Anni Alber’s as influence
Upon delving into Anni Albers' extensive body of work, particularly through her illuminating book "On Designing," her profound influence becomes unmistakably pervasive. An intriguing revelation for me was her transition from weaving to printmaking in the 1940s, a pivotal shift that redefined artistic boundaries. The vivid imagery she crafted, featuring primary color threads cascading off the edges of pages, evoked resonances with Brice Marden's "Cold Mountain" and "Muses Series" from the 1990s. Perhaps my renewed interest in Marden's oeuvre stems from his recent passing, underscoring the magnitude of the artistic realm's loss.
Brice Marden Study for the Muses (Hydr Version) 1991-5/97
As I revisit Marden's paintings, laid out on my coffee table alongside volumes dedicated to Anni Albers (1899-1994), their shared focus on the enigmatic potential of line emerges as a compelling narrative. Intriguingly, while the artistic kinship is palpable, Albers' influence is notably absent from the discourse in Marden's catalogs. Notably, Marden had taken a course in 1961 under Anni Albers' husband, Josef Albers, during his attendance at the Yale summer graduate program.
Art critics and gallerists abound in attributing influences and lineages to Marden, drawing parallels to Matisse, Beckmann, DeKooning, Kline, Rothko, and even the poetry of Tu Fu. Yet, a direct acknowledgment of Anni Albers remains conspicuously absent.
A compelling visual exercise emerges when comparing Marden's "Study for the Muses (Hydra version) 1991" with Albers' "Knot, 1947." Can one convincingly argue that Marden was oblivious to her groundbreaking work?
Anni Albers, Knot 1947
However, before we become overly enthusiastic about drawing direct connections, a significant divergence in the artistic trajectories of these two luminaries becomes apparent.
In the realm of Brice Marden (1938-2023), a painted line assumes the character of a warrior's trail, akin to Theseus navigating the labyrinth. Symbolism abounds, with rock formations from his Mediterranean island home and the rolling pastures of the Hudson Valley shaping his creative lexicon. Marden's line tests limits, gliding along canvas edges, turning back, and looping in circular tracks.
Conversely, Anni Albers employs her line as a builder of previously nonexistent realms. Drawing inspiration from weaving, knotting, and South American indigenous cultures, she expounds on the transformative power of two threads. Her works, imbued with a living spirit, echo the mystique of the ancient Fates, who, with threads, weave the mortal lifespan. Notably, Albers often cited her teacher Paul Klee as a formative influence, with his directive for students to "take a line for a walk."
This contemplation brings to mind the work of Saul Steinberg (1914-1999) and his line drawings, which delve into questions of identity.
Saul Steinberg drawing
In this exploration, gratitude surfaces for the insights provided by these artists, showcasing the myriad captivating ways in which line can be wielded as a powerful artistic tool.
