12. Anni Albers, “A Structural Process in Weaving” (1952), 24. Maria Müller-Schareck, “The Language of Threads,” 40. See Nell Znamierowski, “Olga Amaral,” Craft Horizons in On Designing (Middletown, Conn.: Wesleyan University in Anni Albers, p. 137. 27, no. 3 (May/June 1967), p. 29. Press, 1961), pp. 76–77. 25. See Paulina Brugnoli and Soledad Hoces de la 41. Anna Walker points to De Amaral’s participation in the 13. Anni Albers, “Weaving at the Bauhaus” (1939), in On Guardia, “Anni Albers and Her Great Teachers, the prestigious 1967 Lausanne International Tapestry Biennial Designing, pp. 38–39. Originally written in 1939, this essay Andean Weavers,” in Anni and Josef Albers: Latin to show her position as a leading representative of Latin was 昀椀rst published in Bauhaus 1919–1928, eds. Herbert American Journeys, p. 61. The authors, members of the America within the international 昀椀ber arts movement. Bayer, Walter Gropius, and Ise Gropius (New York: 昀椀rst generation of university-trained designers in Chile, Anna Walker, “Square Words and Gold Landscapes: Museum of Modern Art, 1948) and later revised for explain how their schooling was heavily in昀氀uenced by Building a Life in Textiles,” in Olga de Amaral: To Weave a inclusion in On Designing. the Bauhaus and its principles, as present in the course Rock, exh. cat. (Houston: Museum of Fine Arts; Stuttgart: 14. Leah Dickerman, “Bauhaus Fundaments,” in Bauhaus syllabi at the Design School at the Ponti昀椀cia Universidad Arnoldsche Art Publishers, 2020), pp. 18–19. 1919–1933: Workshops for Modernity, eds. Barry Bergdoll Católica de Chile during the 1950s and 1960s. In this 42. Galaor Carbonell, Olga de Amaral: Desarrollo del and Leah Dickerman, exh. cat. (New York: Museum of way, Latin America readopted its own concepts: the lenguaje (Bogotá: Universidad de los Andes, 1979), Modern Art, 2009), p. 19. rich ancient Andean textile legacy in昀氀uenced early pp. 48–56. It is striking that Carbonell makes no reference 15. See Magdalena Droste, “The Bauhaus Workshops,” twentieth-century German artists, whose work traveled to the Andean textile tradition in his analysis of these in Anni Albers, eds. Ann Coxon, Briony Fer, and Maria to America, south and north, and returned the Andean colorful geometric pieces, and instead classi昀椀es them Müller-Schareck, exh. cat (London: Tate Publishing, 2018), legacy to its home continent. as not particularly innovative, mere copies of painting. pp. 53–54. 26. Elissa Auther, “Andean Weaving and the Appropriation 43. In these pieces, pre-woven bands or straps become 16. Albers, “Work with Material” (1937), in On Designing, of the Ancient Past in Modern Fiber Art,” bauhaus the threads of the warp, and the weft no longer comes p. 52. imaginista, no. 2 Learning From (June 8, 2018). I thank into use—or does only at select places—so the tapestry Elissa Auther for sharing a longer draft of this paper is constructed through braiding with occasional weaving. 17. Gardner Troy, Ancient American Textiles, p. 41. with me. With this process, De Amaral could renounce the vertical 18. Albers, “A Structural Process,” p. 68. Admiring 27. These exhibitions coincided with the early years of shape and predetermined size of the loom. the structural methods deployed by ancient Andean The Met’s own Textile Study Room, founded in 1910. See 44. In Muro tejido cuadriculado, loops encircle parallel textiles, Albers noted: “To name only some of the Amelia Peck and Freyda Spira, “Art for All,” in Making the rods at each end, and woven strips are worked in a weaving constructions, aside from single element Met, 1870–2020, eds. Andrea Bayer and Laura D. Corey, mirror-image progression of braiding, 昀椀nishing in a center techniques like knotting, looping, netting, and additive exh. cat. (New York: The Metropolitan Museum of Art, line. The piece was included in De Amaral’s important techniques like embroidery and brocading: they knew 2020), pp. 55–56. 