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Anni Albers
Wallhanging, 1925
silk, cotton, and acetate
57 x 36 1/8 in. (145 x 92 cm)
Die Neue Sammlung, Munich

2019 Munich

Reflex Bauhaus. 40 Objects–5 Conversations marks the hundredth anniversary of the Bauhaus, featuring important Bauhaus objects in dialog with contemporary art. In 1925, the year Die Neue Sammlung was established, the Bauhaus left Weimar for Dessau. Die Neue Sammlung was one of the first museums to acquire contemporary Bauhaus works that are today considered icons of modern design. Pieces from this period include textiles by Anni Albers and Gunta Stölzl, toys by Alma Buscher and Ludwig Hirschfeld-Mack, and works in metal by Otto Rittweger and Wilhelm Wagenfeld. Further acquisitions were made until recently, adding important works to the collection of historical objects, many of which are on view for first time.

2019 Vienna + Stuttgart

2019 Aachen, Germany

Josef Albers
Study to Homage to the Square: Early Air, 1955
oil on masonite
24 x 24 in. (61 x 61 cm)
Kaiser Wilhelm Museum Krefeld

2019 Krefeld, Germany

Von Albers bis Zukunft. Auf den Spuren des Bauhauses marks the centenary of the Bauhaus by tracing its multifaceted influence through works by Bauhaus masters and students including Vasily Kandinsky, Paul Klee, Lázló Moholy-Nagy, Lyonel Feininger, Josef Albers, Georg Muche, Gerhard Marcks, and Fritz Winter, among others. Thematic galleries extend from this historical nucleus and consider precursors such as the German Werkbund as well as related art movements like De Stijl and Constructivism.

Anni Albers
Fox I, 1972
photo offset
sheet: 24 x 20 in. (61 x 50.8cm)
Josef Albers
Full, 1962
from the portfolio Homage to the Square: Ten Works by Josef Albers
screenprint
sheet: 16 1/2 x 16 1/2 in. (41.9 x 41.9 cm)

2019 Hartford, Connecticut

The Bauhaus Spirit celebrates the 100th anniversary of the Bauhaus, a pioneering German art and design school, and its early impact and lasting influence. A legendary movement that has come to symbolize Modernism, Bauhaus spirit is expressed throughout the Wadsworth's collection in art, furniture, and architectural design. Learn about the principles that revolutionized art and design in the early 1900s and have lasted a century.

Anni Albers
Orange, Black and White, 1926/1965
silk and cotton
70 5/8 x 48 1/8 in. (179.4 x 122.2 cm)
Art Institute of Chicago, 1970.343

2019 Chicago

Weaving beyond the Bauhaus traces the diffusion of Bauhaus artists, or Bauhäusler, such as Anni Albers and Marli Ehrman, and their reciprocal relationships with fellow artists and students across America. Through their ties to arts education institutions, including Black Mountain College, the Institute of Design, the Illinois Institute of Technology, and Yale University, these artists shared their knowledge and experiences with contemporary and successive generations of artists, including Sheila Hicks, Else Regensteiner, Ethel Stein, Lenore Tawney, and Claire Zeisler, shaping the landscape of American art in the process.

Anni Albers
Triangulated Intaglio II, 1976
single-color copper plate etching and aquatint
sheet: 24 x 20 in. (61 x 50.8 cm)
1994.11.37
Josef Albers
Gray Instrumentation Ia, 1974
screenprint
11 x 11 in. (48.3 x 48.3 cm)
1976.4.225.1

2019 Canberra, Australia

Lichtenstein to Warhol: The Kenneth Tyler Collection displays exceptional works by major artists active in America in the post-war period. Artists include Anni and Josef Albers, Helen Frankenthaler, Jasper Johns, Roy Lichtenstein, Joan Mitchell, Robert Motherwell, Robert Rauschenberg, Donald Sultan, Andy Warhol, Frank Stella, Claes Oldenburg, Nancy Graves and David Hockney.

Josef Albers
Color study for a Homage to the Square, n.d.
oil and pencil on blotting paper
13 1/8 x 12 in. (33.5 x 30.6 cm)
1976.2.75

2019 Bellinzona, Switzerland

Josef Albers. Anatomia di «Omaggio al Quadrato» traces the genesis of a twentieth-century icon, the Homage to the Square, through a mainly unpublished sequence of Josef Albers's oil paintings, prints, and sketches.

Anni Albers
Tapestry, 1948
handwoven linen and cotton
16 1/2 x 18 3/4 in. (41.9 x 47.6 cm)
Museum of Modern Art, New York

2019 New York

Taking a Thread for a Walk considers ancient textile traditions, early-20th-century design reform movements, and industrial materials and production methods. In 1965 Anni Albers wrote, "Just as it is possible to go from any place to any other, so also, starting from a defined and specialized field, can one arrive at a realization of ever-extending relationships . . . traced back to the event of a thread."

