[Image: Anni Albers, On Weaving: New Expanded Edition. Princeton University Press, 2017]
Anni Albers (1899-1994) was one of the most respected and innovatory figures in the modern craft movement. She studied at the Bauhaus in the 1920s, where she met her future husband Josef Albers, a teacher there. (Josef Albers, a pioneering abstract painter, was an influential teacher, especially on the subject of colour.) In 1933 the couple moved to teach in the USA, first at Black Mountain College and later at Yale. In later years, living in Connecticut, she produced tapestries and weavings, as well as writing articles and books on design and textiles. She was the first designer to have a one-person exhibition at MoMA (in 1949) and became recognised as one of the pre-eminent designers of the Modern era. Two new publications give us an insight into her ideas and practice.
Anni Albers’s worked by weaving on hand-looms, producing designs which used the natural qualities of materials and a limited palette to produce (mainly) hard-edge abstract patterns. Frequently in her designs, simple geometric shapes on small scale are expanded over large areas. In her wall-hangings, she took care over having borders that complemented and also completed central designs. Triangles provide textural “tooth” and indicate visual dynamic flow. Her colours are usually restrained and are rarely more than two or three per design. She had a preference for white, black, grey and muted reds. She produced many striking and sophisticated wall-hangings (illustrated in On Weaving) and was a skilled designer of original artist’s prints, especially silkscreens and lithographs.
[Image: Anni Albers, Vicara Rug I, 1959. Executed by Inge Brouard Brown. Vicara, wool, and cotton, 60 1/4 x 40 in. (153 x 101.6 cm). Neues Museum Nuremberg. © 2018 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York]
On Weaving, originally published in 1965, is a newly revised and expanded version of a classic text on the theory and history of weaving. Albers explains the principles and problems of weaving, drawing on her extensive research and expertise. She covers the manipulation of warp and weft, looks at the different looms and battens, reeds and other paraphernalia of the loom-weaver’s craft. Other topics include draft notation, weave variations, tactility, artificial fibres and tapestry. Her rigorously anti-decorative function-as-form Bauhaus aesthetic comes to the fore in her comments on embroidery: “Embroidery, on the other hand, is a working of just the surface, since it does not demand that we give thought to the engineering task of building up a fabric. For this very reason, however, it is in danger of losing itself in decorativeness; for the discipline of constructing is a helpful corrective for the temptation to mere decoration.”
[Image: Anni Albers, Drapery material, 1927. Cotton and rayon, 6 1/4 x 4 1/4 in. (15.9 x 10.8 cm). Gift of the Designer: The Museum of Modern Art, New York. © 2018 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York]
The illustrations Albers selected include images of weaving techniques and machinery, sample patterns, wall-hangings and pictorial tapestries. Close-up views and diagrams demonstrate the principles of knotting, lace, twills and other techniques. Pre-historic, historical and modern examples are taken from many cultures, including Mexico (which Albers visited a number of times), Norway, Congo and Japan; also presented are striking artist-made Modernist pieces.
[Image: Serape, Querétaro, Mexico, late 19th to mid-20th century. Woven cotton, 81 x 50 in. (205.7 x 127 cm). Yale University Art Gallery, The Harriet Engelhardt Memorial Collection, gift of Mrs. Paul Moore.]
Albers particularly venerated pre-Columbian weaving from Peru and there are many illustrations of Peruvian textiles. This new edition adds an extensive selection of Albers’s own woven designs to complement the relatively short text. Most of the old black-and-white photographs have been replaced by high-resolution colour photographs, which are pinpoint sharp. Albers’s original photographs of ephemeral arrangements made specifically for the book are unique and reproduced in their original black and white. Albers experimented by producing texture studies made by pricking paper, arranging small items in patterns and by typing repeated characters on a manual typewriter.
The volume’s cloth binding is appropriately handsome and sturdy. Two new essays by specialists and an afterword by Nicholas Fox Weber, Director of the Josef and Anni Albers Foundation, complement the original text. Fox Weber, Manuel Cirauqui and T’ai Smith set On Weaving in the context of the artist’s training, milieu and own production. Albers herself chose not to concentrate on her own art in the book, though it perfectly exemplified many of the points she made in the text. Albers makes clear what she feels are the bases of good weaving – understanding the quality of materials, concentrating on design through structure rather than decoration and applying a truth-to-material ethos. The drive towards simplicity – that is, a distillation of the essence of a design – underpins her designs and advice to makers.
[Image: Anni Albers: Notebook 1970–1980. David Zwirner Books, 2017]
Notebook, 1970-1980 is a facsimile publication of Albers’s only known sketchbook. This notebook with graph-paper pages (now coverless) is a typical school notebook as used in mathematics classes. This publication reproduces the book to exact size and includes all pages, including blank ones and those showing the ghost of the drawing on the other side of the page. Colour reproduction catches the slight yellowing of the paper and brown residue of adhesive tape.
[Image: Interior spread from Anni Albers: Notebook 1970–1980. David Zwirner Books, 2017]
Readers will find themselves instinctively treating the book as if they were holding the fragile original. Designer and publisher deserve credit for the care they have lavished on the production of this book. A brief afterword by Anni Albers scholar Brenda Danilowitz discusses the sketchbook.
[Image: Anni Albers, Drawing from a notebook, 1970, pencil on paper, 10 x 7 7/8 in. (25.4 x 20 cm) © 2018 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York]
The designs in the book relate to Albers’s textile designs and artist’s prints. They feature patterns of triangles and quadrilaterals drawn in pencil in several shades. Some are repeatable or potentially infinite patterns, while others are intended to be limited. Some introduce elements of apparent randomness. There are a few linear maze-like drawings (meanders) and some of Albers’s distinctive curvilinear forms based on curling rope or thread. The illustrations capture the nuances of the artist’s pencil shading, differentiating shades by pressure and grades of pencil. Little colour is employed. While a handful of drawings are doodles or incomplete, most are complete designs. There are few words other than notations of dates and titles of the relevant designs.
Both of these books would make excellent additions to college libraries as they are good examples of preparation and experimentation for students to learn from. Makers in general will also enjoy these impeccably produced volumes.
Anni Albers, Brenda Danilowitz, Notebook, 1970-1980, David Zwirner, 2017, hardback, 152pp, 148 col. illus., $30/£25, ISBN 978-1941-701-744
Anni Albers, Nicholas Fox Weber et al., On Weaving (New Expanded Edition), Princeton University Press, 2017, cloth hardback, 272pp, 105 col./28 mono illus., $49.95/£41.95, ISBN 978-069-1177-854