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1941 New York

1943 Raleigh

Installation view, Anni Albers: Textiles, Museum of Modern Art, New York, 1949. Photo: Soichi Sunami. Courtesy of the Museum of Modern Art, New York
Installation view, Anni Albers: Textiles, Museum of Modern Art, New York, 1949. Photo courtesy of the Museum of Modern Art, New York

1949 New York

Anni Albers: Textiles was the first solo exhibition of a textile artist at the Museum of Modern Art. Organized by the architect Philip Johnson, who was head of the architecture department at the museum, the show featured Anni Albers's pictorial weavings, draperies, upholstery, and dress materials, together with her educational experiments using paper, corn, grass, and string. The show emphasized the artistry of her work and experimental use of materials, as well as her analytical approach to form and function and its importance to modern design.

From the press release: "Her intimate contact with the craft of weaving has enabled her to vary and to extend the usefulness of textiles far beyond the traditional. Apart from curtain fabrics, rugs, and upholstery materials, she has experimented with almost everything from woven paintings to stiff woven screens designed as architectural elements for modern buildings. Her background has given her a clear understanding of the principles of modern architecture and has thus enabled her to produce textiles that are an integrated part of modern living space."

The exhibition traveled to Newark Museum, Newark, New Jersey, 19 January–9 February 1950; Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, 23 February–13 March 1950; The Settlement School, Getlinburg, Tennessee, 9–30 June 1950; Germanic Museum, Harvard University, Cambridge, Massachusetts, 3–31 October 1950; Northwestern University, Evanston, Illinois, 14 November–5 December 1950; Baltimore Museum of Art, Baltimore, Maryland, 19 December 1950–9 January 1951; State Teachers College, Paterson, New Jersey, 23 January–13 February 1951; Newcomb Art School, Tulane University, New Orleans, Louisiana, 27 February–20 March 1951; M.I.T., Cambridge, Massachusetts, 3–24 April 1951; William A. Farnsworth Library and Art Museum, Rockland, Maine, 5–29 May 1951; Florida State University, Tallahassee, Florida, 15 June–5 July 1951; Louisville Free Public Library, Louisville, Kentucky, 4–25 September; Western State College, Gunnison, Colorado, 28 October–18 November 1951; Eastern Illinois State College, Charleston, Illinois, 2–23 December 1951; University of Manitoba, Winnipeg, Canada, 8–29 January 1952; The Albright-Knox Art Gallery, Buffalo, New York, 15 February–7 March 1952; David Strawn Art Gallery, Jacksonville, Illinois, 19 March–9 April 1952; University of Florida, Gainesville, Florida, 23 April–14 May 1952; Currier Gallery of Art, Manchester, New Hampshire, 2–23 June 1952; Brooks Memorial Gallery, Memphis, Tennessee, 1–22 October 1952; Skidmore College, Saratoga Springs, New York, 6–27 November 1952; Louisiana Polytechnic Institute, Ruston, Louisiana, 11 December 1952–2 January 1953; Pennsylvania State College, State College, Pennsylvania, 14 January–4 February 1953; Berea College, Berea Kentucky, 18 February–11 March 1953; Illinois State Normal University, Normal, Illinois, 25 March–15 April 1953; Indiana University, Bloomington, Indiana, 29 April–19 May 1953

1953 Hartford, Connecticut

1954 Honolulu, Hawaii

Installation view, Anni Albers: Pictorial Weavings, MIT New Gallery, 1959
Installation view, Anni Albers: Pictorial Weavings, MIT New Gallery, 1959
Installation view, Anni Albers: Pictorial Weavings, MIT New Gallery, 1959
Installation view, Anni Albers: Pictorial Weavings, MIT New Gallery, 1959
Anni Albers
With Verticals, 1946
cotton and linen
61 × 46.5 in. (154.9 × 118.1 cm)
2004.12.1

1959 Cambridge, Massachusetts

Anni Albers: Pictorial Weavings featured twenty-nine of Albers's pictorial weavings, the majority of which were created in the 1950s. The traveling exhibition represented the first comprehensive display of these works to date.

"Though some of the earliest weavings unearthed after thousands of years have the magic of things not yet found useful and later periods have shown us weaving as art, thousands of years of establishing and expanding the usefulness of woven materials have made us see in them first something to be worn, walked on, sat upon, to be cut up, sewn together again, in short, largely something no longer in itself fulfilled.

