Podcasts about Anni Albers

El metro

  In this episode, host Mary Donohue visits the Mattatuck Museum in Waterbury, a place that includes stellar architecture, art by some of the most renowned artists of the nineteenth and twentieth centuries, and an exhibition that tells the story of Waterbury's rise as a manufacturing powerhouse. The Mattatuck Museum is an art and regional history museum on the Green in downtown Waterbury, that started out as a historical society in 1877.   Our guest is Rebecca Lo Presti, Assistant Curator. She served as the curator for “ The Art of Leisure” an exhibit that is up now until June 15, 2025. From pencil sketches of working-class families picnicking to paintings done by Americans on the European Grand Tour, the exhibit shows how artists depicted recreation, relaxation, and travel in their work.  They also talk about what else you'll see at museum when you visit including the artwork of American masters associated with Connecticut such as Anni Albers, Alexander Calder and Frederic Church. And, on the quirkier side, the museum is also home to a button gallery displaying 10,000 buttons -miniature works of art collected from around the globe.   A big thanks to Becca Lo Presti, Asst. Curator and  Tanya LaBeck, Marketing & Media Coordinator at the Mattatuck Museum. Visit the museum before June 15th to see the Art of Leisure, but remember that any time is a good time to go! You'll always find something interesting, beautiful or inspiring on display. Find out more at their website at mattmuseum.org/   To learn more about Waterbury's industrial history, go to the Connecticut Explored website at  ctexplored.org/   ----------------------------------------------------------                               Like Grating the Nutmeg? Want to support it? Make a donation! 100% of the funds from your donation go directly to the production and promotion of the show. Go to ctexplored.org to send your donation now.   This episode of Grating the Nutmeg was produced by Mary Donohue and engineered by Patrick O'Sullivan at highwattagemedia.com/   Follow GTN on our socials-Facebook, Instagram, Threads, and BlueSky.   Follow executive producer Mary Donohue on Facebook and Instagram at WeHa Sidewalk Historian. Join us in two weeks for our next episode of Grating the Nutmeg, the podcast of Connecticut history. Thank you for listening!            

Claire Marin s'intéresse aux épreuves de la vie : une rupture, un deuil, une maladie, ou encore la sensation tout à coup de ne plus être à sa place. Elle a signé aux éditions de L'Observatoire Rupture(s) en 2019, devenu un best-seller, Etre à sa place en 2022, puis Les Débuts, édité en 2023 aux éditions Autrement : trois livres qui forment une trilogie des identités mouvantes, sans cesse recomposées. A partir de juin, « In Silentio », une exposition au Lieu unique, à Nantes, entremêlera ses textes aux sculptures tricotissées de Jeanne Vicerial, « un monologue sur ce que c'est que d'être touché par une œuvre ».Elle nous reçoit chez elle, dans le 14e arrondissement de Paris, pas loin de la place Denfert-Rochereau. Au fond d'une cour, au dernier étage, son appartement est lumineux, mais pas suffisamment pour son « côté héliotrope ». Dans sa bibliothèque où, « à peu de choses près [elle s']y retrouve », se mêlent livres de philosophie, littérature, psychanalyse, art…Cette semaine, dans Le Goût de M, Claire Marin évoque son grand-père agriculteur qui collectionnait en secret des livres de philosophie, cachés dans de vieux placards de cuisine. De sa voix légèrement fêlée, elle liste les auteurs qui nourrissent son prochain ouvrage – Anni Albers, Henri Focillon, Sergio del Molino… –, ceux qui l'ont vue grandir – Maupassant, Steinbeck –, les philosophes qui l'ont marquée, et prolonge sa réflexion sur les ruptures, la peur d'être remplacé et la place de la femme dans le monde universitaire.Cet épisode a été publié le 30 mai 2025.Depuis six saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal), préparé avec l'aide de Diane Lisarelli et de Juliette Savard, enregistré par Malo Williams.Réalisation : Benoît ThuaultMusique : Gotan Project Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Welcome to Episode 17 of Pattern Portraits!Lauren Godfrey chats with artist David Batchelor, about the legacy of the Bauhaus, gilding tortoises and pattern as a cardinal sin.David Batchelor is an artist well known for his sculptural and light based work that explores his experience of colour within a modern urban environment, and historical conceptions of colour within Western culture. David has exhibited worldwide with recent solo exhibitions in Sao Paolo, London and Edinburgh. He has delivered large scale commissions for London St Pancras Station and Art on the Underground. His book Chromophobia was published in 2000 and is a staple of art school reading lists worldwide.David's work delights in colour and shape, playing with the edges, the reflections and the shadows, drawing attention to the underside, the reverse or the back of a sculptural form, testing and flexing the parameters of our relationship to colour and the myriad ways we experience it.David and I met earlier this year when I was tasked with making a series of beaded works on his behalf for his solo exhibition at Cecilia Brunson Projects in London. Though I was already a fan of his work, upon visiting his studio I discovered a cocoon of colour and a party of patterned references beyond what I could have imagined. We bonded over a shared love of colour charts for zips and getting giddy about chains dripping with perspex swatches!David has chosen a delicious selection of patterns with a global reach including a Mondrian painting (Composition with Grid IX) from 1919, an Anni Albers work on paper from 1967, a 1965 quilt by Sue Willie Seltzer of the Gee's Bend quilt makers and a Zulu beadwork date unknown. You can see all of David's patterns and more on instagram @patternportraitspodcast‘Purple Punctuation' - The PATTERN PORTRAIT print artwork to accompany David's interview and featuring the patterns we discuss is available to buy now at www.laurengodfrey.co.uk Hosted on Acast. See acast.com/privacy for more information.

Rana Begum talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work.Begum was born in Bangladesh in 1977, came to the UK when she was eight years old and now lives and works in London. She distils everything she does into three essential elements—light, colour and form. From them, she conjures a distinctive array of works that often sit between sculpture, painting and architecture. She draws on influences that vary from canonic Modernist sculptors and painters to historic designs in the Qur'an and Islamic architecture. And she reflects on lived experiences, including growing up in rural Bangladesh and negotiating the London cityscape. Though they may take simple, tangible shape on first impressions, her creations engage the space around them and the senses of her audience in often surprising ways, creating a profound and finely balanced connection between object, environment and viewer.She discusses how her early experiences of reading the Qur'an and the illuminations within it continue to affect her work today. She explains her newfound fascination with J.M.W. Turner, particularly his late paintings. She reflects on how she discovered Anni Albers later than her husband Josef, but how she has since influenced her work. She gives insight into life in the studio and rituals she adheres to, and answers our usual questions, including “What is art for?”Rana Begum, Kate MacGarry, London, until 26 October; No.1367 Mesh, Pallant House, Chichester, UK; No. 1387 Fence, The Verbier 3-D Foundation, Verbier, Switzerland. Hosted on Acast. See acast.com/privacy for more information.

