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Anni and Josef Albers at Black Mountain College, 1938. Photograph by Theodore Dreier

Due to Covid-19 many museums are closed; please check the websites of these institutions for information on closings and resources.

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
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.

Installation view, Out of Place: A Feminist Look at the Collection, Brooklyn Museum (2020). Photo: Jonathan Dorado

2020 Brooklyn, New York

Out of Place: A Feminist Look at the Collection presents artworks that defy conventional museum display and collecting frameworks. By featuring works that have routinely been seen as "out of place" in major museums—because of the artist's identity or their unorthodox approach to materials and subjects—the exhibition examines how artists can transform long-held cultural assumptions.

Out of Place showcases forty-four artists whose practices require a broader and more dynamic view of modern and contemporary art, including Anni Albers, Louise Bourgeois, Beverly Buchanan, Chryssa, Thornton Dial, Helen Frankenthaler, Lourdes Grobet, Betye Saar, Judith Scott, Carolee Schneemann, Joan Snyder, and Emmi Whitehorse. Over half the works are on view for the first time, including key collection objects and new acquisitions, such as highlights from the recent Souls Grown Deep Foundation Gift of art by Black artists of the American South, and a selection of American quilts.

Josef Albers
Interaction of Color, Folder 4:1, 1963
Published by Yale University Press

2020 Sweet Briar, Virginia

Josef Albers and the Interaction of Color showcases a collection of original silkscreen prints by the artist created for the book Interaction of Color. The book, composed of 150 silkscreen images, was first published in 1963 by Yale University Press. Interaction of Color is a manifestation of Albers's passion for exploring how colors work scientifically, subjectively and subconsciously. Albers developed the color series while teaching at Yale University Art School. He posed a series of questions to his students, and they responded by creating collages out of colored paper. The collages became the color blocks in the collection. The exhibition is designed to feel like one is walking through an open book. The interactive element of Albers's work with his students is carried through with the availability of iPads where visitors can use an app designed by Yale to move color blocks, as though they are working with paper cutouts in the classroom.

Josef Albers
Study for Homage to the Square: Early Diary, 1954
oil on masonite
Sheldon Museum of Art, Nebraska Art Association

2020 Lincoln, Nebraska

Small Abstractions: Highlights from Sheldon's Permanent Collection features small-scale works that give insight to a wide range of abstraction's visual vocabulary. These works offer close encounters with the materials and marks employed by various artists to create nonfigurative art. Featured artists include Josef Albers, Polly Apfelbaum, Burgoyne Diller, Morgan Russell, and Esphyr Slobodkina, among others.

Josef Albers
Never Before d, 1976
screenprint
sheet: 19 x 20 in. (48.3 x 50.8 cm)
1976.4.231.4
Josef Albers
Never Before i, 1976
screenprint
sheet: 19 x 20 in. (48.3 x 50.8 cm)
1976.4.231.9

2020 Jacksonville, Florida

Breaking Boundaries: The Vision of Jacqueline B. Holmes celebrates the legacy of the visionary art collector, consultant, and gallerist. Regarded as one of the first nationally recognized business women in the arts, Jacqueline B. Holmes occupies a special place in the history of the arts in Jacksonville, Florida. Holmes co-founded Jacksonville's first contemporary art gallery in 1962, and later co-founded what is known today as the Cultural Council of Greater Jacksonville, among many other initiatives. The exhibition highlights Holmes's personal collection of works spanning fashion, furniture, and fine art, honoring her contributions as a pioneering woman in the arts, and her dedication to the community in Jacksonville.

Anni Albers
DO V, 1973
screenprint
sheet: 25 5/8 x 25 5/8 in. (65.1 x 65.1 cm)
1994.11.30

2020 Berlin

31: Women references two groundbreaking presentations held at Peggy Guggenheim's New York gallery Art of This Century, the Exhibition by 31 Women, 1943, and The Women, 1945. The initiator and co-curator was Marcel Duchamp, who was Guggenheim's friend and advisor. These were the first exhibitions in the United States that focused, to this extent, exclusively on women artists. The women represented a young generation, from eleven different countries. In terms of content, representatives of Surrealism found themselves alongside abstract painters, Dada-influenced artists and previously unknown new trends.

Taking its lead from these important founding documents of feminist art history, the exhibition 31: Women, with some sixty works from the Daimler Art Collection, brings two longstanding emphases of the collection into sharper focus. The concentration on leading female figures in twentieth- and twenty-first-century art and the research and projects conducted since 2016 on Duchamp, curatorial practice, and the readymade. 31: Women begins, in historical terms, with works from the Bauhaus and concrete art traditions, moves on to European and American movements such as Zero and Minimalism, and then broadens the horizon with younger artists from India, South Africa, Nigeria, Chile, Israel, the United States, and other countries. The exhibition brings together early feminist trends and global perspectives of contemporary art in surprising constellations and thematic stagings.

Anni Albers
Black-White-Gold I, 1950
cotton, lurex, and jute
25 x 19 in. (68.3 x 48.3 cm)
1996.12.1

2020 New Britain, Connecticut

In Thread and On Paper explores the groundbreaking work and writing that Anni Albers produced in Connecticut from the 1950s through the end of her life in 1994. The exhibition includes an extensive body of textiles, wall hangings, commercial collaborations, and works on paper.

Josef and Anni Albers at Black Mountain College, 1949. Photo: Theodore Dreier

Due to Covid-19 many museums are closed; please check the websites of these institutions for information on closings and resources.