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JUNE 12 Albers Foundation and Princeton University Press are publishing a new, expanded edition of Anni Albers's "On Weaving"

APRIL 28 Josef Albers's "Tenayuca I" rediscovered

MARCH 7 Albers Foundation celebrates the second anniversary of Thread

FEBRUARY 8 New Greek and Japanese editions of Interaction of Color are now available

JANUARY 30 We do not come first.

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Cover of the new, expanded edition of Anni Albers's On Weaving, available from Princeton University Press in September 2017

Albers Foundation and Princeton University Press are publishing a new, expanded edition of Anni Albers's "On Weaving"

On the occasion of Anni Albers's 118th birthday, we are thrilled to announce a new, expanded, full-color edition of her pivotal 1965 book On Weaving, out this September in association with Princeton University Press. Anni Albers first began working on the loom and learning her way with threads at the Bauhaus in Weimar when she was 22 years old. Over the course of her 60-plus year career she would become one of the most innovative and influential textile artists of the 20th century, creating subtle abstract works of art, bold wall hangings, and sophisticated architectural fabrics, in addition to experimental jewelry and prints all in her highly original voice. Albers became an expert on the history of weaving as well as an influential advocate for its future and the potential of new materials. She gathered her findings in On Weaving and the book remains an influential and important treatise for artists, makers, designers, weavers, students, teachers, and historians. The expanded edition of On Weaving updates the book's original black-and-white illustrations with full-color photos, and features an afterword by Nicholas Fox Weber and essays by Manuel Cirauqui and T'ai Smith that shed critical light on Albers and her career. The new edition of On Weaving is available for pre-order at

Josef Albers
Tenayuca I, 1942
oil on masonite
20 x 35 3/4 in. (50.8 x 90.8 cm)

Josef Albers's "Tenayuca I" rediscovered

The nuances of Josef Albers's Tenayuca I in person are startling: the two shades of red in soft brush strokes, the hot pink border and thin stripe of white, the gentle grays animating the white shapes (which are the ground peeping through—Albers used a house paint before acrylic gesso became widely available). The painting is new to the Albers Foundation. For decades its existence was known to us only through a black-and-white photograph from a small Swiss archive. Every attempt to find the actual artwork failed. But it was a painting worth looking for: the Mesoamerican pyramid at Tenayuca was a subject of great interest to Albers. Tenayuca I was the first in a series of six works of the same title, along with numerous drawings, studies, and prints, and well over one hundred photographs taken of the site during journeys made to Mexico between 1935 and 1967. The painting was rediscovered early this year through a surprising correspondence with a private collector. Tenayuca I will be on view at the Solomon R. Guggenheim Museum, New York, this November in an exhibition exploring the work of Albers and his many visits to Mexico.

Three members of the Sinthian women’s agricultural collective are learning to weave, using locally produced cotton—some of it handspan in the village—thanks to artist-in-residence Johanna Bramble. Photo: Andrew Sequin

Albers Foundation celebrates the second anniversary of Thread

Thread, the cultural center and artists' residency in Sinthian, Senegal, celebrates its second anniversary. Since opening in 2015, the center has hosted 36 different artists from Africa, the Caribbean, Europe and the United States, most of whom have engaged with the Sinthian community by offering workshops, learning local techniques, or collaborating on site-specific projects.

Thread is also an important venue in the village for markets, study halls, cultural performances, meetings, and agricultural training. The latter has already had a profound impact on life in the village; a collective of 140 local women are using the skills they learned at Thread to grow enough food for their families to last throughout the dry season, and are earning income from the surplus, too.

The Albers Foundation and its philanthropic affiliate Le Korsa, which focuses on medical and educational facilities in rural Senegal, support Thread and bring together creative resources to help alleviate challenges of the region. For more information, visit and

New Greek and Japanese editions of Josef Albers's Interaction of Color join the numerous translations of the book.

New Greek and Japanese editions of Interaction of Color are now available

Josef Albers's landmark Interaction of Color was first published in 1963 by Yale University Press, followed by a pocket edition in 1971. Since then, the book has been translated into German, Finnish, Japanese, Estonian, French, Spanish, Swedish, Italian, Norwegian, Hungarian, Portuguese, Chinese, and Korean paperback editions—all still in print—and now for the first time in Greek (Antiyle 2016). The new Japanese Interaction of Color is a fiftieth anniversary edition, including additional full-color plates (BNN, Inc., 2016). In 2017 a Russian-language edition will be printed, bringing the total number of translations to fifteen. The digital version of Interaction of Color, published by Yale University Press in 2013, continues to be available as a mobile app for iPad ( More information on the history of Interaction of Color is available here.

Josef and Anni Albers are pictured aboard the S.S. Europa in New York City, Nov. 25, 1933, as they arrived from Germany. (AP Photo) © 2017 Associated Press

We do not come first.

We are patriotic Americans who run two nonprofit organizations based on the premise that all people, everywhere, have equal rights to the benefits of earthly life. We deplore nationalism, racism, and sexism. The Josef and Anni Albers Foundation does its best to make the glories of great art available to everyone, everywhere. The Alberses—refugees from Nazi Germany for whom the US was a haven—revealed the wonders of color, textiles, and artistic process so that they could be enjoyed all over the planet. Le Korsa—our organization in Senegal—provides medical care, education, nutrition, and cultural enrichment to our African friends in some of the poorest and most isolated regions of the world, where living conditions are arduous. Our Women's Health Center in Dakar enables a large female population to have whatever care they desire. We are currently building a school, graced by the local Marabout, in a Muslim village on the far side of the Gambia River where there has never before been a school of any sort; it will teach boys and girls together, as the villagers have requested, and enable them to advance in splendid new ways.

To us, being American means not putting ourselves first, but using the privileges we have to serve our fellow human beings by making their needs our priority. We work to serve our extraordinary colleagues—in museums from Oslo to Lima, in the hospitals and villages of West Africa—because Everyone comes first.

The Josef and Anni Albers Foundation (
Le Korsa ( and