Anni Albers' pioneering journey in elevating textiles to fine art is discussed with guest Marian Bantjes, renowned for her intricate, ornamental designs that blend typography, art, and personal storytelling._______This show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay Sources:1968 Interview with Anni Albers — conducted 1968 July 5, by Sevim Fesci, for the Archives of American ArtBook — On Weaving by Anni Albers – A seminal work where Anni reflects on her life, her craft, and the philosophies behind her approach to weaving.Book — Anni and Josef Albers: Equal and Unequal by Nicholas Fox Weber – A comprehensive biography that delves deep into Albers' life and work, offering insights into her creative process and legacy.Book — Anni and Josef Albers: Art and Life by Julia Garimorth, Vincent Broqua, and Brenda DanilowitzVideo — "Bauhaus: The Face of the 20th Century" (1994) – A BBC documentary that covers the history of the Bauhaus, including interviews and insights into Anni Albers' role within the movement.Video — "Black Mountain College” Visionaries Episode – This documentary explores the experimental college where Anni and Josef Albers taught, emphasizing its influence on modern art and design.The Josef & Anni Albers Foundation – https://albersfoundation.org/ – The official website of the Albers Foundation, featuring extensive information on her life, work, and exhibitions.MoMA Learning: Anni Albers – https://www.moma.org/learn/moma_learning/anni-albers/  – A resource that provides an educational overview of Anni Albers' work within the context of modern art. About Anni AlbersAnni Albers is widely considered to be the foremost textile designer of the 20th century. She made major innovations in the field of functional materials and at the same time she expanded the possibilities of single weavings and individual artworks. She was also an adventurous graphic artist who took printmaking technique into previously uncharted territory.Not only was she a pioneering textile artist, and printmaker, but she was an educator whose work redefined the boundaries between craft and fine art. She may arguably be THE person responsible for helping the masses see textile as art, not just craft. She studied at the Bauhaus, taught at Black Mountain College in North Carolina, where she continued to push the limits of weaving, experimenting with unconventional materials and techniques. Her book On Weaving (1965) remains a seminal text in textile design. About Marian BantjesMarian's Books:I WonderPretty PicturesMarian Bantjes (b. 1963) @bantjes is a Canadian graphic artist who is known for her signature maximalist style. Her intricate ornamentation creates texture and illusion, and challenges the minimalist boundaries of traditional graphic design.Her clients include Pentagram, Saks Fifth Avenue, Print Magazine, Wallpaper* , WIRED, Creative Review, The Guardian (UK), The New York Times, AIGA, TypeCon, and more.Her career spans 3 stages: she started in the 80s as a book typesetter for a publishing company and then from there she became partner at a small design firm in Canada, working on brand identity and communication designs.In 2003 Marian decided to embark on the work that has brought her international recognition and fame as a world-class visual designerHer work has an underlying structure that frames its fluid nature and she has an impressive way of interweaving word and image.She says "throwing your individuality into a project is heresy" but she has built a career doing just that, as her signature style is unmistakable. In 2007 she released Restraint, a typeface that integrates her style of ornamentation to be used as shapes and borders.Marian has been honored with several awards over the years and her work is now part of the permanent collection at the Cooper-Hewitt National Design Museum. ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

Despite its short lifespan, Black Mountain College (BMC) left a lasting legacy as an influential pioneering arts institution that challenged traditional academic structures and fostered a unique community of creative thinkers. Founded in 1933 just 20 minutes outside of Asheville, NC, the college emphasized holistic learning and the study of art as central tenets of its educational philosophy. While BMC closed in 1957 due to funding issues, many of its faculty and students were or would become influential in the arts, including Josef and Anni Albers, Elaine and Willem de Kooning, John Cage, Ray Johnson, Robert Motherwell, Robert Rauschenberg, and Cy Twombly. In today's special crossover episode from our friends at ArtsvilleUSA, we welcome Kate Averett Anderson, a writer, curator, staff historian, project coordinator, and board member at the Black Mountain College Museum + Arts Center (BMCM+AC). The museum works to preserve the legacy of educational and artistic innovation of BMC through exhibitions, conservation, educational events, and public programs. “It's not about having a gallery space where you walk in and you go, ‘Here is the history of Black Mountain College from beginning to end,” says Kate. “You can come in and have hands-on experiences with different exhibitions that tell a lot of different stories.”In this episode, you'll discover the fascinating connections between BMC and the iconic Bauhaus movement, relive the vibrant atmosphere of the college's legendary parties, and uncover the pivotal role of the BMCM+AC in keeping BMC's spirit alive. From exploring historical parallels to celebrating the creative freedom that BMC championed, this episode offers valuable insight into the birthplace of the American avant-garde. “[Black Mountain College] was a haven for a lot of people,” says Kate. “It was a place where a lot of people had the freedom and ability to explore different elements of their identity.” Key Points From This Episode:An introduction to Kate, her career journey, and her role at BMCM+AC.The origin story of BMC (which starts with a scandal, like all good stories do).Insight into founder John A. Rice's educational philosophy on hands-on learning.Nazis, the final days of the Bauhaus, and how Josef and Anni Albers found BMC.Influential figures that attended BMC and the relationships that developed between them.The legendary parties that were thrown at BMC; such as Jean Verda's Greek party.An overview of the communal, democratic, non-hierarchical structure at BMC.How a young Robert Rauschenberg was profoundly influenced by his time at BMC.Some of the many famous student revolts at BMC; including one known as The Split.Cultural and political shifts that impacted the college in the late 1950s.The important role that BMCM+AC plays in keeping the BMC legacy alive.How the BMCM+AC differentiates itself from the typical stagnant museum institution.Different stories that BMCM+AC hopes to tell about BMC, not just its history.Looking to the future in the ReVIEWING Black Mountain College conference.Reflecting on the history of identity intersection and racial integration at BMC.A closing anecdote about Harriet Sohmers Zwerling and sexual liberation at BMC.For more information, please visit http://notrealart.com/black-mountain-college

Four years after Tate Britain closed its restaurant because Rex Whistler's murals on its walls contained racist imagery, it has unveiled the work it commissioned in response to Whistler's painting by the artist Keith Piper. We talk to Piper about the work. The annual Art Basel & UBS Art Market Report was published on Wednesday and, as ever, reviews the status of the international art market. We speak to its author, the cultural economist and founder of the company Arts Economics, Clare McAndrew. And this episode's Work of the Week is With Verticals, one of Anni Albers's pictorial weavings, made in 1946. It is a key piece in the exhibition Woven Histories: Textiles and Modern Abstraction, which arrived this week at the National Gallery of Art in Washington. We discuss the weaving with the show's curator, Lynne Cooke.Keith Piper: Viva Voce, Tate Britain, until at least 2025.Art Basel and UBS Art Market Report 2024, theartmarket.artbasel.com.Woven Histories: Textiles and Modern Abstraction, National Gallery of Art, Washington DC, 17 March-28 July; National Gallery of Canada, Ottawa, 25 October-2 March 2025; The Museum of Modern Art, New York, 20 April 2025-13 September 2025. Hosted on Acast. See acast.com/privacy for more information.

"Art is something that makes you breathe with a different kind of happiness." That's a quote from the great Bauhaus textile artist Anni Albers that gets shared a lot, and is especially relevant for this week's episode of the podcast on the subject of art and joy. It's actually a little bit unclear what Albers means when she says that "art is a different kind of happiness," different from what? While many websites and even an art fair have borrowed this turn of phrase, it's difficult to find the original source. But the sort of fuzziness of the origins of the quote is perhaps symbolic of the subject itself. Art and happiness seem obvious enough—art gives people pleasure. People like art, looking at art, being surrounded by art, and talking about art. These things are all part of the definition of a life that is rewarding. But if you look closer to idea that art is happiness, it becomes more slippery, because most of what is considered important art is actually quite serious. The notion of art = happiness might even sound low-brow to a lot of listeners, conjuring up the PBS painter Bob Ross cooing that there are "no mistakes, only happy accidents." Comedies, too, rarely make the cut when it comes to awards for best picture or lists of all-time great films, and that's because art that takes emotions like fear, loneliness, or anger, and puts them in a form where we are compelled to look at and reckon with them. After all, that is one classical idea of what good art does—the Greek philosopher Aristotle's idea of art as catharsis. Or maybe the idea of happiness in art is considered lowbrow because it's corrupted by commerce. Getting back to that Anni Albers quote, it turns out to be from a 1968 interview with the artist for the Smithsonian's Archive of American Art, in which she's being asked about the value of craft. She says that she thinks that a lot of the late abstract expressionist painters, the people working in the style that had dominated U.S. art at that time, were trying too hard to go for psychodrama and seriousness. She said: "there's this too-conscious searching of your soul, which very often just turns into this kind of intestinal painting." But that's what Albers is drawing a contrast to, when she says in her full quote: "I have this very, what you call today, square idea, that art is something that makes you breathe with a different kind of happiness. The focus on angst as importance can distract from the pleasures that make art fundamentally valuable." She adds, "I find art is something that gives you something that you need for your life." That's a simple definition, but it means that the kind of happiness Albers is talking about isn't necessarily about art that just shows you happy things, obviously, though it can be that too. It can just be the happiness of an idea, finding its exact right form. This week on the podcast, we're doing something experimental. Artnet News is an art website, and we cover a lot of the stories around the controversies and personalities within the art-world writ large, and the art news is almost always by way of definition, about heavy matters. So as we wrap up this year and look to the next, we asked some of our writers to take some time from their busy work days and tell us about a specific piece of art that delights them. Artworks: Philip Dawe, The Macaroni, a real character of the late masquerade (1773)  Edouard Manet, The Balcony (1868–69)  Albert Edelfelt, Boys Playing on the Shore (Children Playing on the shore) (1884)  William Holman Hunt, The Light of the World (1900–04) Kano Masanobu, Bodhidarma in Red Robes (late 15th century) Gustav Klimt, The Black Feather Hat (1910) Tatsuo Miyajima, Painting of Change (2020) Pipilotti Rist, Ever Is Over All (1997) Florine Stettheimer, The Cathedrals of Art (1942)