1970–71 solo show, Woven Walls, held at the Museum plain weave, rib weave, basket weave, and some other 28. Anni Albers, too, had taken a class in pre-Hispanic of Contemporary Crafts in New York. plain weave variations uniquely their own; there were art with George Kubler, in 1952; her research paper for twills, though only rarely encountered; they had warp 45. “Words” that she uses to create “landscapes of as well as weft brocades, damasks, crepes, and gauze the course, which also led her to engage Junius Bird surfaces, textures, emotions, memories, meanings, weaves of a fantastic variety judged by present day for advisement, proposed an analysis of the enigmatic and connections.” Olga de Amaral, The House of standards. They had tapestry techniques with more wide fabrics of the Early Nasca period and was later My Imagination: Lecture by Olga de Amaral at The modes of interlocking threads of adjacent form areas published as “A Structural Process in Weaving.” See Metropolitan Museum of Art, April 24, 2003 (Bogotá: and delineating these areas than found in any other Albers, “A Structural Process,” pp. 65–78. Zona Ltda., 2003), p. 7; ebook available at Olga de Amaral, culture, and, signi昀椀cantly, they had double, triple, 29. Sheila Hicks, in conversation with the author, https://www.olgadeamaral.art/publication quadruple, and tubular weaves.” July 2022. /2003-met-house-of-my-imagination/. 19. Albers, “A Structural Process,” pp. 69–70. And she 30. Hicks traveled from Venezuela to Tierra del Fuego, 46. De Amaral, The House, p. 7. continues: “In the usual process of weaving, mixtures of visiting Colombia, Ecuador, Peru, Bolivia, and Mexico. 47. De Amaral, The House, p. 9. colors occur wherever warp and weft of different color She also passed through Argentina, Uruguay, and Brazil. 48. Albers, On Weaving, p. 52. cross each other. In multi-ply weaves, however, each Carolina Arévalo, “Essential Writing: Sheila Hicks and layer of cloth is woven with its own color, even when Pre-Hispanic Art,” in Sheila Hicks: Free Threads: Textile 49. Albers, On Weaving, p. 58. sections of different layers are interchanged. In a double and Its Pre-Hispanic Roots, 1954–2017, exh. cat. (Puebla: 50. See Albers’s revelatory essay “Tactile Sensibility,” in weave, for instance, a light colored top layer may have Museo Amparo, 2018), p. 106. On Weaving, pp. 62–65, in which she states that modern a dark 昀椀gure inserted in it by borrowing warp and weft 31. Cited in Nina Stritzler-Levine, introduction, in Sheila society has grown increasingly insensitive to tactility. threads from a dark colored second layer.” Hicks: Weaving as Metaphor, ed. Nina Stritzler-Levine 20. It represents the number of times the basic unit of (New York: Bard Graduate Center, 2006), p. 17. construction must be repeated to complete the structure 32. D’Harcourt, Textiles of Ancient Peru, p. 187, plate 1B. of the weave, allowing for the scheme of the design to Hicks likely consulted the French 昀椀rst edition. be replicated. 33. Arévalo, “Essential Writing,” p. 120. 21. Albers formed two major collections: The Harriet 34. Mona Schieren, “‘Every Moment Is a Moment of Engelhardt Memorial Collection of Textiles for Black Learning.’—Lenore Tawney. New Bauhaus and Amerindian Mountain College (created between 1947 and 1950) and Impulses,” bauhaus imaginista, no. 2 Learning From a personal collection she and Josef amassed of textiles, (November 14, 2018). objects, and miniature sculptures. Many of the textiles 35. For an account of Lenore Tawney’s diverse in昀氀uences, she collected would appear reproduced or cited in On see Schieren, “‘Every Moment.’” Weaving. Following the 1957 closure of Black Mountain College, the Engelhardt Collection was purchased by the 36. Auther, “Andean Weaving.” Yale University Art Gallery. See Jennifer Reynolds-Kaye, 37. Florica Zaharia, in conversation with the author, May 5, “Anni Albers as Collector,” in Anni Albers, p. 107. 2022. I thank Florica—who keeps Tawney’s loom!—for 22. Albers, On Weaving, p. 39. sharing her knowledge of Tawney’s life and work. 23. Raoul d’Harcourt, Textiles of Ancient Peru and 38. Tawney’s integration of beads and natural materials Their Techniques, eds. Grace G. Denny and Carolyn M. into her weaving allowed her to annex Andean weaving Osborne, trans. Sadie Brown (Seattle: University of and Native American aesthetics in her own work, linking Washington Press, 1962), originally published as Les it cross-culturally and trans-historically with indigenous textiles anciens du Pérou et leurs techniques (Paris: textile traditions. Auther, “Andean Weaving.” Editions d’art et d’histoire, 1934); Gardner Troy, Ancient 39. Albers, On Weaving, p. 190, plate 107. American Textiles, p. 169, n. 37. 47