuckey, and Kristina Bermudez, photograph by Amstutz; dancers Arthur Mitchell and Diana Adams, and (seated) George Balanchine and Igor Stravinsky during rehearsals for Agon, 1957, choreographed by Balanchine for New York City Ballet, photograph by Martha Swope, Jerome Robbins Dance Division; Bermudez (left), Burr Johnson, Nick Mauss, and Fran Lebowitz, May 9, 2018, at the Whitney, photograph by Court; Pavel Tchelitchew, Portrait of Lincoln Kirstein, 1937, oil on canvas, collection of the School of American Ballet, courtesy Jerry L. Thompson; Louise Lawler, Marie + 90, 2010–2012, silver dye bleach print on aluminum, Whitney, courtesy and © the artist and Metro Pictures; (Mauss printed Lawler’s image of Marie, Edgar DegasLittle Dancer Aged Fourteen, circa 1880, on the Transmissions dancers’ white leotards); Lynes photograph of Jean Cocteau, Bachelor magazine, April 1937; Transmissions performance photograph by Paula Court; Paul Cadmus, Reflection, 1944, egg tempera on composition board, Yale University Art Gallery, bequest of Donald Windham in memory of Sandy M. Campbell, courtesy and © 2019 Estate of Paul Cadmus, ARS, New York; Cecil Beaton, photograph of poet Charles Henri Ford in a costume designed by Salvador Dali, silver gelatin print, collection of Beth Rudin DeWoody; artworks by Pavel Tchelitchew, John Storrs, Elie Nadelman, Gustav Natorp, and Sturtevant, and photographs by Ilse Bing, arranged in front of Mauss’, Images in Mind, 2018, installation view, Whitney, 2018, photograph by Amstutz; Mauss’ re-creation of costume designed by Paul Cadmus for the 1937 ballet Filling Station (choreographed by Lew Christensen), fabricated by Andrea Solstad, 2018, and Nadelman, Dancing Figure, circa 1916–1918, installation view, Whitney, 2018, photograph by Amstutz; Man Ray, New York, 1917 / 1966, nickel-plated and painted bronze, Whitney;, courtesy and © Man Ray 2015 Trust, ARS, New York / ADAGP, Paris; Mauss and Lebowitz in conversation at the Whitney, 2018, photography courtesy and © Izzy Dow; Murals by Jared French exhibition brochure, Julien Levy Gallery, 1939; Transmissions performance photograph of Anna Thérèse Witenberg, March 13, 2018, by Court; Dorothea Tanning, Aux environs de Paris (Paris and Vicinity), 1962, oil on linen, Whitney Museum of American Art, gift of the Alexander Iolas Gallery; Maya Deren, The Very Eye of Night (1958, still), 16mm film, Anthology Film Archives, New York.