1. Anni Albers later enrolled at the Bauhaus, an avant-garde art and architecture school founded by Walter Gropius in Weimar in 1922, where she began exploring weaving after facing restrictions in other disciplines due to gender biases at the institution.
Anni Albers eventually headed the weaving workshop after Gunta Stolzl's departure in 1931.
The political pressures of Nazi Germany forced the Albers to relocate to the United States in 1933, where Anni Albers took up a teaching position at Black Mountain College in North Carolina.
In 1949, Anni Albers became the first textile designer to have a solo exhibition at the Museum of Modern Art in New York.
Anni Albers was a textile artist born Annelise Elsa Frieda Fleischmann on June 12,1899, in Berlin, Germany.
Anni Albers's mother was from a family in the publishing industry and her father was a furniture maker.
Anni Albers attended the Kunstgewerbeschule in Hamburg for only two months in 1919, then in April 1922 began her studies at the Bauhaus at Weimar.
Women were barred from certain disciplines taught at the school and during her second year, unable to gain admission to a glass workshop with future husband Josef Anni Albers, Fleischmann deferred reluctantly to weaving, the only workshop available to women.
The school moved to Dessau in 1926, and a new focus on production rather than craft at the Bauhaus prompted Anni Albers to develop many functionally unique textiles combining properties of light reflection, sound absorption, durability, and minimized wrinkling and warping tendencies.
Anni Albers had several of her designs published and received contracts for wall hangings.
In 1930, Anni Albers received her Bauhaus diploma for innovative work: her use of a new material, cellophane, to design a sound-absorbing and light-reflecting wallcovering.
When Gunta Stolzl left the Bauhaus in 1931, Anni Albers took over her role as head of the weaving workshop, making her one of the few women to hold such a senior role at the school.
Anni Albers, who was Jewish, made the move with her husband and the Bauhaus to Berlin, but then fled to North Carolina, where the couple was invited by Philip Johnson to teach at the experimental Black Mountain College, arriving stateside in November 1933.
Anni Albers regularly experimented with different material in her work and this allowed the students to imagine what it might have been like for the ancient weavers.
Anni and Josef Albers both taught at Black Mountain until 1949.
In 1940 and 1941, Anni Albers co-curated a traveling exhibition on jewellery from household with one of the Black Mountain students, Alex Reed, that opened in the Willard Gallery in New York City.
In 1949, Anni Albers became the first textile designer to have a solo exhibition at the Museum of Modern Art in New York City.
Anni Albers published a half-dozen articles and a collection of her writings, On Designing.
In 1963, while at the Tamarind Lithography Workshop in Los Angeles with her husband for a lecture of his, Anni Albers was invited to experiment with print media.
Anni Albers immediately grew fond of the technique, and thereafter gave up most of her time to lithography and screen printing.
Anni Albers was invited back as a fellow to Tamarind in 1964.
In 1976, Anni Albers had two major exhibitions in Germany, and a handful of exhibitions of her design work, over the next two decades, receiving a half-dozen honorary doctorates and lifetime achievement awards during this time as well, including the second American Craft Council Gold Medal for "uncompromising excellence" in 1981.
Anni Albers continued to travel to Latin America and Europe, to design and make prints, and lecture until her death on May 9,1994, in Orange, Connecticut.
Josef Anni Albers, who had served as the chair of the design department at Yale University after the couple had moved from Black Mountain to Connecticut in 1949, predeceased her in 1976.
Anni Albers was inducted into the Connecticut Women's Hall of Fame in 1994.
Anni Albers was a designer who worked primarily in textiles and, late in life, with printmaking.
Anni Albers worked with multiple techniques, primarily lithography, embossing, silk-screening, and photo-offset.
Anni Albers produced numerous designs in ink washes for her textiles, and occasionally experimented with jewellery design.
Anni Albers's weavings are often constructed of both traditional and industrial materials, not hesitating to combine jute, paper, horse hair, and cellophane.
Anni Albers would explore the limits and possibilities of her tools.