Edition 30, Danilowitz 101. Signed, titled, dated and numbered 3/30 in pencil.
Image size 7 9/16 x 15 3/16 inches (192 x 386 mm); sheet size 17 x 23 3/4 inches (432 x 603 mm).
A fine impression, on Seri Whitewove paper, the full sheet with wide margins (4 to 6 inches). Minor glue stains at the top sheet edge, verso, where previously hinged; slight rippling to the sheet edges, otherwise in good condition.
Albers’ ambitious printmaking project Graphic Tectonics was inspired by his enchantment with the ancient (ca. 500 BC) monumental architecture of Monte Albán in Oaxaca, southern Mexico. In this series, the artist has reduced the hundreds of man-made terraces surrounding the ceremonial center of the site to a system of linear geometry. The two-dimensional rendering both reveals the precise balance unifying the structures and succeeds in suggesting their volume. The parallel black lines create a visual vibration; the negative spaces they surround consequently implying openings or doors, perhaps to other dimensions.
Collections: The Josef and Anni Albers Foundation, Metropolitan Museum of Art, Museum of Modern Art, North Carolina Museum of Art, Yale University Art Gallery.
Image size 7 9/16 x 15 3/16 inches (192 x 386 mm); sheet size 17 x 23 3/4 inches (432 x 603 mm).
A fine impression, on Seri Whitewove paper, the full sheet with wide margins (4 to 6 inches). Minor glue stains at the top sheet edge, verso, where previously hinged; slight rippling to the sheet edges, otherwise in good condition.
Albers’ ambitious printmaking project Graphic Tectonics was inspired by his enchantment with the ancient (ca. 500 BC) monumental architecture of Monte Albán in Oaxaca, southern Mexico. In this series, the artist has reduced the hundreds of man-made terraces surrounding the ceremonial center of the site to a system of linear geometry. The two-dimensional rendering both reveals the precise balance unifying the structures and succeeds in suggesting their volume. The parallel black lines create a visual vibration; the negative spaces they surround consequently implying openings or doors, perhaps to other dimensions.
Collections: The Josef and Anni Albers Foundation, Metropolitan Museum of Art, Museum of Modern Art, North Carolina Museum of Art, Yale University Art Gallery.
