1941 New York
1943 Raleigh


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





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



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








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





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.







Untitled, 1941
rayon, linen, cotton, wool, jute
21 × 46 in. (53.3 × 116.8 cm)
2012.12.1






2017 Bilbao, Spain
Anni Albers: Touching Vision presents a focused survey of the artist's key series over six decades of work, from her Bauhaus years to the late 1970s. Best known for her pioneering role in the field of textile or fiber art, her innovative treatment of warp and weft, and her constant quest for new patterns and uses of fabric, Albers was instrumental in redefining the artist as a designer. Her art was inspired by pre-Columbian folklore and modern industry, yet unhampered by conventional notions of craftsmanship and gender-specific labor. Albers studied at the Bauhaus in Weimar, where she met her husband, the painter Josef Albers, and eventually directed the weaving workshop in 1931. After the institution was closed by the Nazi party in 1933, Albers and her husband moved to North Carolina, where they were both hired to teach at a free-form school that would become a benchmark of modern American art, Black Mountain College. There Albers continued to combine her educational activity with artistic experimentation, while also authoring what are now considered seminal texts in the history of contemporary textile art. The exhibition reveals affinities and unifying threads that illustrate the influence and continued relevance of this unique artist's ideas. A selection of writings by the artist, translated for the first time into Spanish, is being published as a companion to the exhibition.





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.




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."


Study for a Variant, ca. 1947
oil and pencil on blotting paper
1976.2.270





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.

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.