To let threads be articulate again and find a form for themselves to no other end than their own orchestration, not to be sat on, walked on, only to be looked at, is the raison d'étre of my pictorial weavings."

—Anni Albers, from the catalogue for the exhibition

1969 Cambridge, Massachusetts

1970 New Haven

1971 Bridgeport, Connecticut

1973 Toronto

1975 Düsseldorf

1977 Ann Arbor, Michigan

1977 New York

1977 New York

1978 Katonah, New York

1978 Toronto

1979 Hartford, Connecticut

1979 Lincroft, New Jersey

1979 New York

1980 Ann Arbor, Michigan

1980 Morristown, New Jersey

1980 Riverside

1980 Waterbury, Connecticut

1982 New Canaan, Connecticut

1983 Bridgeport, Connecticut

1984 New Haven

1985 Chicago

1985 Washington D.C.

1989 Munich

1990 New York

1998 Bern

Under Way, 1963
cotton, linen, and wool
29 1/8 x 24 1/8 in. (74 x 61.2 cm) Hirshhorn Museum and Sculpture Garden, Smithsonian Institution 86.28
Thickly Settled, 1957
cotton and jute
31 x 24 3/8 in. (78.7 x 62 cm)
Yale University Art Gallery 1972.83
Anni Albers
Black-White-Gold I, 1950
cotton, lurex, jute
25 x 19 in. (63.8 x 48.3 cm)
1996.12.1

1999 Venice

Anni Albers was the first major retrospective of Anni Albers's work, organized on the hundredth anniversary of her birth. The exhibition featured a wide selection of Albers's weavings, drapery materials, and wall coverings, as well as the preparatory studies and graphic works that accompanied them. Of the approximately seventy individual weavings that she produced, about thirty-five of these were on display, including the five extant Bauhaus period wall hangings which were exhibited together for the first time. Her most important commission, Six Prayers, 1966–67 (Jewish Museum, New York) was a focal point. In addition, the exhibition reproduced some of the jewelry that Anni Albers made at Black Mountain College in the 1940s, when she used safety pins, paper clips, upholstery springs, sink strainers, angle braces, and other ordinary objects from hardware stores in transformative arrangements as pendants or necklaces.

The exhibition catalogue, titled Anni Albers, (Guggenheim Publications, New York, 184 pp.) includes a personal memoir of the artist by Nicholas Fox Weber; essays by Virginia Gardner Troy, Kelley Feeney and Jean-Paul Leclercq; a selection of writings by the artist, and an extensive biography by Pandora Tabatabai Asbaghi. The catalogue is the most comprehensive publication on the artist currently in print.

2001 Middletown, Connecticut

2002 Auckland, New Zealand

2004 New York

2004 Tokyo

2006 Madrid

[FULL TEXT FOR SUB HEADLINE] Museo Nacional Centro de Arte Reina Sofia, Anni y Josef Albers. Viajes por Latinoamérica, 14 November 2006–12 February 2007. Exhibition traveled to Josef Albers Museum, Bottrop, Germany, 11 March–3 June 2007 [Anni und Josef Albers: Begegnung mit Lateinamerika]; Museo de Arte de Lima, Peru, 27 June–23 September 2007; Antiguo Colegio de San Ildefonso, Mexico City, Mexico, 6 November 2007–23 March 2008; Museu Oscar Niemeyer, Curitiba, Paraná, Brazil, 29 May–24 August 2008 [Anni e Josef Albers: Viagens pela América Latina]

2010 London

2010 London

2010 Ruthin, Wales

Anni Albers, Mitla, Mexico, 1936–37
photograph by Josef Albers
1976.19.5729
Josef Albers, Mitla, Mexico, 1939
photograph by Anni Albers or William Reed
1976.19.12114
Anni Albers
Study for Camino Real, ca. 1967
gouache on blueprint paper
sheet: 17 5/8 x 15 7/8 in. (44.8 x 40.3 cm)
1994.10.21
Josef Albers
Familiar Front, 1948–52
oil on masonite
13 3/4 x 21 in. (33 x 53.3 cm)
1976.1.1383
Josef Albers
Layered, 1940
oil on masonite
23 1/2 x 28 in. (59.7 x 71.1 cm)
1976.1.1032
Anni Albers
Two, 1952
linen, cotton, rayon
18 1/2 x 40 1/4 in. (47 x 102.2 cm)
1996.12.3
Anonymous
Andean textile fragment (Late Horizon)
1994.16.97
Andean textile fragment (Huari)
wool
8 3/4 x 4 5/8 in. (22.2 x 11.7 cm)
1994.16.6

