Anni Albers


Born in Berlin at the turn of the 20th century, Anni Albers was not only a weaver, but also an inspiring artist, designer, teacher and author. Her life and work took her from Berlin to Weimar and Dessau, where she was a vital member of the textile workshop at the Bauhaus. In 1933, together with her husband, the painter Josef Albers, she escaped Nazi Germany and moved to the United States, where both became influential teachers at Black Mountain College in North Carolina, a school that would become celebrated for its experimental, interdisciplinary approach. From 1950 until her death in 1994, Anni lived near New Haven in rural Connecticut, weaving (until the late 1960s), travelling, teaching and writing well into old age.

About the Artist (National Museum of Women in the Arts)

Anni Albers, the most influential 20th-century textile designer, fearlessly experimented and blurred traditional boundaries between art and craft. Akin to her distinctive “pictorial weavings,” Albers interwove her talents as an artist, designer, writer, and teacher to compose a richly textured 60-year career. After periods of creatively stifling training under Impressionist painter Martin Brandenburg, who forbade Albers from using the color black, and at the School of Applied Arts, where she tired of designing floral wallpaper, Albers attended the pioneering Bauhaus. The Bauhaus enrolled Albers in the only workshop open to female students—weaving. Albers considered textiles “too sissy, like needlepoint and the other things . . . ladies do,” but grew to embrace the medium and created “pliable planes” of richly colored, complex abstract compositions. Albers combined natural and synthetic fibers and incorporated non-traditional materials into her work. While attending the Bauhaus, the artist met painters Josef Albers (whom she married in 1925), Wassily Kandinsky, and Paul Klee. In 1933, the Albers couple moved to North Carolina to escape the Nazi regime and teach at Black Mountain College. Albers taught there until 1949, the year she became the first weaver to have a solo exhibition at the Museum of Modern Art in New York (MoMA). In 1963, after “endless years spent at the loom,” Albers took up lithography and screen printing, further exploring the interplay between dynamic patterns and bold color combinations. Albers’s impact on the art and design world remains intact.


“We must find our way back to simplicity of conception in order to find ourselves. For only by simplicity can we experience meaning, and only by experiencing meaning can we become qualified for independent comprehension.” ~ Anni Albers, Color Field, 2016

“The conscientious designer, does not himself design at all but rather give the object-to-be a chance to design itself.” Anni Albers, 1958. From the Tate website, also linked below.

“All progress, so it seems, is coupled to regression elsewhere. We have advanced in general, for instance, in regard to verbal articulation — the reading and writing public of today is enormous. But we have grown certainly increasingly insensitive to our perception of touch — the tactile sense.” Anni Albers, 1965. From the Tate article



Lecture at Yale University ca. 1958


On her approach to teaching


Wall Hanging, 1926. Mercerized cotton, silk 2032 x 1207 mm.

With Verticals, 1946. Red cotton and linen 1549 x 1181 mm.

Ancient Writing, 1936. Cotton and rayon 1505 x 1118 mm.

Designed 1926/27, woven 1965 Artist: Designed by Anni Albers (American, born Germany, 1899–1994) Woven by Gunta Stölzl (German, 1897–1983) Originally produced by the Bauhaus Weaving Workshop (Germany, 1919–1933)

Anni Albers, Detail and full view of “Dotted,” 1959, wool. Collection Museum of Fine Arts, Boston. © 2018 The Josef and Anni Albers Foundation/ARS, NY.

![Who is Anni Albers? – Who Are They? Tate Kids](

Anni Albers Untitled 1969 National Museum of Women in the Arts

Untitled I Silkscreen on paper 26 x 20 inches (sheet size); 24 1/8 x 18 3/4 inches (image size) 1963

On Weaving PDF

Notebook Sketches

Museum Tour

collection of Anni Albers’s works from Moma.

recorded lecture on Zoom by Fritz Horstman about Anni Albers’s significant contributions to art and design (48 mins)


Bridget Riley

Bridget Riley

Quotes & Articles

“Perception is the Medium,” Bridget Riley, ARTNews 1965

“To begin with, I have never studied “optics” and my use of mathematics is rudimentary and confined to such things as equalizing, halving, quartering and simple progressions. My work has developed on the basis of empirical analyses and syntheses, and I have always believed that perception is the medium through which states of being are directly experienced”

Focusing isn’t just an optical activity, it is also a mental one. ^ Exhibition checklist from Zwirner retrospective in 2015

Riley quotes from Paul Klee’s The Thinking Eye (translated 1961), which she cites as ‘one of my bibles in the 1960s’, continuing: ‘This particular paragraph struck a very powerful chord: “My freedom thus consists in my moving about within the narrow frame that I have assigned myself for each one of my undertakings. I shall go even further: my freedom will be so much the greater and more meaningful, the more narrowly I limit my field of action and the more I surround myself with obstacles. Whatever diminishes constraint diminishes strength. The more constraints one imposes, the more one frees oneself of the chains that shackle the spirit.” I think that’s a very beautiful piece, and it became a guiding principle.’ Gombrich responds with a quotation from a sonnet by Goethe, which concludes: ‘Accepting limits will reveal the master, and nothing but the law can give us freedom.’

Smiling, Riley insists that “Nature is much better than anything I can do.”


![Bridget Riley The Hermaphrodite](

Over by Bridget Riley, 1966

Rustle 6 by Bridget Riley, 2015

Bridget Riley videos

Series of videos from an exhibition at Southbank Centre (2019-20)

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Hind Al Saad To Everyone12:14:49 AM

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I have used this site to create a palette from photos.  It is amazing how a photo of nature or the real world creates such pleasing palettes: