Notes Embracing the Grid 13. Catherine J. Allen, The Hold Life Has: Coca and Abstraction and Andean Textiles, from Anni Albers Iria Candela and Joanne Pillsbury Cultural Identity in an Andean Community, 2nd ed. to the Fiber Arts Movement 1. César Paternosto, The Stone and the Thread: Andean (Washington, D.C.: Smithsonian Institution Press, 2002). Iria Candela Roots of Abstract Art, trans. Esther Allen (Austin: 14. Ann P. Rowe, Costumes and Featherwork of the Lords I thank the following people for sharing their knowledge University of Texas Press, 1996), p. 12. See also César of Chimor: Textiles from Peru’s North Coast, exh. cat. during the research for this essay: Diego Amaral, Elissa Paternosto, Abstraction: The Amerindian Paradigm, exh. (Washington, D.C.: Textile Museum, 1984), pp. 185–86. Auther, Emilia Cortés, Brenda Danilowitz, Christine cat. (Brussels: Société des Expositions du Palais des 15. Ann P. Rowe, “Technical Features of Inca Tapestry Giuntini, Sheila Hicks, Kristine Kamiya, Elena Kanagy-Loux, Beaux-Arts de Bruxelles, 2001), esp. pp. 24, 52, 59, 111. Tunics,” Textile Museum Journal 17 (1978), pp. 5–28, Eva Labson, Kathleen Mangan, Karis Medina, César 2. Anni Albers, On Weaving (Middletown, Conn.: and “Provincial Inca Tunics of the South Coast of Peru,” Paternosto, Joanne Pillsbury, Amy Jean Porter, Abraham Wesleyan University Press, 1965), p. 68. Textile Museum Journal 31 (1992), pp. 5–52. Thomas, Cecilia de Torres, Cecilia Vicuña, Nicholas Fox 16. John H. Rowe, “Standardization in Inca Tapestry Weber, and Florica Zaharia. I remain thankful to Cecilia In昀椀nite Pattern: Weaving in the Ancient Andes Tunics,” in The Junius B. Bird Pre-Columbian Textile Weddell for her insightful editorial revisions to this essay. Joanne Pillsbury Conference, May 19th and 20th, 1973, eds. Ann P. Rowe, 1. Though Anni Albers wrote to René d’Harnoncourt, I thank Christine Giuntini for her insights on Andean Elizabeth P. Benson, and Anne-Louise Schaffer director of the Museum of Modern Art, New York, in 1945 weaving and helpful suggestions on an earlier draft of this (Washington, D.C.: Textile Museum, 1979), pp. 239–64. asking him for funds to support “plans my husband and essay, and Anne Blood Mann for her elegant revisions. 17. Cobo, Inca Religion, pp. 239–40. I have had for years—that of going to Peru for several Additional thanks are owed to Edward S. Harwood, months of study,” the pair did not visit Peru until 1953, Natalia Majluf, Jeffrey Splitstoser, and Daniel Rifkin, and, 18. Mary Frame, “Chuquibamba: A Highland Textile Style,” when Josef was invited to teach at the Escuela Nacional most especially Iria Candela, for the stimulating conver- Textile Museum Journal 36–37 (1997–98), pp. 2–47, and de Ingenieros. I thank Paul Galloway for sharing Albers’s sations over the years about weaving and abstraction in Textiles Chuquibamba: 1000–1475 d.C. (Lima: Museo letter with me. Anni Albers, manuscript letter (1945), Anni ancient and modern times. de Arte de Lima, 1999), pp. 21–22. Albers correspondence 昀椀le, Architecture and Design 19. Laurie Adelson and Arthur Tracht, Aymara Weavings: Study Center, Museum of Modern Art, New York. 1. Pedro Sarmiento de Gamboa, The History of the Ceremonial Textiles of Colonial and 19th Century Bolivia 2. Brenda Danilowitz, “‘We are not alone’: Anni and Josef Incas, trans. and ed. Brian S. Bauer and Vania Smith (Washington, D.C.: Smithsonian Institution Traveling Albers in Latin America,” in Anni and Josef Albers: Latin (manuscript, 1572; trans., Austin: University of Texas Press, Exhibition Service, 1983). Note that ethnographic textiles, American Journeys, eds. Brenda Danilowitz and Heinz 2007), p. 57. Khipu means “knot” in Quechua, the modern which fall beyond the scope of this essay, were not Liesbrock, exh. cat. (Madrid: Museo Nacional Centro descendant of the language of the Inca. For more on a major collecting area in many art museums until the de Arte Reina Sofía; Ost昀椀ldern: Hatje Cantz Verlag, 2007), khipus, see Written in Knots: Undeciphered Accounts 1970s, when, in the wake of artists such as Barnett p. 17, n. 1. of Andean Life, exh. cat. (Washington, D.C.: Dumbarton Newman, the minimalist aesthetic of the cloths were Oaks Museum, 2019). reevaluated. Natalia Majluf, message to the author, 2022. 3. “The Pottery Workshop, however, was less than keen 2. Bernabe Cobo, Inca Religion and Customs, trans. to accept female students. . . . By 1922 the Bookbinding and ed. Roland Hamilton (manuscript, 1653; trans., 20. Beatrix Hoffman, “Wilhelm Gretzer and His Collection Workshop had been dissolved. This left only the Austin: University of Texas Press, 1990), p. 117. of Peruvian Antiquities in the Ethnological Museum Weaving Workshop open to women.” Sigrid Wortmann in Berlin,” in PreColumbian Textiles in the Ethnological Weltge, Women’s Work: Textile Art from the Bauhaus 3. John V. Murra, “Cloth and Its Functions in the Museum in Berlin, eds. Lena Bjerregaard and Torben (San Francisco: Chronicle Books, 1993), p. 42. Inca State,” American Anthropologist 64, no. 4 Huss (Lincoln, Nebr.: Zea Books, an imprint of University 4. Anni Albers, On Weaving (Middletown, Conn.: (August 1962), p. 719. of Nebraska–Lincoln Libraries, 2017), pp. 9–14. Wesleyan University Press, 1965), p. 5. 