"Art is something that makes you breathe with a different kind of happiness." That's a quote from the great Bauhaus textile artist Anni Albers that gets shared a lot, and is especially relevant for this week's episode of the podcast on the subject of art and joy. It's actually a little bit unclear what Albers means when she says that "art is a different kind of happiness," different from what? While many websites and even an art fair have borrowed this turn of phrase, it's difficult to find the original source. But the sort of fuzziness of the origins of the quote is perhaps symbolic of the subject itself. Art and happiness seem obvious enough—art gives people pleasure. People like art, looking at art, being surrounded by art, and talking about art. These things are all part of the definition of a life that is rewarding. But if you look closer to idea that art is happiness, it becomes more slippery, because most of what is considered important art is actually quite serious. The notion of art = happiness might even sound low-brow to a lot of listeners, conjuring up the PBS painter Bob Ross cooing that there are "no mistakes, only happy accidents." Comedies, too, rarely make the cut when it comes to awards for best picture or lists of all-time great films, and that's because art that takes emotions like fear, loneliness, or anger, and puts them in a form where we are compelled to look at and reckon with them. After all, that is one classical idea of what good art does—the Greek philosopher Aristotle's idea of art as catharsis. Or maybe the idea of happiness in art is considered lowbrow because it's corrupted by commerce. Getting back to that Anni Albers quote, it turns out to be from a 1968 interview with the artist for the Smithsonian's Archive of American Art, in which she's being asked about the value of craft. She says that she thinks that a lot of the late abstract expressionist painters, the people working in the style that had dominated U.S. art at that time, were trying too hard to go for psychodrama and seriousness. She said: "there's this too-conscious searching of your soul, which very often just turns into this kind of intestinal painting." But that's what Albers is drawing a contrast to, when she says in her full quote: "I have this very, what you call today, square idea, that art is something that makes you breathe with a different kind of happiness. The focus on angst as importance can distract from the pleasures that make art fundamentally valuable." She adds, "I find art is something that gives you something that you need for your life." That's a simple definition, but it means that the kind of happiness Albers is talking about isn't necessarily about art that just shows you happy things, obviously, though it can be that too. It can just be the happiness of an idea, finding its exact right form. This week on the podcast, we're doing something experimental. Artnet News is an art website, and we cover a lot of the stories around the controversies and personalities within the art-world writ large, and the art news is almost always by way of definition, about heavy matters. So as we wrap up this year and look to the next, we asked some of our writers to take some time from their busy work days and tell us about a specific piece of art that delights them. Artworks: Philip Dawe, The Macaroni, a real character of the late masquerade (1773)  Edouard Manet, The Balcony (1868–69)  Albert Edelfelt, Boys Playing on the Shore (Children Playing on the shore) (1884)  William Holman Hunt, The Light of the World (1900–04) Kano Masanobu, Bodhidarma in Red Robes (late 15th century) Gustav Klimt, The Black Feather Hat (1910) Tatsuo Miyajima, Painting of Change (2020) Pipilotti Rist, Ever Is Over All (1997) Florine Stettheimer, The Cathedrals of Art (1942)

Artistic education takes many shapes, as artists pass down skills and traditions to see them transformed by new hands. In this episode, hear how the classroom shaped artists, both as learners and teachers. Stories include Anni Albers's descriptions of lessons with Paul Klee at the Bauhaus and her own teaching at Black Mountain College, Carmen Lomas Garza on the activism that shaped her time as a student teacher, and Lee Krasner's memorable training moments along her artistic journey among others. Show Notes and Transcript available at www.aaa.si.edu/articulated

Anni Albers is widely considered to be the foremost textile designer of the 20th century. She made major innovations in the field of functional materials and at the same time she expanded the possibilities of single weavings and individual artworks. She was also an adventurous graphic artist who took printmaking technique into previously uncharted territory. ...

