By Peter Frank
Kylin Gallery has been established to encourage this cross-fertility through education, marketing, and, most especially, presentation of and support for art and artists that consciously “build bridges” between East and West. By opening in BeverlyHill, KG has targeted the Pacific Ocean as the body of water it will span with its metaphorical bridge. But this spirit of bridge-building will lead the gallery in all appropriate directions. Its program will feature art by Eastern and Western artists alike who look across the geographic and cultural divides in order to marry and merge idea and practice. The results will be not simply hybrid, but fused: in the art at Kylin, it will be hard to tell where one civilization leaves off and the other comes in, but it will be easy to tell both are present.
He was known to meticulously list the specific manufacturer's colours and varnishes he used on the back of his works, as if the colours were catalogued components of an optical experiment.His work represents a transition between traditional European art and the new American art. It incorporated European influences from the Constructivists and the Bauhaus movement, and its intensity and smallness of scale were typically European, but his influence fell heavily on American artists of the late 1950s and the 1960s. "Hard-edge" abstract painters drew on his use of patterns and intense colors, while Op artists and conceptual artists further explored his interest in perception.
In an article about the artist, published in 1950, Elaine de Kooning concluded that however impersonal his paintings might at first appear, not one of them “could have been painted by any one but Josef Albers himself.” Although their relationship was often tense, and sometimes, even combative, Robert Rauschenberg later identified Albers as his most important teacher.