Known for her pioneering graphic wall hangings, weavings, and designs, 

 (née Annelise Fleischmann; 1899–1994) is considered one of the most important abstract artists of the twentieth century, as well as an influential designer, printmaker, and educator. Across the breadth of her career, she combined a deep and intuitive understanding of materials and process with her inventive and visually engaging exploration of form and color. Born in Berlin, she studied weaving at the Bauhaus beginning in 1922, eventually joining the faculty in 1929. Her innovative textiles from this period combined avant-garde geometric abstractions with weaving for the first time, creating works that were at once functional and aesthetic. Albers was deeply influenced by pre-Columbian art and textiles, which she encountered on trips to Mexico during her time teaching at Black Mountain College between 1933 and 1949. She went on to employ long-forgotten techniques discovered through her in-depth study and collection of these works, leading eventually to the creation of her pictorial weavings of the 1950s. After 1963, she largely moved away from weaving to focus on printmaking and drawing as well as a select number of commissions that likewise engaged her singular approach to composition, creating numerous abstract motifs that—like her weavings—set up a dynamic play between figure and ground.

 emigrated to North Carolina, where they founded the Black Mountain College art department. At Black Mountain College, she elaborated on the technical innovations she devised at the Bauhaus, developing a specialized curriculum that integrated weaving and industrial design. It was during this time that she began to avidly collect Pre-Columbian art, in particular textiles. In 1949, she became the first designer to have a one-person show at The Museum of Modern Art, New York; the exhibition 

 subsequently traveled to 26 venues throughout the United States and Canada. Following the couple’s move to New Haven, Connecticut, in 1950, Anni Albers shifted her focus primarily to her workshop, spending the 1950s creating mass-reproducible fabrics (including a commission from Walter Gropius for Harvard University), writing, and developing her “pictorial weavings,” culminating in the exhibition 

 at the MIT New Gallery, Cambridge, Massachusetts, in 1959. The show traveled to Carnegie Institute of Technology, Pittsburgh; Baltimore Museum of Art; Yale University Art Gallery, New Haven; and Contemporary Arts Museum, Houston.

In 1963, Albers added printmaking to her artistic repertoire, working primarily in this medium from that point on. Her prints have been featured in numerous exhibitions worldwide, including 

Anni Albers: Bildweberei, Zeichnung, Druckgrafik

 at the Kunstmuseum Düsseldorf in 1975, which traveled to the Bauhaus-Archiv, Berlin. A retrospective exhibition on the 100th anniversary of her birth in 1999, organized by The Josef and Anni Albers Foundation and the Peggy Guggenheim Collection, Venice, traveled to the Josef Albers Museum, Bottrop; the Musée des Arts Décoratifs, Paris; and the Jewish Museum, New York.

, published in 1965, helped to establish design studies as an area of academic and aesthetic inquiry and solidified her status as the single most influential textile artist of the twentieth century. Her writings on design, first published as 

In 2017, the Guggenheim Museum Bilbao presented 

, an in-depth survey of the artist’s work. The Kunstsammlung Nordrhein-Westfalen in Düsseldorf organized an exhibition of Albers’s work in 2018, which traveled to the Tate Modern in London. In 2019, the two-person exhibition, 

, was presented at the San Francisco Museum of Modern Art.

was on view at the Musée d'Art Moderne de Paris, in 2021, and subsequently traveled to IVAM (Instituto Valenciano de Arte Moderno), Valencia, Spain, in 2022. The solo exhibition

was on view at the Syracuse University Art Museum, New York, in 2022, and in the same year, 

was presented at the Kunstmuseum Den Haag, The Hague, the Netherlands. In 2024, the Blanton Museum of Art, Austin, presented

Since May 2016, The Josef and Anni Albers Foundation has been exclusively represented by David Zwirner. The gallery’s first solo presentation of Anni Albers’s work was on view in 2019, coinciding with the centennial anniversary of the founding of the Bauhaus.

Work by Albers is held in important public and private collections worldwide.

 (1888-1976) is considered one of the most influential abstract painters of the twentieth century, as well as an important designer and educator. Albers's artistic career, which bridged European and American Modernism, consisted mainly of a tightly focused investigation into the perceptual properties of color and spatial relationships. Working with simple geometric forms, Albers sought to produce the effects of chromatic interaction, in which the visual perception of a color is affected by those adjacent to it. Albers's precise application of color also created plays of space and depth, as the planar colored shapes that make up the majority of his works appear to either recede into or protrude out of the picture plane.

