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Josef Albers’s photographs of carved stone façades and symmetrical courtyards pay homage less to the square than to the genius of Mayan or Zapotec engineering—as well as the power of strong diagonals. Mexico provided Albers with an alternate classical tradition. The show includes several rigorous line studies clearly inspired by the ziggurats of Monte Albán and Chichén Itzá. Compared to his best-known work, Albers’s early geometric abstractions and many of the Mexican paintings are distinctly free-form (some, from the 1930s, might be described as jazzy), and are frequently concerned with the representation of three-dimensional space. By 1950, Albers is concentrating almost entirely on flatness, rectangles, and the interaction of color.