2015 Milan

A Beautiful Confluence: Anni and Josef Albers and the Latin American World presents the art of the 20th-century masters in tandem with the pre-Columbian objects they collected from the time they moved to America in 1933 until Josef's death in 1976. In fourteen trips to Mexico and other countries in Central and South America, they discovered that "Art is everywhere." The Alberses felt an emotional camaraderie with stonecutters and potters and weavers, some of whom lived centuries ago, because of a shared interest in line and color and artistic technique. With little money, the couple amassed an important collection, and the exchange between what they bought and their own work became powerful. This exhibition, featuring more than 200 objects, reveals the similar visual and artistic interests and personal passions of Anni and Josef and the Latin American world that became their haven. For more information, visit abeautifulconfluence.com

Selected Reviews

"Bauhaus below the Border" by Charles Darwent, The World of Interiors, December 2015

"Josef and Anni Albers' Latin American Road Trip" by Liam Freeman, AnOther, November 3, 2015

"Exhibition Tracks an Artistic Couple's Latin American Influences" by Alice Rawsthorn, The New York Times, October 29, 2015

"Anni and Josef Albers and the Pleasure of Pre-Columbian Art" by Pac Pobric, The Art Newspaper, October 28, 2015

Anni Albers
Drawing for a Rug II, 1959
gouache on paper
5 1/8 x 17 7/16 in. (13 x 44.3 cm)
1994.10.15
Anni Albers
Drawing for a Rug II, 1959
gouache on photostat
5 1/8 x 17 7/16 in. (13 x 44.3 cm)
1994.10.16
Anni Albers
Knot 3, 1947
watercolor on paper
16 1/2 x 19 3/4 in. (42 x 50 cm
1994.10.4
Anni Albers
Haiku, 1961
cotton, hemp, metallic thread, wool
22 1/2 × 7 1/4 in. (57.2 × 18.4 cm)
1994.12.6
Anni Albers
Study for an Unexecuted Wallhanging, 1926/1983
from the portfolio Connections
screenprint
sheet: 27 3/8 x 19 1/2 in. (69.5 x 49.5 cm)

2016 Wellesley, Massachusetts

Anni Albers: Connections considers Anni Albers's printmaking over the course of six decades. In 1984, Albers published Connections—a set of nine silkscreens that evoke pivotal moments in her prolific career. Reflecting on her life as a designer, she chose motifs for the prints based on her work from particular years: two from the 1920s, when Albers was at the Bauhaus and met her life­long partner and later husband Josef; two from the 1940s, when the couple taught at the experimental Black Mountain College in North Carolina after having fled Nazi Germany; three from the late 1950s to the early 1970s, after they resettled in Orange, Connecticut, and Josef served as Yale University's Chair of the Department of Design; and two from the early 1980s, after Josef's death. The exhibition pairs the Davis Museum's exquisite example of this silkscreen portfolio with Albers's work from each era, tracing the development of her patterns from sketches on graph paper to gouache maquettes. Preparatory works on paper are paired with fabric swatches and remnants manufactured by commercial textile producers.

Anni Albers
Second Movement II, 1978
etching and aquatint
28 × 28 in. (71.1 × 71.1 cm)
1994.11.49
Installation view, Anni Albers: L'Oeuvre Gravé, Musée des Beaux-Arts, Le Locle, 2017. Photo courtesy of Musée des Beaux-Arts
Installation view, Anni Albers: L'Oeuvre Gravé, Musée des Beaux-Arts, Le Locle, 2017. Photo courtesy of Musée des Beaux-Arts
Installation view, Anni Albers: L'Oeuvre Gravé, Musée des Beaux-Arts, Le Locle, 2017. Photo courtesy of Musée des Beaux-Arts
Installation view, Anni Albers: L'Oeuvre Gravé, Musée des Beaux-Arts, Le Locle, 2017. Photo courtesy of Musée des Beaux-Arts

2017 Le Locle, Switzerland

Anni Albers: L'Oeuvre Gravé presents a survey of prints by the artist. Albers turned her hand to printmaking in the 1960s and worked primarily in this medium until her death in 1994. Collaborating with some of the leading printers of the era she experimented with lithography, screen printing, embossing, woodcut, and various intaglio techniques. The exhibition is presented in collaboration with Alan Cristea Gallery, London.