Such events quietly brought about some of modern art's most intimate and communal breakthroughs, challenging the widespread marginalization of weaving as "women's work." In Albers's lifetime, textiles became newly visible as a creative discipline—one closely interwoven with the practices of architecture, industrial design, drawing, and sculpture. A key driver for the development of new languages for woven forms was the emergence of interdisciplinary educational institutions such as the Bauhaus school of art and design, Cranbrook Academy of Art, and Black Mountain College. These schools championed experiential learning—or learning through doing—an approach that had been in part inspired by progressive early-childhood teaching models of the nineteenth century.

Featuring adventurous combinations of natural and synthetic fibers and spatially dynamic pieces that mark the emergence of more a sculptural approach to textile art beginning in the 1960s, this show highlights the fluid expressivity of the medium.

Josef Albers
Affectionate (Homage to the Square), 1954
oil on masonite
32 x 32 in. (81.3 x 81.3 cm)
Centre Pompidou

2019 Paris

Points de Rencontres is the result of the first season of the Centre Pompidou's Accelerations Endowment Fund. The exhibition presents seven works destined to enter the collection of the Pompidou, made by seven artists in residence in partner companies. The works recently created by Hubert Duprat, Lionel Esteve, Alexandre Estrela, Agnès Geoffray, Jonathan Monk, Camila Oliveira Fairclough and Bruno Serralongue interact with a selection of modern and contemporary works from the Pompidou's collection, including Josef Albers, Brassaï, Sonia Delaunay, and Paul Klee, among others. Emotion is a common theme, from laughter to tears, from love to hate.

Anni Albers
Drawing for a Rug II, 1959
gouache on photostat photographic paper
9 1/8 x 22 1/16 in. (23.1 x 56 cm)
1994.10.17

2019 Krefeld, Germany

Folklore and Avant-Garde: The Reception of Popular Traditions in the Age of Modernism examines the avant-garde's interest in local, popular traditions—in particular folk art and handicrafts—and their effect on the development of modernism in Europe and North America. Featured artists include Anni and Josef Albers, Natalia Goncharova, Wassily Kandinsky, Johannes Itten, Marsden Hartley, Charles Sheeler, and Georgia O'Keeffe, among others, and includes folk art from the artists' own collections.

Anni Albers
Play of Squares, 1955
wool and linen
34 1/2 x 24 1/2 in. (87.6 x 62.2 cm)
Currier Museum of Art, New Hampshire

2019 Portland, Maine

In the Vanguard: Haystack Mountain School of Crafts, 1950–1969 explores how an experimental school in rural Maine transformed art, craft, and design in the twentieth century and helped define the aesthetics of the nation's counterculture. The artists of the school's early years—Anni Albers, Dale Chihuly, Robert Ebendorf, Jack Lenor Larsen, M.C. Richards, and Toshiko Takaezu—contributed to a dynamic community of craftspeople who broke new ground across a wide range of media. The exhibition features more than ninety works of art, including textiles, ceramics, glass, metalwork, paintings, and prints, as well as newly discovered correspondence, photographs, brochures, posters, and magazine articles from the Haystack archive.

Josef Albers
Homage to the Square, 1961
oil on masonite
18 x 18 in. (45.7 x 45.7 cm)

2020 New York

The Responsive Eye Revisited, pays tribute to the Museum of Modern Art's 1965 exhibition entitled The Responsive Eye. Emphasizing the wonders of the perceptual and cognitive experiences created by abstraction, The Responsive Eye Revisited spotlights the ongoing, boundless impact of abstract art.

In the climate of the mid-1960s, the original exhibition generated widespread discussion about the value of viewer interaction in contemporary art. The Responsive Eye looked to the future—the artists aimed to break free from the boundaries of the past, charged with the prospect of art's ability to do the unprecedented. Including a range of materials, they rejected the exclusive notion that art is an extension of its creator's inner sentiments, and gave precedence to the viewer's unique and intimate interactions with a work of art.

The Responsive Eye Revisited, alternatively, looks to the past while remaining firmly grounded in the present. The exhibition includes a selection of works by contemporary artists—Beverly Fishman, Warren Isensee, Markus Linnenbrink, and Patrick Wilson—alongside artists who themselves participated in the original exhibition or were active in the decades in-between, including Josef Albers, Karl Benjamin, Gene Davis, Lorser Feitelson, Frederick Hammersley, John McLaughlin, Kenneth Noland, and Al Held.