{"id":132826,"date":"2019-01-17T14:06:41","date_gmt":"2019-01-17T19:06:41","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=132826"},"modified":"2019-01-17T14:50:16","modified_gmt":"2019-01-17T19:50:16","slug":"anni-alberss-many-threaded-masterpieces","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/17\/anni-alberss-many-threaded-masterpieces\/","title":{"rendered":"Anni Albers\u2019s Many-Threaded Masterpieces"},"content":{"rendered":"

Weaving is a tradition older than the concept of art itself, but in applying the realm of abstraction to a handloom, Anni Albers created thoroughly modern studies in textiles. Although she initially wanted to paint, the nominally egalitarian structure of the Bauhaus, where she studied, pushed her toward more \u201cfeminine\u201d forms of expression, and she enrolled in a textiles workshop. She found joy in weaving as a \u201ccraft which is many-sided.\u201d \u201cLike any craft,\u201d she writes in a 1937 essay, \u201cit may end in producing useful objects, or it may rise to the level of art.\u201d She often plotted out her designs on paper before turning to the loom. And just like the weavers before her, Albers was committed to passing on her knowledge. She\u00a0wrote an instructional book,\u00a0<\/em>On Weaving, and taught classes at Black Mountain College and Yale University along with her husband, the artist Josef Albers<\/em>.<\/em> Her ambitious, carefully woven constructions are feasts for the eyes, though she maintained that they were \u201conly to be looked at\u201d; their lustrous stitches ask to be touched.\u00a0A major exhibition of Albers\u2019s work<\/a>\u00a0is on view at the Tate Modern through January 27. Below, we present a selection of images from the book<\/em>\u00a0Anni Albers<\/a>, which accompanies the<\/em>\u00a0show.<\/em><\/p>\n

 <\/p>\n

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With Verticals<\/em>, 1946. Cotton and linen 154.9 x 118.1 cm. Photo: Tim Nighswander\/Imaging4Art. \u00a9 2018 The Josef and Anni Albers Foundation\/Artists Rights Society (ARS), New York\/DACS, London.<\/p><\/div>\n

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\"\"<\/a>

Study for Camino Real<\/em>, 1967. Gouache on graph paper, 44.4 x 40.6 cm. Photo: Tim Nighswander\/Imaging4Art. \u00a9 2018 The Josef and Anni Albers Foundation\/Artists Rights Society (ARS), New York\/DACS, London.<\/p><\/div>\n

<\/p>\n

 <\/p>\n

\"\"<\/a>

Study for DO I<\/em>, 1973. Gouache on diazotype photographic paper, 48.3 x 43.5 cm. Photo: Tim Nighswander\/Imaging4Art. \u00a9 2018 The Josef and Anni Albers Foundation\/Artists Rights Society (ARS), New York\/DACS, London.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Haiku<\/em>, 1961. Cotton, hemp, metallic thread, and wool. 57.2 x 18.4 cm. Photo: Tim Nighswander\/Imaging4Art. \u00a9 2018 The Josef and Anni Albers Foundation\/Artists Rights Society (ARS), New York\/DACS, London.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Study for Triadic II<\/em>, 1969. Gouache on blueprint paper, 43.2 x 55.9 cm. Photo: Tim Nighswander\/Imaging4Art. \u00a9 2018 The Josef and Anni Albers Foundation\/Artists Rights Society (ARS), New York\/DACS, London.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Red and Blue Layers<\/em>, 1954. Cotton, 61.6 x 37.8 cm. Photo: Tim Nighswander\/Imaging4Art. \u00a9 2018 The Josef and Anni Albers Foundation\/Artists Rights Society (ARS), New York\/DACS, London.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Triadic Dr. I<\/em>, 1968. Ink and pencil on paper, 36.8 x 48.6 cm. Photo: Tim Nighswander\/Imaging4Art. \u00a9 2018 The Josef and Anni Albers Foundation\/Artists Rights Society (ARS), New York\/DACS, London.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Design for a 1926 unexecuted wall hanging, n.d. Gouache with pencil on reprographic paper, 38.4 x 25 cm. Photo: Tim Nighswander\/Imaging4Art. \u00a9 2018 The Josef and Anni Albers Foundation\/Artists Rights Society (ARS), New York\/DACS, London.<\/p><\/div>\n

 <\/p>\n

From the book <\/em>Anni Albers<\/a>,<\/em> edited by Ann Coxon, Briony Fer, and Maria M\u00fcller\u2011Schareck, published by Yale University Press in association with Tate in August 2018. Reproduced by permission.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cLike any craft,\u201d Albers writes of weaving, \u201cit may end in producing useful objects, or it may rise to the level of art.\u201d<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[47233,21455,34609,35,1776,47230,17584,10716,47231,4524,11922,47232,7938,28277,24825,47234],"class_list":["post-132826","post","type-post","status-publish","format-standard","hentry","category-look","tag-abstract-art","tag-abstraction","tag-anni-albers","tag-art","tag-bauhaus","tag-handloom","tag-josef-albers","tag-look-3","tag-loom","tag-modernism","tag-modernity","tag-stitches","tag-tate-modern","tag-threads","tag-weaving","tag-weimar"],"acf":[],"yoast_head":"\nAnni Albers\u2019s Many-Threaded Masterpieces by The Paris Review<\/title>\n<meta name=\"description\" content=\"\u201cLike any craft,\u201d Albers writes of 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