What you'll learn in this episode: Why sacred geometry is the underlying link between Eva's work in jewelry, architecture and design How growing up in an isolated Soviet Bloc country influenced Eva's creative expression Why jewelry is one of the most communicative art forms How Eva evaluates jewelry as a frequent jewelry show judge Why good design should help people discover new ideas and apply them in other places  About Eva Eisler A star of the Prague art world, Eva Eisler is an internationally recognized sculptor, furniture/product designer, and jeweler. Rooted in constructivist theory, her structurally-based objects project a unique spirituality by nature of their investment with “sacred geometry.” The current series of necklaces and brooches, fabricated from stainless steel, are exemplars of this aesthetic. In 2003, she developed a line of sleek, stainless steel tabletop objects for mono cimetric design in Germany.  Eisler is also a respected curator and educator. She is chairman of the Metal and Jewelry Department at the Academy of Arts, Architecture and Design in Prague, where she heads the award-winning K.O.V. (concept-object-meaning) studio. Her work is in the collections of the Metropolitan Museum of Art, Brooklyn Museum and Cooper-Hewitt, Smithsonian Design Museum in New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Montreal Museum of Fine Arts in Canada; Pinakothek der Moderne, Munich; and Museum of Decorative Arts, Prague, among others.  Additional Resources: Eva's Instagram Photos available on TheJeweleryJourney.com Transcript: Eva Eisler is the rare designer who works on projects as small as a ring and as large as a building. What connects her impressive portfolio of work? An interest in sacred geometry and a desire to discover new ideas that can be applied in multiple ways. She joined the Jewelry Journey Podcast to talk about how she communicates a message through jewelry; why jewelry students should avoid learning traditional techniques too early; and her thoughts on good design. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    My guest today is Eva Eisler, s. She's probably one of the most well-known artists in the Czech Republic. Her work is minimal and refined. She also designs clothing, furniture, sculpture and so many other things I can't tell you about. She has taught and studied at Parsons School of Design, and she'll fill us in on everything she's learned. I'm sure I'm leaving something out, but she'll fill us in today. Eva, welcome to the program.   Eva: Thank you for having me.   Sharon: Great to have you. Tell us about your jewelry journey. Did you study it? Were you artistic as a youth?   Eva: I only thought about this yesterday. You're the first person I'm going to tell this story to. During the war, my grandfather, because he was very practical and forward-thinking, was buying jewelry from people who needed money to have safety deposits for later, whatever happened after the war. When I was born in 1952, there was still a little bit left of the treasure he collected and enclosed in a beautiful wooden treasure box. When I was a good girl, I could play with real jewelry in gold and stones.    When I grew older, I never thought of jewelry as something I would design. It was something I could play with as a girl, but when I got older, living in a communist country—Czechoslovakia turned into a Soviet Bloc country after the war—everything was so gray and constrained and monotonous. People were afraid to say whatever they thought, and I was feeling that I had to start something provocative, to start some kind of dialogue about different things. So, I started making jewelry, but because I didn't know any techniques, I did it in the form of ready-mades, looking for different metal parts out of machines, kitchen utensils, a stainless-steel shower hose, a clock spring, sunglasses, all different things. I didn't know people like that existed somewhere else, like Anni Albers, who in the 40s created a beautiful necklace out of paperclips. I learned that much, much later.   I was not only making jewelry. I was also making lamps and small sculptures, because creating things always made me happy. My mother was an art teacher. My father was a scientist. He was one of the founders of robotics in the 50s, and he ended up teaching at the most famous universities around the world later on. That's how I started making jewelry, but I wanted to proceed with a profession in architecture. That was always my main interest. After school, I worked for a few years as an architect. Later on, I got married and had children, and I wanted to be free from a steady job and do what I loved most, create.   Sharon: When you were an architect, were you designing buildings?   Eva: I was part of a team for experience. I was given smaller tasks that I had to do, mostly parts of the interior.   Sharon: Did you do sculpture and jewelry on the side? Your sculpture is such a big part.   Eva: Yeah, we're talking about when I was 25, 26. In 1983, my husband and I and our two children moved to New York, because John was invited by Richard Maier to come and work for him. That was a big challenge that one should not refuse. So, we did the journey, even though it was not easy with two little children.   Sharon: Did you speak English at all, or did you have to learn when you came?   Eva: I did because my father, in the 60s, when it was possible, was on a contract with Manchester University in England teaching. Me and my brothers went there for summer vacations for two years. One year, I was sent to one of his colleagues to spend the summer, and then I married John, who is half-British. His British mother didn't speak Czech, so I had to learn somehow. But it was in Europe when I got really active, because I needed to express my ideas.   Sharon: Does your jewelry reflect Czechoslovakia, the Czech Republic? It's different than jewelry here, I think.   Eva: There were quite a few people who were working in the field of contemporary avant garde jewelry. I can name a few: Anton Setka, Wasoof Siegler. Those were brilliant artists whose work is part of major museums around the world, but I was not focused on this type of work when I still lived in the Czech Republic, Czechoslovakia at that time. It was when I arrived in New York. I thought, “What am I going to do? I have two little children. Should I go and look for a job in some architecture office?” It would be almost impossible if you don't have the means to hire babysitters and all the services. So, I thought, “I have experience with jewelry. I love it, and I always made it as a means of self-expression and a tool for communication. O.K., I am going to try to make jewelry, but from scratch, not as a ready-made piece out of components that I would find somewhere.”    I didn't know any techniques. Somebody gave me old tools after her late husband died. I started trying something, and I thought, “Maybe I can take a class.” I opened the Yellow Pages looking at schools, and I closed my eyes and pointed my finger at one of the schools and called there. This woman answered the phone, and she said, “Why don't you come and see me and show me what you did?” When I showed it to her, she said, “Are you kidding? You should be teaching here.” It was one of my ready-made pieces. Actually, a few years before I came to New York, I went to London and showed it to Barbara Cartlidge, who had the first gallery for contemporary jewelry anywhere in the world in London. She loved it. She loved my work, and she bought five pieces. She took my work seriously, because basically I was playing and wearing it myself and giving it to a few friends who would get it as a present. So, I was shocked and very pleased.    This is what I showed this woman at the Parsons School of Design. This woman was the chair that took care of the department. I said, “I cannot teach here. I don't know anything,” and she said, “Well, clearly you do, but you're right. You should take a class and get to know how the school works, and maybe we can talk about you teaching here a year later.” I took a foundation course in jewelry making. It was Deborah Quado(?) who taught it. One day she said to my classmates, “This woman is dangerous.” I forgot to say that before I started this class, the chair invited me to a party at her house to introduce me to her colleagues. It was funny, because I was fresh out of the Czech Republic, this isolated, closed country, and I was in New York going to a party. I needed those people that became my friends for life.    That was a super important beginning of my journey in New York into the world of jewelry. A few years later, when I made my first collection, someone suggested I show it to Helen Drutt. I had no idea who Helen Drutt was. She was somewhere in Philadelphia. I went there by train, and Helen is looking at the work and says, “Would you mind if I represent your work in the gallery?” I said, “Well, sure, that's great,” but I had no idea that this was the beginning of something, like a water drain that pulls me in. The jewelry world pulled me in, and I was hooked.    From then on, I continued working and evolving my work. When I started teaching at Parsons, students would ask me whether they could learn how to solder and I said, “I advise you not to learn any traditional techniques because when you do, you will start making the same work as everybody else. You should give it your own way of putting things together.” At the end, I did teach them how to solder, and I was right.    I tried to continue with the same techniques I started when I was making these ready-made pieces, but with elements I created myself. Then I tried to put it together held by tension and different springs and flexible circles. I got inspired by bridges, by scaffolding on buildings, by electric power towers. I was transforming it into jewelry, and it got immediate attention from the press and from different galleries and collectors. I was onto something that kept me in the field, but eventually, when my kids grew older, this medium was too small for me. I wanted to get larger. Eventually, I did get back into designing interiors, but it was not under my own name.   Sharon: When you look at your résumé, it's hard to distill it down. You did everything, sculpture, architecture, interior design and jewelry. It's very hard to distill down. Interior design, does it reflect the avant garde aspect?   Eva: Yes, I am trying to do it my way. I love to use plywood and exposed edges to make it look very rough, but precise in terms of the forms. If you think of Donald Judd, for example, and his sculptures and nice furniture, it's a similar direction, but I'm trying to go further than that. I'm putting together pieces of furniture and vitrines for exhibitions and exhibition designs. While I am taking advantage of the—   Sharon: Opportunity?   Eva: Opportunity, yes. Sorry. I don't have that many opportunities lately to speak English, so my English is—   Sharon: It's very good.    Eva: On the other hand, yes, I'm interested in doing all these things, especially things that I never did before. I always learn something, but it's confusing to the outside world. “So, what is she? What is she trying to say?” For example, this famous architectural historian and critic, Kenneth Frampton from Columbia University, once said, “If one day somebody will look at your architectural works all together, they will understand that it's tight with a link, an underlying link.”    Sharon: Do you think you have an underlying link? Is it the avant garde aspect? What's your underlying link?   Eva: It's the systems. It's the materials. It's the way it's constructed. I'm a humble worshipper of sacred geometry. I like numbers that have played an important role in the past.   Sharon: Do you think the jewelry you saw when you came to the States was different than what you had seen before? Was it run-of-the-mill?   Eva: When I came to New York a few years later, I formed a group because I needed to have a connection. I organized a traveling show for this group throughout Europe and the group was—   Sharon: In case people don't know the names, they are very well-known avant garde people.    Eva: All these people were from New York, and we exhibited together at Forum Gallery and Robert Lee Morris on West Broadway. That brought us together a few times in one show, and through the tours I organized in New York, Ghent, Frankfurt, Berlin, Vienna and Prague.   Sharon: Wow! We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Annemieke Bosman in gesprek met Frouke van Dijke, conservator Kunstmuseum Den Haag. Frouke van Dijke stelde de tentoonstelling ''Anni & Josef Albers' samen. Met meer dan 200 werken - textiel, schilderijen, grafiek, foto's, meubels en tekeningen' presenteert Kunstmuseum Den Haag dit najaar de eerste tentoonstelling ooit over het leven en werk van het beroemde kunstenaarskoppel Anni en Josef Albers. De tentoonstelling laat zien hoe Anni Albers uitgroeit tot een ware pionier van de moderne textielkunst en Josef Albers een artistieke ontwikkeling doormaakt die uitmondt in zijn wereldberoemde reeks 'Homage to the Square', een serie van ontelbaar veel kleurenstudies in een vierkant vlak. De impact die het paar met hun kunst én docentschap heeft gehad op de verdere ontwikkeling van de moderne kunst valt niet te overschatten.

Majeda Clarke is a weaver, whose work is concerned with identity and a sense of place. She combines traditional techniques from some very different parts of the world – such as Bangladesh and North Wales – with an aesthetic that has been influenced by Josef and Anni Albers. She came to textiles relatively late in life (having previously been in education) but has gone on to win a number of awards, as well as exhibiting at the Aram Gallery, Mint and Fortnum & Mason in London. She has also collaborated with the likes of The Rothschild Foundation and The Citizens of the World Choir. In this episode we talk about: her passion for collecting; why she makes scarves in Bangladesh and blankets in Wales; growing up on a tea plantation; being locked in a cell when she arrived in the UK at the age of five; producing art in lockdown; how the Black Lives Matter movement has shifted her thinking; the pressure of representing; her fascination with regional skills; and encouraging mistakes.Support the show

In this episode, hosts Randi Hopkins and Oliver Mak talk to artist Kristin Texeira about her work, collaborations, and life. And, briefly, about sassafras. Weird Sounds is a podcast companion to the Boston Art Book Fair (Nov 4-6, 2022) presented by Boston Center for the Arts and Bodega. Resources for this episode: More about artist Kristin Texeira here. Learn about KT's “fave art duo” Josef and Anni Albers here and here Check out Carraig-na-gCat, their artist residency in West Cork, Ireland. Images of Kristin's Colors of Music series. The Bat-Signal Playlist: Colors of Music (thank you Ellen Buchanan!) Recommended Reading: Sassafras, Cypress & Indigo, by Ntozake Shange Support the Boston Art Book Fair Today!