Albers was born in Bottrop, Germany, and studied briefly at the Königliche Bayerische Akademie der Bildenden Kunst, Munich, in 1919 before becoming a student at the Weimar Bauhaus in 1920. In 1922, Albers joined the school’s faculty, first working in stained glass and, starting in 1923, teaching design. In 1933, he and

 emigrated to North Carolina, where they founded the art department at Black Mountain College. During their time at Black Mountain, Albers began to show his work extensively within the United States, including solo exhibitions at the Addison Museum of American Art, Andover (1935); J.B. Neumann’s New Art Circle, New York (1936, 1938); The Germanic Museum at Harvard University, Cambridge (1936); Katharine Kuh Gallery, Chicago (1937); San Francisco Museum of Art (1940); and the Nierendorf Gallery, New York (1941). The Alberses remained at Black Mountain until 1949 and in 1950 moved to New Haven, Connecticut, where Josef Albers was invited to direct a newly formed department of design at Yale University School of Art. In 1950, too, he developed what would become his seminal 

series, which he continued to elaborate until his death in 1976. This body of work was featured in a major exhibition organized by The Museum of Modern Art, New York, in 1964 that traveled to twenty-two venues in the United States and Latin America. Albers retired from teaching in 1958, a few years prior to the publication of his important text 

(1963), which was reissued in two volumes in 2013. Following numerous gallery and museum exhibitions, as well as his participation in documenta 1 (1955) and documenta 4 (1968), Albers became the first living artist to be the subject of a solo exhibition at The Metropolitan Museum of Art, New York, with his career-spanning retrospective there in 1971.

Painting on Paper: Josef Albers in America

, which originated at the Pinakothek der Moderne, Munich, in 2010 (traveled to Josef Albers Museum, Quadrat, Bottrop, Germany; Louisiana Museum of Modern Art, Humlebæk, Denmark; Kunstmuseum Basel; Centre Georges Pompidou, Paris; Centro de Arte Moderna, Gulbenkian Museum, Lisbon; and the Morgan Library and Museum, New York); 

Josef Albers: Minimal Means, Maximum Effect

 at the Fundación Juan March, Madrid, in 2014 (traveled to Henie Onstad Art Centre, Høvikodden, Norway); and 

A Beautiful Confluence: Anni and Josef Albers and the Latin American World 

at Mudec, Museo delle Culture, Milan, in 2015 to 2016. From 2016 to 2017, The Museum of Modern Art, New York, presented 

One and One Is Four: The Bauhaus Photocollages of Josef Albers

was presented at the Solomon R. Guggenheim Museum in New York and traveled to the Peggy Guggenheim Collection in Venice in 2018. 

was on view at the Musée d'Art Moderne de Paris, in 2021, and subsequently traveled to IVAM (Instituto Valenciano de Arte Moderno), Valencia, Spain, in 2022. At the Josef Albers Museum in Bottrop, Germany, 

 was presented from 2022 to 2023.

Since May 2016, The Josef and Anni Albers Foundation has been exclusively represented by David Zwirner. 

, which was on view in New York in 2019, marked the gallery’s third solo presentation of Josef Albers’s work, following the exhibitions 

 an exhibition exploring the visual and formal affinities and contrasts between the work of Albers and Giorgio Morandi, was on view in New York in 2021. David Zwirner, Hong Kong presented 

, the artist's first solo presentation in Greater China in 2022. David Zwirner, London organized the solo exhibition 

 in 2023, which was presented in tandem with the group exhibition 

Black Mountain College: The Experimenters

A sculpture by Ruth Asawa, called Untitled (S.175, Hanging Single-Lobed, Four-Layer Continuous Form within a Form), dated c. 1992.

American artist, educator, and arts activist 

 (1926–2013) is known for her extensive body of wire sculptures that challenge conventional notions of material and form through their emphasis on lightness and transparency. Born in rural California, Asawa was first exposed to professional artists while her family and other Japanese Americans were detained at Santa Anita, California, in 1942. Following her release from an internment camp in Rohwer, Arkansas, eighteen months later, she enrolled in 1943 in Milwaukee State Teachers College. Unable to receive her degree due to continued hostility against Japanese Americans, Asawa left Milwaukee in 1946 to study at Black Mountain College in North Carolina, then known for its progressive pedagogical methods and avant-garde aesthetic environment. Asawa's time at Black Mountain proved formative in her development as an artist, and she was particularly influenced by her teachers Josef Albers, Buckminster Fuller, and the mathematician Max Dehn. She also met architectural student Albert Lanier, whom she would marry in 1949 and with whom she would raise a large family and build a career in San Francisco. Asawa continued to produce art steadily over the course of more than a half century, creating a cohesive body of sculptures and works on paper that, in their innovative use of material and form, deftly synthesizes a wide range of aesthetic preoccupations at the heart of postwar art in America.

Asawa’s work has been exhibited widely since the early 1950s, including early solo exhibitions at Peridot Gallery, New York in 1954, 1956, and 1958. In 1965, Walter Hopps organized a solo exhibition of the artist’s sculptures and drawings at the Pasadena Art Museum (now Norton Simon Museum) in California, where Asawa completed a residency at the Tamarind Lithography Workshop the same year. Other solo presentations include those held at the San Francisco Museum of Art (1973); Fresno Art Museum, California (2001; traveled to Oakland Museum of California, 2002); de Young Museum, San Francisco (2006); Amon Carter Museum of American Art, Fort Worth, Texas (2012); and Norton Simon Museum of Art, Pasadena, California (2014).

