Free Form

Glenn Adamson | Art in America | 1st March 2019

“Rapturous” acclaim for Tate’s show of Anni Albers’ weavings is but part of a bigger story. Despite Bauhaus credentials and groundbreaking modernism, her reputation faded. Weaving also fell from favour. Now this is reversing, the art/craft distinction discredited. The warp and weft of textiles creates a grid, modernism’s favourite “armature for the expressive aesthetic gesture”.