Anni Albers, Mexico City, Mexico, 1936
photograph by Josef Albers
photographic negative
Anni Albers
Floating, 1980
photo offset
17 7/8 x 16 1/2 in. (45.4 x 41.9 cm)
1994.11.61
Anni Albers
Do I, 1973
screenprint
25 5/8 x 25 5/8 in. (65.1 x 65.1 cm)
1994.11.26
Anni Albers
Double Impression IV, 1978
photo offset print
sheet: 11 x 9 in. (27.9 x 22.8 cm)

2017 Milan

Anni Albers: The Prints focuses on works on paper by the artist, including lithographs, engravings, and silkscreen and other prints on paper from 1969 to 1978, as well as archival photographs of the artist. In the 1960s, Albers developed graphic techniques in printmaking—taking advantage of the processes of the medium and the mediation of machines—that were impossible in weaving. These prints were a celebration of the possibilities of her new realm. In her pivotal 1965 book "On Weaving" Albers wrote: "The more we avoid standing in the way of the material and in the way of tools and machines, the better chance we have that our work will not be dated, will not bear the stamp of too limited a period of time and be old fashioned some day . . . and it will outlast fashion only if it embodies lasting, together with transitory, qualities."

Anni Albers
Open Letter, 1958
cotton
23 × 24 in. (58.4 × 61 cm)
1994.12.4
Josef Albers
Study for a Variant, ca. 1947
oil and pencil on blotting paper
1976.2.270
Anonymous
Andean textile fragment (Chancay)
1994.16.21
Anonymous
Andean textile fragment (Huari or Early Chancay)
1994.16.74
Anonymous
Andean textile fragment (Late Horizon)
1994.16.97
Anni Albers
Red and Blue Layers, 1954
cotton
24 1/4 × 14 3/4 in. (61.6 × 37.8 cm)
1998.12.1
Josef Albers
Layered, 1940
oil on masonite
23 1/2 x 28 in. (59.7 x 71.1 cm)
1976.1.1032

2017 New Haven, Connecticut

Small-Great Objects: Anni and Josef Albers in the Americas examines intersections between the art-making and art-collecting strategies of the Alberses, two of the most influential figures of twentieth-century modernism. Between 1935 and 1967, the couple made numerous trips to Latin America and the American Southwest and amassed a large collection of ancient artworks from these regions. The exhibition looks at these objects in depth and considers how Anni and Josef's collection supported their aesthetic sensibilities and teaching practice. In addition to objects from the ancient Americas, the show gathers together dozens of works that the couple made, including textiles, paintings, works on paper, and rarely studied photographs that Josef took at archaeological sites and museums. Demonstrating the Alberses' deep and sustained engagement with ancient American art, an interest that was decades ahead of its time, Small-Great Objects explores a fascinating dimension of the couple's creative vision.

Anni Albers
Smyrna-Knüpfteppich, 1925/1983
from the portfolio Connections
screenprint
sheet: 27 3/8 x 19 1/2 in. (69.5 x 49.5 cm)

2017 Windsor, Connecticut

Harmony, curated by students at the Loomis Chaffee school, features screen prints, watercolor paintings, and lithographs by Josef and Anni Albers. In a statement, the students write: "In a world full of chaos and disorder, it can be hard at times to find a thread that is uniting. Differences in our preconceived ideas and critical views on society have formed many divisions, gaps that we often try to forcefully bridge with violence and hatred. However, by looking at things from multiple, different perspectives, we truly appreciate not only the amazing diversity we possess but also the many similarities that join us together. In our Harmony exhibit, we have tried to show how our perceptions, particularly of color, differ from person to person and can often times distort the truth. Each piece in the show also has a number of "supporting pieces" that link the Albers's art to other cultures or every day objects. These supporting pieces show how design elements can be universal, unlimited by culture or time. We hope that by reflecting upon the limitations and possibilities of your own point of view, you can take the time to admire our differences, find common ground, and strive to make a difference in society where, one day, we can all live in harmony.