In 2018 to 2019, the Pulitzer Arts Foundation in St. Louis presented 

, the first major museum exhibition of the artist’s work in more than a decade. An accompanying catalogue published by Pulitzer Arts Foundation and Yale University Press includes essays by Aruna D’Souza, Helen Molesworth, and Tamara H. Schenkenberg. The two-person exhibition, 

was on view at the San Francisco Museum of Modern Art in 2021. In 2022, 

 was on view at Modern Art Oxford, England, and later traveled to the Stavanger Kunstmuseum, Norway.

, a solo presentation of the artist’s work, opened at the Whitney Museum of American Art, New York, and traveled to the Menil Drawing Institute, Houston, where it is currently on view until July 21, 2024.

The artist’s works have also been included in significant group exhibitions, including 

Leap Before You Look: Black Mountain College 1933–1957

, Institute of Contemporary Art, Boston (2015; traveled to Hammer Museum, Los Angeles, and Wexner Center for the Arts, Columbus, Ohio, 2016-2017); 

, Whitney Museum of American Art, New York (2015); 

Revolution in the Making: Abstract Sculpture by Women, 1947–2016

Making Space: Women Artists and Postwar Abstraction

, The Museum of Modern Art, New York (2017); 

The Pencil Is a Key: Drawings by Incarcerated Artists

, The Drawing Center, New York (2019); and 

In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury

, Art Institute of Chicago (2019). A selection of the artist's work was presented at the 59th Venice Biennale, 

In addition to her wire sculptures, Asawa is well known for her public commissions, particularly in San Francisco and the wider Bay Area. These include the much beloved 

fountain in Ghirardelli Square (1966-1968) and the 

 outside the Grand Hyatt Union Square (1970-1973), the latter of which includes hundreds of baker’s clay images molded by local schoolchildren, friends, and other artists cast in bronze. Upon moving to San Francisco in 1949, Asawa, a firm believer in the radical potential of arts education from her time at Black Mountain College, devoted herself to expanding access to art-focused educational programs. She co-founded the Alvarado School Arts Workshop in 1968 and was instrumental in the creation of the first public arts high school in San Francisco in 1982, which was renamed the Ruth Asawa San Francisco School of the Arts in her honor in 2010.

The Estate of Ruth Asawa has been represented by David Zwirner since 2017. The gallery’s inaugural solo exhibition of the artist’s work took place the same year in New York, and was accompanied by an extensive publication that includes texts by Tiffany Bell and Robert Storr and features an illustrated chronology. In 2020, the gallery’s London location presented 

, which was the first major presentation of the artist’s work outside of the United States. In 2021, 

was on view at the gallery’s 20th Street location in New York.

The artist’s work is represented in prominent museum collections, including Crystal Bridges Museum of American Art, Bentonville, Arkansas; de Young Museum, San Francisco; Harvard Art Museums, Cambridge, Massachusetts; J. Paul Getty Museum, Los Angeles; Los Angeles County Museum of Art; The Museum of Modern Art, New York; San Francisco Museum of Modern Art; San Jose Museum of Art, California; Solomon R. Guggenheim Museum, New York; and the Whitney Museum of American Art, New York. Asawa has been the recipient of numerous prestigious awards.

Richly illustrated volume exploring the inseparable histories of modernist abstraction and twentieth-century textiles.

Published on the occasion of an exhibition curated by Lynne Cooke, 

 offers a fresh and authoritative look at textiles—particularly weaving—as a major force in the evolution of abstraction. This richly illustrated volume features more than fifty creators whose work crosses divisions and hierarchies formerly segregating the fine arts from the applied arts and handicrafts.

 begins in the early twentieth century, rooting the abstract art of Sophie Taeuber-Arp in the applied arts and handicrafts, then features the interdisciplinary practices of Anni Albers, Sonia Delaunay, Liubov Popova, Varvara Stepanova, and others who sought to effect social change through fabrics for furnishings and apparel. Over the century, the intersection of textiles and abstraction engaged artists from Ed Rossbach, Kay Sekimachi, Ruth Asawa, Lenore Tawney, and Sheila Hicks to Rosemarie Trockel, Ellen Lesperance, Jeffrey Gibson, Igshaan Adams, and Liz Collins, whose textile-based works continue to shape this discourse. Including essays by distinguished art historians as well as reflections from contemporary artists, this ambitious project traces the intertwined histories of textiles and abstraction as vehicles through which artists probe urgent issues of our time.

Woven Histories

Woven Histories: Textiles and Modern Abstraction

Woven Histories: Textiles and Modern Abstraction | Books

David Zwirner is an art gallery with locations in New York, Los Angeles, London, Paris and Hong Kong. We present physical and online exhibitions, podcasts, books, and more.