Joseph Albers • New Yorker

Friday, 2 December 2016

“The practice of photo collage, which had become a pervasive tool of advertising and political propaganda after the First World War, was naturally suited to the Bauhaus interest in integrating the machine-made object with the art of handicraft. But Albers’s pieces, which engage vigorously with conceptual ideas of perception and form, are equally intriguing for the intimate look they provide at the consequential artists of the Bauhaus, who appear in his photographs in informal moments of playful artistic dialogue.” Philip Gefter • New Yorker

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