Black Mountain College has long been acknowledged as the birthplace of the true American avant-garde. The experimental school was founded in 1933 on the principles of attaining a perfect balance between academics, arts, and crafts within a purely democratic society, where all members, students, and teachers were considered to be equal. Legendary even in its own time, Black Mountain College attracted and created maverick spirits, including Williem and Elaine de Kooning, Robert Rauschenberg, Cy Twombly, Merce Cunningham, and Buckminster Fuller, to name just a few! Its history and legacy are now preserved and extended by the Black Mountain College Museum + Arts Center (BMCM+AC), located in Downtown Asheville. To tell the incredible (and sometimes scandalous) story of Black Mountain College (BMC), we welcome Kate Averett, a writer and curator based in Asheville, where she serves as Staff Historian, Project Coordinator, and Board Member at BMCM+AC. In today's episode of Artsville, you'll learn about the historical synchronicity that informs the connection between BMC and the Bauhaus, the legendary parties that were thrown at the college, and the role that the BMCM+AC plays in keeping the BMC legacy alive, as well as how they create space for the artists, scholars, and curators who uphold the open-mindedness that BMC was built on, plus so much more! Tune in to learn more from remarkable storyteller, Kate Averett! Key Points From This Episode: Louise and Daryl introduce today's guest: Kate Averett from BMCM+AC. Learn about some of the major influential figures who attended BMC. Kate starts by sharing a bit about herself and her role at BMCM+AC. Hear the origin story of BMC which, like all good stories, starts with a scandal! Insight into BMC founder John A. Rice's educational philosophy on hands-on learning. How the rise of the Nazis and the closing of the Bauhaus led Josef and Anni Albers to BMC. Some of the influential figures that attended BMC and the relationships that developed. The legendary Greek Party that Jean Varda threw at BMC, complete with a Trojan Horse! Kate highlights the communal, democratic structure between faculty and students at BMC. How avant-garde artists like Robert Rauschenberg were influenced by their time at BMC. Learn about one of the many famous student revolts at BMC known as The Split.  The impact that cultural and political pressure had on BMC toward the end of the 1950s. Kate reflects on the role that BMCM+AC plays in keeping the BMC legacy alive. How BMCM+AC came to be a museum and arts center as opposed to just a museum. The different stories that BMCM+AC hopes to tell about BMC, not just its history. Looking to the future in the ReVIEWING Black Mountain College conference. Kate reflects on the history of identity intersection and integration at BMC. Kate ends on an anecdote about Harriet Sohmers Zwerling and sexual liberation at BMC. Links Mentioned in Today's Episode: Kate Averett on LinkedIn — https://www.linkedin.com/in/kate-averett-b5466568/ (https://www.linkedin.com/in/kate-averett-b5466568/) Black Mountain College Museum + Arts Center — https://www.blackmountaincollege.org/ (https://www.blackmountaincollege.org/) ReVIEWING Black Mountain College International Conference — https://www.blackmountaincollege.org/reviewing/ (https://www.blackmountaincollege.org/reviewing/) Black Mountain Days — https://www.amazon.com/Black-Mountain-Days-Michael-Rumaker/dp/1933132663 (https://www.amazon.com/Black-Mountain-Days-Michael-Rumaker/dp/1933132663) Scott “Sourdough” Power — https://www.notarealartist.com/ (https://www.notarealartist.com/) Louise Glickman — https://www.louiseglickman.com/ (https://www.louiseglickman.com/) Daryl Slaton — http://www.tailsofwhimsy.com/ (http://www.tailsofwhimsy.com/) Not Real Art — https://notrealart.com/ (https://notrealart.com/) Sand Hill Artists Collective (SHAC) — https://sandhillartists.com/...

“Anni et Josef Albers“ L'art et la vieau Musée d'Art moderne de Parisdu 10 septembre 2021 au 9 janvier 2022Interview de Julia Garimorth, commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 9 septembre 2021, durée 14'51.© FranceFineArt.Extrait du communiqué de presse CommissairesJulia Garimorth, assistée de Sylvie Moreau-SoterasComité scientifiqueNicholas Fox Weber, directeur de la Josef and Anni Albers Foundation, Bethany, ConnecticutHeinz Liesbrock, directeur du Josef Albers Museum Quadrat, Bottrop, AllemagneLe Musée d'Art Moderne de Paris organise, du 10 septembre 2021 au 9 janvier 2022, une exposition inédite consacrée à Anni et Josef Albers, rassemblant plus de trois cent cinquante oeuvres (peintures, photographies, meubles, oeuvres graphiques et textiles) significatives du développement artistique des deux artistes.Au-delà de la présentation très complète de leurs créations respectives, il s'agit de la première exposition en France dédiée au couple formé par les deux artistes. C'est en effet ce lien intime et très complice qui leur a permis, tout au long de leur vie, de se soutenir, de se renforcer mutuellement, dans un dialogue permanent et respectueux. Ils ont non seulement produit une oeuvre considérée aujourd'hui comme la base du modernisme, mais ont aussi imprégné toute une nouvelle génération d'artistes de leurs valeurs éducatives.Anni Albers (née Annelise Fleischmann, 1899-1994) et Josef Albers (1888-1976) se rencontrent en 1922 au Bauhaus et se marient trois ans plus tard. Ils partagent d'emblée la conviction que l'art peut profondément transformer notre monde et doit être au coeur de l'existence humaine : « Les oeuvres d'art nous apprennent ce qu'est le courage. Nous devons aller là où personne ne s'est aventuré avant nous. » (Anni Albers)Dès le début de leur travail, les deux artistes placent ainsi la fonction de l'art au coeur de leur réflexion. Ils adhèrent non seulement à la revalorisation de l'artisanat et aux atouts de la production industrielle (Bauhaus) pour rendre possible la démocratisation de l'art, mais ils estiment aussi que la création joue un rôle essentiel dans l'éducation de chaque individu. Ils ne cessent de démontrer, en tant qu'artistes mais aussi enseignants, l'impact incommensurable de l'activité artistique sur la réalisation de soi et, plus largement, sur la relation avec les autres. Forts de ces valeurs, ils cherchent à amener leurs élèves vers une plus grande autonomie de réflexion et à une prise de conscience de la subjectivité de la perception. Selon eux, l'enseignement ne se réduit pas à transmettre un savoir théorique déjà écrit mais consiste au contraire à susciter constamment des interrogations nouvelles : d'abord par l'observation sensible du monde – visuel et tactile – qui nous entoure ; puis par la découverte empirique que comporte l'expérimentation créatrice avec les matériaux à portée de main, sans préjuger de leurs valeurs esthétiques. « Apprenez à voir et à ressentir la vie, cultivez votre imagination, parce qu'il y a encore des merveilles dans le monde, parce que la vie est un mystère et qu'elle le restera. Mais soyons-en conscients. » (Josef Albers) L'exposition s'ouvre sur deux oeuvres emblématiques de chaque artiste, illustrant d'emblée, tel un prologue, les valeurs formelles et spirituelles qui relient le couple. Puis elle suit, de manière chronologique, les différentes étapes de leur vie. Une première section rassemble leurs productions, riches et variées, issues du Bauhaus, de 1920 à 1933. Le départ du couple pour les États Unis en 1933 marque le début de la deuxième section, dédiée aux oeuvres réalisées au Black Mountain College. Puis deux autres temps forts de la visite s'attachent à présenter une sélection pointue de Pictorial Weavings de Anni et de Homages to the Square de Josef. Enfin, la dernière partie de l'exposition est consacrée au travail graphique d'Anni, initié avec Josef dans les années soixante et qu'elle va poursuivre jusqu'à la fin de sa vie.Une salle, spécifiquement dédiée à leurs rôles respectifs en tant que professeurs, permet aux visiteurs, grâce à d'exceptionnels films d'archives, de se glisser dans la peau des étudiants et de suivre un cours « en direct ». Un grand nombre de documents (photographies, lettres, carnets de notes, cartes postales, etc.), réunis avec l'aide de la Fondation Josef et Anni Albers, permet également de contextualiser le travail des deux artistes.L'exposition est organisée en étroite collaboration avec The Josef and Anni Albers Foundation à Bethany, Connecticut. Elle sera également présentée à l'IVAM (Instituto Valenciano de Arte Moderno) à Valence, Espagne, du 17 février au 20 juin 2022.Un catalogue est publié aux éditions Paris Musées. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