4. Edward A. Jolie, Thomas F. Lynch, Phil R. Geib, 21. Wilhelm Reiss and Alphons Stübel, The Necropolis 5. Albers, On Weaving, p. 69. “Among high achievements and James M. Adovasio, “Cordage, Textiles, and the of Ancon in Peru: A Contribution to Our Knowledge of the in hand weaving, Coptic as well as early Peruvian weav- Late Pleistocene Peopling of the Andes,” Current Culture and Industries of the Empire of the Incas, trans. ing must be recognized, the latter surpassing perhaps Anthropology 52, no. 2 (April 2011), pp. 285–96. Augustus Henry Keane, 3 vols. (Berlin: A. Asher and Co.; in inventiveness of weave structure, formal treatment, 5. Nicola Sharratt, Carrying Coca: 1500 Years of Andean New York: Dodd, Mead, and Co., 1880–87). and use of color, other great textile periods.” Albers, On Chuspas (New York: Bard Graduate Center, 2014), 22. Alphons Stübel, letter (February 26, 1875), cited in Weaving, p. 21. pp. 13, 43. Uwe Carlson, “Reiss y Stübel en Ancón,” in El inicio 6. Virginia Gardner Troy, Anni Albers and Ancient 6. Wilhelm Worringer, Abstraction and Empathy: A de la arqueología cientí昀椀ca en el Perú: Reiss y Stübel American Textiles: From Bauhaus to Black Mountain Contribution to the Psychology of Style, trans. Michael en Ancón: Exposición de litogra昀椀as de 1875 publicadas (Burlington, Vt.: Ashgate, 2002). Bullock (Munich: R. Piper and Co., 1908; trans., London: en “The Necropolis of Ancon in Peru,” exh. cat. (Lima: 7. Between 1916 and 1919, Albers studied in Berlin with the Routledge and Kegan Paul, 1953). Museo de Arte, 2000), p. 9. impressionist painter Martin Brandenburg; subsequently 7. Rebecca Stone, Art of the Andes: From Chavín to Inca, 23. Anni Albers, On Weaving (Middletown, Conn.: she attended the Kunstgewerbeschule in Hamburg and 3rd ed. (London: Thames and Hudson, 2012), p. 155. Wesleyan University Press, 1965), p. 69. See also Virginia studied weaving for two months. “Chronology,” Josef and 8. Susan E. Bergh, “Tapestry-woven Tunics,” in Wari: Lords Gardner Troy, Anni Albers and Ancient American Anni Albers Foundation, accessed September 6, 2023, of the Ancient Andes, exh. cat. (Cleveland: Cleveland Textiles: From Bauhaus to Black Mountain (Burlington, https://www.albersfoundation.org/alberses/chronology. Museum of Art; New York: Thames and Hudson, 2012), Vt.: Ashgate, 2002). On textile study rooms, see Amelia 8. Albers, On Weaving, p. 19. pp. 158–91. Peck and Freyda Spira, “Art for All,” in Making the Met, 1870–2020, eds. Andrea Bayer with Laura D. Corey 9. Albers, On Weaving, p. 39. In her personal records, 9. George Kubler, The Art and Architecture of Ancient (New York: The Metropolitan Museum of Art, 2020), Albers referred to some of her works with the term America: The Mexican, Maya, and Andean Peoples, pp. 50–69. Although The Met’s commitment to the “Wallhanging,” as Karis Medina, Associate Curator at 3rd ed. (New York: Penguin Books, 1990), pp. 429–30. collection of ancient American art waxed and waned the Josef and Anni Albers Foundation, con昀椀rmed in 10. Heidi King, Peruvian Featherworks: Art of the over the course of its 154-year history, ancient Andean an email to the author, July 7, 2023. Precolumbian Era (New York: The Metropolitan Museum textiles were collected more or less continuously, even 10. Gardner Troy, Ancient American Textiles, p. 9. On the of Art, 2012), pp. 28–30. when Precolumbian works in other media were sent German manifestation of Morris’s applied arts reform, 11. Gottfried Semper, The Four Elements of Architecture across Central Park to the American Museum of Natural see pp. 6–9. and Other Writings, trans. Harry F. Mallgrave and History. See Joanne Pillsbury, “Aztecs in the Empire City: 11. Albers, On Weaving, p. 68. “[R]egardless of scale, Wolfgang Herrmann (Braunschweig: Vieweg Verlag, 1851; ‘The People without History’ in The Met,” Metropolitan small fragment or wall-size piece, a fabric can be great trans., Cambridge: Cambridge University Press, 1989). Museum Journal 56 (2021), pp. 12–31. art if it retains directness of communication in its speci昀椀c 12. See, for example, an anonymous account written medium. This directness of communication presupposes about 1593–97, “Relación de las costumbres antiguas the closest interaction of medium and design.” de los naturales del Pirú,” in Crónicas peruanas de interés indígena, ed. Francisco Esteve Barba (Madrid: Ediciones Atlas, 1968), pp. 158–89. 46