1941 New York
Willard Gallery, Anni Albers and Alex Reed: Exhibition of Necklaces, 5 May–25 May 1941
1943 Raleigh
North Carolina State Art Gallery, State Library Building, Painting, Prints, and Textiles by Josef and Anni Albers, 18 October–29 October 1943
1949 New York
Museum of Modern Art, Anni Albers: Textiles, 14 September–30 October 1949. Exhibition traveled to twenty-six museums in the United States and Canada.
1953 Hartford, Connecticut
Wadsworth Atheneum, Josef and Anni Albers: Paintings, Tapestries and Woven Textiles, 8 July–2 August 1953
1954 Honolulu, Hawaii
Honolulu Academy of Art, Josef and Anni Albers: Painting and Weaving, 1 July–2 August 1954
1959 Cambridge, Massachusetts
MIT New Gallery, Anni Albers: Pictorial Weavings, 11 May–21 June 1959. Exhibition traveled to the Carnegie Institute of Technology, Pittsburgh; Baltimore Museum of Art; Yale University Art Gallery, New Haven, Connecticut, 10 December 1959–10 January 1960; and Contemporary Arts Museum, Houston
1969 Cambridge, Massachusetts
Retina Gallery, Anni Albers Lithographs and Screenprints 1963–1969, 24 October–15 November 1969
1970 New Haven
Earl Hall Gallery, Southern Connecticut State College, Anni Albers, 4 November–24 November 1970
1971 Bridgeport, Connecticut
Carlson Library, University of Bridgeport, Anni Albers: Lithographs and Screenprints, 20 January–28 February 1971
1973 Toronto
Pollock Gallery, Anni Albers: Drawings, Prints, Pictorial Weavings, 30 September–27 October 1973
1975 Düsseldorf
Kunstmuseum Düsseldorf, Anni Albers: Bildweberei, Zeichnung, Druckgrafik, 10 July–25 August. Exhibition traveled to Bauhaus-Archiv Berlin, 9 September–11 November 1975
1977 Ann Arbor, Michigan
Lantern Gallery, Anni Albers, 12 January–30 January 1977
1977 New York
Brooklyn Museum, Anni Albers: Drawings and Prints, 1 October–11 November 1977
1977 New York
Zabriskie Gallery, Anni Albers: Prints, 14 October–12 November 1977
1978 Katonah, New York
Katonah Gallery, Anni Albers: Graphics, 10 December 1978–14 January 1979
1978 Toronto
Pollock Gallery, Anni Albers: Recent Work, 21 October–3 November 1978
1979 Hartford, Connecticut
Joseloff Gallery, Hartford Art School, Graphic Work by Anni Albers, 3 October–26 October 1979
1979 Lincroft, New Jersey
Monmouth Museum, Brookdale Community College, Anni Albers: Prints, April 1979
1979 New York
Paul Klapper Library, Queens College, Anni Albers: Graphics, 5 March–30 March 1979
1980 Ann Arbor, Michigan
Alice Simsar Gallery, Anni Albers: Prints, 29 March–23 April 1980
1980 Morristown, New Jersey
Morris Museum of Arts and Science, Anni Albers: Evolving Systems, 17 February–3 March 1980
1980 Riverside
University Art Gallery, University of California Riverside, Anni Albers: Prints and Drawings, 25 February–28 March 1980
1980 Waterbury, Connecticut
Mattatuck Museum, Anni Albers: Prints, 3 January–13 January 1980
1982 New Canaan, Connecticut
Silvermine Gallery, Anni Albers: Prints, 9 January–7 February 1982
1983 Bridgeport, Connecticut
Carlson Gallery, University of Bridgeport, Anni Albers: Printmaker, 20 November–18 December 1983
1984 New Haven
Artists Signature Gallery, Anni Albers: Silkscreen Prints, 23 September–2 November 2 1984
1985 Chicago
Arts Club, Anni Albers: Prints; Ella Bergmann: Drawings; Ilse Bing: Photographs, September–October 1985
1985 Washington D.C.
Renwick Gallery, The Woven and Graphic Art of Anni Albers, 12 June 1985–5 January 1986
1989 Munich
Villa Stuck, Anni und Josef Albers: Eine Retrospektive, 15 December 1989–25 February 1990. Exhibition traveled to the Josef Albers Museum, Bottrop, Germany, 29 April–4 June 1990
1990 New York
Museum of Modern Art, Gunta Stölzl, Anni Albers, 15 February–10 July 1990
1998 Bern
Kunstmuseum Bern, Josef und Anni Albers: Europa und Amerika, 6 November 1998–31 January 1999
1999 Venice
Peggy Guggenheim Collection, Venice, Anni Albers, 24 March–24 May 1999. Exhibition traveled to the Josef Albers Museum, Bottrop, 12 June–29 August 1999; Musée des Arts Décoratifs, Paris, 20 September–31 December 1999; The Jewish Museum, New York, 27 February–4 June 2000
2001 Middletown, Connecticut
Davidson Art Center, Wesleyan University, Anni Albers: Works on Paper from The Josef and Anni Albers Foundation, 4 September–4 November 2001
2002 Auckland, New Zealand
Gus Fisher Gallery, Anni Albers: Works on Paper, 18 May–6 July 2002
2004 New York
Cooper-Hewitt, National Design Museum, Josef and Anni Albers: Designs for Living, 1 October 2004–27 February 2005
2004 Tokyo
Fuji Xerox Co. Print work by Anni and Josef Albers and their life at Black Mountain College, 2004
2006 Madrid
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; 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
2010 London
Alan Cristea Gallery, London, Anni Albers: Prints and Studies, 18 March–17 April 2010
2010 London
Design Museum, Anni Albers: Truth to Materials, 22 March–10 May 2010
2010 Ruthin, Wales
Ruthin Craft Centre, Anni Albers: Design Pioneer, 4 December 2010–6 February 2011
2015 Milan
Mudec, Museo delle Culture, A Beautiful Confluence: Anni and Josef Albers and the Latin American World, 28 October 2015–21 February 2016
2016 Wellesley, Massachusetts
Davis Museum, Wellesley College, Anni Albers: Connections, 28 September–18 December 2016
2017 Bilbao, Spain
Guggenheim Museum Bilbao, Anni Albers: Touching Vision, 6 October 2017–14 January 2018
2017 Le Locle, Switzerland
Musée des Beaux-Arts, Le Locle, Anni Albers: L'Oeuvre Gravé, 19 February–28 May 2017
2017 Milan
Galleria Carla Sozzani, Anni Albers: The Prints, 16 June–10 September 2017
2017 New Haven, Connecticut
Yale University Art Gallery, Small-Great Objects: Anni and Josef Albers in the Americas, 3 February–25 June 2017
2017 Windsor, Connecticut
Mercy Gallery, Loomis Chaffee School, Harmony, 25 April–30 May 2017