How do we connect to the practice of making when we are so disconnected from the origins of materials that make up our daily lives? What would it look like to build authentic relationships with our materials, the people who produce them for us, and the world that makes fiber art possible? How can we foster a community that looks out for each other and shares in the beauty of making? In this episode of Material Culture, Rachel and Rachel dive into a conversation around Anni Albers' "On Weaving", and talk about the pressures of building a business coupled with the desire to see a more holistic view to creative practices. We also got the chance to hear from some of you - we asked for community submissions, and you delivered! Topics discussed include: The preciousness of materials like flax and linen, Indigenous practices of allegiance to the Earth, the isolation caused by a culture of consuming, and the limits of relationships over social media.The Material Culture podcast explores narratives of weaving, (text)iles, art, manufacturing, history, and the people, workers and artists whose stories create the framework and understanding of living with cloth. Material Culture is produced by the yarn shop, textile studio and weaving school, Weaver House. If you have a question, comment or other feedback - you can leave a message for the podcast at weaverhouseco.com/podcast.This week's episode is also sponsored by Weaver House - find us online at weaverhouseco.com, or on Instagram - @weaverhouseco.Thanks to Philadelphia-based musician Michael Myers for the use of his song, Weave off the album This is Only Light. You can find more information on Portland Textile Month at https://www.portlandtextilemonth.com, and be on the lookout for more updates about our collaboration with them next month. You can submit voice memos on this months' question to media@weaverhouseco.com.

Um dem unerwünschten Schalleffekt in der Aula der Bundesschule in Bernau entgegenzuwirken und das Licht im gesamten Raum optimal zu verteilen, brauchte es ein Material, das beide Anforderungen erfüllen konnte. Da es 1929 ein solches Material noch nicht gab, beauftragte das Bauhaus kurzerhand eine seiner besten Weberinnen damit, in ihrer Diplomarbeit einen entsprechenden Stoff zu entwickeln. Anni Albers entwarf ein metallisch glänzendes Gewebe aus Zellophan, Chenille und Baumwolle. Der Stoff wurde nun im Auftrag der Josef & Anni Albers Foundation von dem niederländischen Jongeriuslab reproduziert. www.jongeriuslab.com | albersfoundation.org | www.best-bernau.de/kunst-kultur/podcast.html | www.bauhaus-denkmal-bernau.de | www.galerie-bernau.de Auf Instagram und Facebook: @bauhausdenkmalbernau | @galeriebernau | @hellajongerius | @albers_foundation Musik von ASHUTOSH - Time Music provided by No Copyright Music, Creative Commons – Attribution-No Derivs 3.0 Unported CC BY-ND 3.0

L'architettura moderna è nata nella Vienna cosmopolita di fine '800 per rispondere al bisogno di ambienti che rispettassero i nuovi standard sanitari richiesti dai medici: spazi ampi, più luce e migliore areazione. Oggi, mentre ci lasciamo lentamente alle spalle una lunga pandemia, il legame tra architettura, salute e stile di vita è tornato a essere un tema cruciale. Costantino e Francesco ci raccontano una storia laterale dell'architettura contemporanea, parlando di anarchitetti batterici come Gordon Matta-Clark e archistar mancati come gli italiani di Archizoom, dell'architettura senza architetti di Yona Friedman e dell'architettura per i poveri promossa da Hassan Fathy e Laurie Baker.In questa puntata si parla di Sigmund Freud, Egon Schiele, Arnold Schönberg, Beatriz Colomina, Josef Hoffman, Adolf Loos, Gordon Matta-Clark, Mark Wigley, Holly Solomon, Roberto Matta, Benjamin Ward Richardson, Ludwig Mies van der Rohe, Gunter Sachs, John Zorn, Luis Barragán, Jill Magid, Rolf Fehlbaum, Federica Zanco, Harald Szeemann, Laurie Baker, Josef Albers, Anni Albers, Banksy, Kaws, Takashi Murakami, John Hilliard, Hassan Fathy, Superstudio, Archizoom, Poltronova, Ufo, Gianni Pettena, Rem Koolhaas, Mario Dezzi Bardeschi, Stefano Boeri, Gianandrea Barreca, Rachel Whiteread, Bruce Nauman, Sant'Agostino, Yona Friedman, Toni Negri, Renzo Piano, Richard Rogers, Minecraft, Bernard Rudofsky e Jeff Wall.

The impact of Walter Gropius can be measured in his buildings--Fagus Factory, Bauhaus Dessau, Pan Am--but no less in his students. I. M. Pei, Paul Rudolph, Anni Albers, Philip Johnson, Fumihiko Maki: countless masters were once disciples at the Bauhaus in Berlin and at Harvard. Between 1910 and 1930, Gropius was at the center of European modernism and avant-garde society glamor, only to be exiled to the antimodernist United Kingdom during the Nazi years. Later, under the democratizing influence of American universities, Gropius became an advocate of public art and cemented a starring role in twentieth-century architecture and design. Fiona MacCarthy challenges the image of Gropius as a doctrinaire architectural rationalist, bringing out the visionary philosophy and courage that carried him through a politically hostile age. Pilloried by Tom Wolfe as inventor of the monolithic high-rise, Gropius is better remembered as inventor of a form of art education that influenced schools worldwide. He viewed argument as intrinsic to creativity. Unusually for one in his position, Gropius encouraged women's artistic endeavors and sought equal romantic partners. Though a traveler in elite circles, he objected to the cloistering of beauty as "a special privilege for the aesthetically initiated." Gropius offers a poignant and personal story--and a fascinating reexamination of the urges that drove European and American modernism. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/pbliving/message Support this podcast: https://anchor.fm/pbliving/support

In episode 63 of The Great Women Artists Podcast, Katy Hessel interviews the esteemed curator Emma Ridgway of Modern Art Oxford on the majorly influential, RUTH ASAWA (where she is set to have an exhibition in 2022!!!).  [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] Artist, educator, trailblazer and sculptor, Ruth Asawa is up there with the greatest and most influential artists of the entire 20th century, Best known for her looped-wire sculptures that expand form, defy structure, and blurring all illusions between hard and soft, tall and small, strongand fragile, RuthAsawa's works ranged from colossal to small enough to fit in your hand.   The fourth of seven siblings, Ruth Asawa was brought up on a rural farm in California by immigrant parents of Japanese descent. Curious and energetic, she spent her childhood helping out on the farm by wiring beans, and attending Japanese calligraphy classes. But as it was the 1930s, the racial prejudice against people of Japanese heritage was worsening. Following the attack on Pearl Harbour, around 120,000 Japanese-Americans were placed in internment camps, including a teenage Ruth Asawa. Which in this episode, we speak about in great depth.   But against the demonstrative conditions and dehumanising set up, communities came together.Providing education for the young people in the camps, professional artists stepped up, and Ruth was taught by some of the greatest Disney animators of the day. Shaped by her teachers, Asawa set out to be an educator herself. However, despite training for three years, was denied a job due to racial prejudices.  So, in the summer of 1946, she enrolled at Black MountainCollege, and it was here where she flourished: ‘I spent three years there and encountered great teachers who gave me enough stimulation to last me for the rest of my life.’ Taking classes with Josef and Anni Albers to Buckminster Fuller (whose hair she cut for a bit of extra money!), Asawa took the BMC approach to her career, by inextricably linking art with life, and life with art.  Moving to SF in '49, Asawa's legacy in setting up art education is tough to compete with. And it is there that she still remains an icon, with the Ruth Asawa School of Arts still very much in full swing today.  I am not exaggerating when I say this may be the most extraordinary, hopeful, brilliant story in art history. I really hope you enjoy this as much as I did.   LISTEN NOW + ENJOY!!! FURTHER LINKS! https://www.davidzwirner.com/artists/ruth-asawa https://www.modernartoxford.org.uk/event/citizen-of-the-universe/ https://ruthasawa.com/life/black-mountain-college/ Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Winnie Simon Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ Ruth Asawa: Citizen of the Universe is curated by Emma Ridgway and Vibece Salther, organised in partnership by Modern Art Oxford UK and Stavanger Art Museum Norway, supported by the Terra Foundation for American Art.    Opens 28 May - 21 Aug 2022 at Modern Art Oxford then 1 Oct 2022 - 22 Jan 2023 at Stavanger Art Museum. I CAN'T WAIT!

This week's show brings together three brilliant creatives who each prove that the real magic comes from working with the right people. Partnership is at the heart of their work, which spans furniture and lighting, textiles and interior design. In focusing on how to elevate the everyday, we discuss the importance of a finding a place of retreat, design classics, natural light and the beauty of the seasons. Meet our guestsAndrew Hills is the co-founder and creative director of furniture and lighting brand Porta Romana. He originally set up the business with his wife Sarah, after they'd both quit their jobs in the city to follow their dreams, and he now regularly launches designs with industry leaders. In this podcast, he tells us about his Godfather-inspired office, his love of restoration and their treasured recipe book. Fabric and wallpaper guru Michal Silver is the creative force behind Christopher Farr Cloth. She has worked with the good and the great of the interiors world, both creating new designs with contemporary names and reviving archival work by artists like Raoul Duffy and Anni Albers. She describes her Mies van der Rohe-inspired home in London and talks about the importance of memories. Interior designer Mary Graham works with Nicole Salvesen, forging a distinctive design style they describe as future heritage. Their rooms are timeless, elegant and full of arresting details. They've also launched beautiful products in collaboration with Jennifer Manners, Fromental and David Seyfried. Here, she tells us about her new family home in Yorkshire, sharing her love of flowers and freshly ironed sheets. About this podcast The Well-crafted Life is brought to you by Homes & Gardens, hosted by Sarah Spiteri and edited by Matt Gibbs. This episode was sponsored by Martin Moore. See acast.com/privacy for privacy and opt-out information.

"Hall W. Rockefeller is an artists writer who holds both a Bachelor’s and a Master’s degree in the history of art. She wrote her senior thesis at Yale on the folk art collection of Abby Aldrich Rockefeller, one of the three (female) founders of the Museum of Modern Art, and her Master’s dissertation at the Courtauld Institute on weaver and textile designer Anni Albers. This week Kimberly speaks with her about her initiatives "Less than Half," a website dedicated to the unsung heroines of the art world, and "50 Women," a series of written interviews with women who reside outside of the all consuming vortex of New York City’s art world. Logo courtesy of Hall W. Rockefeller 00:00 - Podcast Introduction 00:40 - Episode Introduction 01:23 - Sinking in Low, Thinking in Love (Guitar Duet No. 1) - Andrew Thoreen 01:52 - Interview with Hall W. Rockefeller (pt 1) 10:58 - Mic Break 11:32 - Interview with Hall W. Rockefeller (pt 2) 20:04 - Outro 20:26 - Rosie - Caitlin Harnett & The Pony Boys 23:30 - Finish "

The Bauhaus, an acclaimed school that embraced the principle of equality among artists and the arts alike, has continued to influence and impact American art long since it’s closure. The weaving workshop in particular was a place of developing aesthetic and supporting innovative teaching methods. Many weavers have “On Weaving” by Anni Albers sitting in their bookshelf. But, is that the epitome of weaving advancement? Are there other weavers who have pushed the boundaries of design and theory? Our upcoming round table, “Beyond the Bauhaus”, we are talking with Evee Erb, Tegan Frisino, Lilly Marsh, and Justin Squizzero with Eric Frisino as the moderator, different influences for our work. During the discussion we will explore inspiring weavers, techniques and methods, and other sources of inspiration. We hope you join our conversation as we explore “Beyond the Bauhaus” what inspires our panelists. If you have any questions that come up from watching the demonstration comment on the post linked below or please feel free to send us an email at hello@proweaverpod.com. - - Watch the video : https://professionalweaversociety.org/podcast/bonus-3/ Sponsored by : Comfortcloth Weaving LLC - - Sponsor the Podcast : Become A Sponsor Support the Podcast : Become A Patron (Shop on Amazon) Rawhead the Wreckloose's new album 'Cold Bill' : https://rawheadthewreckloose.bandcamp.com/album/cold-bill Music by Guesthouse

Courtney Martin is a Spruce Pine, NC-based studio potter specializing in wood fired goods. She talks about her influences of geometry and the pottery of Mata Ortiz, which based a pottery style on the archeology of Casas Grandes in Chihuahua, Mexico. She also touches on pirates and parenting while working as a full-time craftsperson. With Courtney, we get a glimpse of the sea change in wood fired ceramics being pioneered by women.See more of her work at www.courtneymartinpottery.com and on Instagram @courtneymartinpotter.Courtney’s craft crushes include Holly Walker, Anni Albers, Daniel Garver, and Eleanor AndersonSome resources mentioned in the episode are Penland School of Crafts, STARworks, Spruce Pine Potters Market, and Cousins in Clay.Support the show (http://www.patreon.com/cutthecraftpodcast)

Forget the screeching orphan, Anni Albers is yesterday’s textile tomorrow. In this episode, Maria lets you in on a secret you can’t see.

This week on the show, Felicia is talking with Cameron Taylor-Brown: an artist, weaver, and educator. Cameron studied fibre arts at the University of California, Berkeley with Ed Rossbach and then textile design at the Philadelphia College of Textiles and Science. Since 1985 she's lived in Los Angeles where she's still active in arts and education. Her work is widely exhibited and has been featured in many publications including Fibre Art Now, American Craft, Shuttle Spindle & Dyepot. She teaches design and colour workshops at schools, guilds, museums, and conferences throughout the United States and at ARTSgarage: a teaching studio in Los Angeles. Cameron recently curated the exhibit Material Meaning: A Living Legacy of Anni Albers, which was on view at the Craft in America Center in Los Angeles. Join Felicia and Cameron as they discuss Cameron's past and present in the arts.   "... I always felt confident that I knew... the material well, but initially I was afraid of public speaking... that was my most nervous thing was standing up in front of a group of people... but what I realized was... when you're teaching... a visual medium the people that you're talking to are focusing on the medium that you're talking about, they're not focusing on you and so I began to realize I was the narrator, but they were looking at something else. The minute I figured that out... it was a lot less scary for me to talk to people... and then it's just about sharing something that you love and figuring out to explain it to people so that they own it, not you... one of the really important things when you're teaching is I don't want to create clones of myself. I want people to discover who they are and what their journey is and help them in their particular journey, and I think that's the art of teaching.  " -  Cameron Taylor-Brown on her transition from maker to educator   In this episode, we talk about: 1:36 Felicia and Cameron chat about how Cameron used to be a sales rep for SweetGeorgia Yarns 2:35 Cameron talks about her "retirement" 3:56 How Cameron got into the fibre arts, specifically weaving 9:00 How Cameron made the jump from maker to educator 12:43 Cameron chats about her teaching studio: ARTSgarage 19:45 Felicia and Cameron chat about the difficulty of knowing where to start when you want to pursue a new fibre arts skill 23:00 Felicia asks Cameron if she has any suggestions for anyone wanting to turn their textile art into a business 35:50 Felicia and Cameron chat about the exhibit she recently curated called: Material Meaning: A Living Legacy of Anni Albers 46:18 Felicia's Final Notes   Here's Where You Can Find Cameron: Website: www.camerontaylor-brown.com Facebook: www.facebook.com/CameronTaylorBrownStudio Instagram: @camerontaylorbrown   Thanks for Listening! Thank you so much for joining us this episode! If you enjoyed this episode, please share it with your fellow fibre art friends. And if you like what we're doing here, please leave a rating and review on iTunes for the show. We read each and every email and bit of feedback, whether it's on Instagram, Twitter, or Facebook, so we welcome your comments. Thank you all so much for your continued support of our show! Until next time, enjoy colour!   Music Credits: Playbook of Happiness – by RimskyMusic Click to subscribe on iTunes Subscribe on Stitcher Radio Subscribe on Spotify

Textile Artist Anni Albers   Want answers? Send your questions, comments and thoughts about life to universe@thelinlife.com   Thank you so much for listening to The Lin Life Universe. I hope you've been enjoying it. Please leave a review! 

Sie ist die Karrierefrau des Bauhaus: Anni Albers, Künstlerin, Kunstsammlerin, Hochschullehrerin - und das zu einer Zeit als das Wort Gleichberechtigung für viele noch ein Fremdwort war. Autorin: Claudia Belemann

Cameron Taylor-Brown has been working in the worlds of fiber, education, and commerce since the 1970’s. She is curating an exhibit for the Craft in America Center in LA called Material Meaning: A Living Legacy of Anni Albers, which will feature work by ten contemporary American artists and designers working with textiles who are strongly influenced by Anni Albers. Show Notes: www.gistyarn.com/episode-59 Material Meaning Catalogue: https://theweavingworkshop.com/2019/10/31/material-meaning-exhibition-catalogue/

Adam Moss, Tina Brown, and the future of print magazines; Rookie, Design Sponge, and the future of online magazines; Karen Green’s Frail Sister; Anni Albers at the Tate

A conversation about clothing, instinct, and finding high art in everyday life that touches on Jackie O, Kandinsky, and the Bauhaus. In this episode of Dialogues,Nicholas Fox Weber—cultural historian and executive director of The Josef and Anni Albers Foundation—is paired with acclaimed British fashion designer Sir Paul Smith. The two are brought together on the occasion of a major retrospective of Anni Albers’s work, currently on view at Tate Modern, London, to discuss Smith’s new knitwear collection inspired by her textiles. Their shared admiration for the art of Anni and Josef Albers drives an eclectic conversation about abstraction, aesthetics, and the tactile nature of design. Anni Albers is on view at Tate Modern, London, through January 27, 2019. Listen to Paul Smith discuss his interest in the life and work of Anni Albers at Tate Modern on Saturday, November 17, at 3 PM. For more information, visit tate.org.uk/whats-on/tate-modern/exhibition/anni-albers/paul-smith-on-anni-albers. Subscribe to Dialogues via Apple Podcasts, Overcast, Google Play, Stitcher, or wherever you get your shows. For more of what’s to come on Dialogues, listen to our trailer or visit davidzwirner.com/podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

A conversation about clothing, instinct, and finding high art in everyday life that touches on Jackie O, Kandinsky, and the Bauhaus. In this episode of Dialogues,Nicholas Fox Weber—cultural historian and executive director of The Josef and Anni Albers Foundation—is paired with acclaimed British fashion designer Sir Paul Smith. The two are brought together on the occasion of a major retrospective of Anni Albers’s work, currently on view at Tate Modern, London, to discuss Smith’s new knitwear collection inspired by her textiles. Their shared admiration for the art of Anni and Josef Albers drives an eclectic conversation about abstraction, aesthetics, and the tactile nature of design. Anni Albers is on view at Tate Modern, London, through January 27, 2019. Listen to Paul Smith discuss his interest in the life and work of Anni Albers at Tate Modern on Saturday, November 17, at 3 PM. For more information, visit tate.org.uk/whats-on/tate-modern/exhibition/anni-albers/paul-smith-on-anni-albers. For more of what’s to come on Dialogues, listen to our trailer or visit davidzwirner.com/podcast.

Episode 4: Anni Albers at the Tate Modern and Art made by Algorithms. Discussed by Laura Lennard, Caz Murray & Vikki Kosmalska.We're enormously excited that the Tate Modern have invested in a major retrospective to showcase the oft overlooked artist Anni Albers. They have highlighted her as a ‘pivotal' influence within modern art and introduced her works to whole raft of new viewers. A talented female artist getting some long overdue recognition? Hurray!!!But was the exhibition everything we hoped it would be...? Well on that, we're divided.We discuss Albers' weaving based practice and question distinctions between art and craft, the ancient and the modern, mass-production and the artist's hand. Resident textile artist / ardent knitter Cazzy M was inspired enough to pitch a whole new yarn-based reality TV show! But does Anni Albers get your vote of approval? Let us know: helloartcast@gmail.com, or @theartcast on instagram.**Bonus arts news feature on the first ever algorithm made art work to be sold at auction**As always, special thanks to Nat Witts for our awesome jingle and to Jonny Lennard, our long-suffering editor.

Albers Foundation chief curator Brenda Danilowitz talks about the new Anni Albers retrospective exhibition and book.

Albers Foundation chief curator Brenda Danilowitz talks about the new Anni Albers retrospective exhibition and book.   Subscribe: Apple Podcasts | Stitcher | Spotify | Soundcloud

Cycle listahátíðin er sett í dag og stendur og fram á sunnudag. Guðný Guðmundsdóttir stjórnandi hátíðarinnar og sýningarstjórinn Jonathan Habib Enquist líta við og segja okkur frá hátíðinni. Selma Guðmundsdóttir píanóleikari verður tekin tali um útgáfuna Quo Vadis? sem innheldur upptökur með leik hennar allt aftur til ársins 1972. Sagt verður frá tveimur athyglisverðum sýningum í New York og London þar sem myndlist Hilmu af Klint og Anni Albers fær að njóta sín. Verk Hilmu í Guggenheim safninu í stóra eplinu en verk Anni gefur að líta í Tate Modern við Thames á. Hildur Björnsdóttir borgarfulltrúi flytur pistil í tilefni af mánuði myndlistar og frá Gautaborg berst hlustendum sending frá Höllu Þórlaugu Óskarsdóttur um Fucking Åmål. Umsjón: Guðni Tómasson og Halla Harðardóttir.

Anni Albers exhibition at Tate Modern, British Colour & Textile Group Colour meeting, Jenna Lyons is back! 5 Carlos Place, Guest Tamsin Blanchard talks about sustainable and ethical fashion. LINKS Anni Albers at Tate Modern - https://www.tate.org.uk/whats-on/tate-modern/exhibition/anni-albers?gclid=Cj0KCQjwsMDeBRDMARIsAKrOP7GW4NZysTdeKz7eSbegK4jnPvbAlDq0n4jaFwyWQkpbpdBvhvW-ZzsaAmxeEALw_wcB A star is born - Cinemas nationwide University of the Arts, Centre for Sustainable Fashion - https://www.arts.ac.uk/research/research-centres/centre-for-sustainable-fashion Coal Drops Yard Kings Cross - https://www.coaldropsyard.com Sustainable clothing brands: Mother of Pearl - https://motherofpearl.co.uk Bite - http://www.bitestudios.com/about Camper.com - shoes Phvlo - https://phvlo.com Allbirds - https://www.allbirds.com Katie jones - http://www.katiejonesknit.co.uk What we are wearing https://www.celine.com/en-gb/home https://www.frenchconnection.com https://www.onitsukatiger.com/gb/en-gb/ https://www.rodebjer.com/weu/home https://www2.hm.com/en_gb/index.html https://www.grenson.com/uk/

We discuss two exhibitions that opened in London this week: Anni Albers at Tate Modern and Night & Day: 1930s Fashion and Photographs at the Fashion & Textile Museum. See links below. Anni Albers, Tate Modern, London: https://www.tate.org.uk/whats-on/tate-modern/exhibition/anni-albers Stiftelsen Almgrens Sidenväveri & Museum, Stockholm: http://www.kasiden.se/english-summary/ Paridise Mill and The Silk Museum, Macclesfield: https://macclesfieldmuseums.co.uk/ Night & Day: 1930s Fashion and Photographs, Fashion & Textile Museum, London: https://www.ftmlondon.org/

We go behind the scenes of one of the most publicised stunts in auction history with our correspondent Anny Shaw, who was there that evening. Then we get a tour of Tate Modern's Anni Albers retrospective with its curator Briony Fer, speak to her biographer Charles Darwent and the head of the Josef and Anni Albers Foundation, Nicholas Fox Weber. See acast.com/privacy for privacy and opt-out information.

Nicky Aerts praat met Johanna Spaey over haar 'Kleine encyclopedie van de eenzaamheid'. Sara Debroey trok naar de retrospectieve van Bauhaus-kunstenaar Anni Albers in K20 in Düsseldorf. Koen Van Synghel zag het werk van de Japanse architect Junya Ishigami in Fondation Cartier in Parijs.

La relación de Josef Albers con el compositor John Cage tiene su origen en la visita de este último a Black Mountain College, la institución en la que enseñaba Albers, en el año 1948. Allí, Albers pudo asistir a los estrenos de significativas obras de Cage quien, en 1950, compuso sus Seis melodías para violín y teclado, dedicadas a Josef y Anni Albers. Esta obra podrá escucharse en el Concierto extraordinario celebrado con motivo de la inauguración de la exposición “Josef Albers: minimal means, maximun effect” acompañada de Tzigane de Ravel y la Fantasía sobre temas de “Carmen” de Bizet de Sarasate. Conferencia inaugural a cargo de Nicholas Fox Weber, director ejecutivo de The Josef and Anni Albers Foundation, Bethany, Connecticut.  Más información de este acto

Harvard Art Museums/Busch-Reisinger Museum Gift of Anni Albers, BR67.20