At this time when interdisciplinary education in higher education is in trend, the Bauhaus is in its prime again as it celebrates 100th anniversary. Anni Albers, a seminal figure in textiles, art education and modern art in America, was one of the few artists who were present in both of the experimental art colleges of the century- Bauhaus in Germany and Black Mountain College in the United States. Many versions of her story exist to date, however this article focuses on the version of her own story, which has not been highlighted either in media or academia. It has been widely accepted that 1) gender inequality existed in Bauhaus, 2) the shift of Albers’ medium derived from wanting recognition from the art world, and 3) a structured curriculum educated many of the artists graduated from Bauhaus. However, in this study, two oral interviews of Anni Albers, seventeen years apart, were compared with public perception, which has dominated understanding of the artist and Bauhaus for centuries. The interviews change our perspective, particularly on gender equity, craft, fine art, and curriculum at Bauhaus in the life of Anni Albers.

中文翻译：

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重新构筑安妮·阿尔伯斯和包豪斯

在高等教育跨学科教育大行其道之际，包豪斯迎来100周年，又迎来了它的鼎盛时期。安妮·阿尔伯斯是美国纺织、艺术教育和现代艺术领域的开创性人物，是为数不多的同时在德国包豪斯和美国黑山学院两所世纪实验艺术学院同时出现的艺术家之一。迄今为止，她的故事有许多版本，但本文关注的是她自己的故事版本，媒体或学术界都没有强调这一版本。人们普遍认为：1）包豪斯存在性别不平等，2）阿尔伯斯的媒介转变源于希望得到艺术界的认可，3）结构化的课程教育了许多从包豪斯毕业的艺术家。然而，在这项研究中，相隔 17 年对安妮·阿尔伯斯的两次口头采访与公众认知进行了比较，公众认知主导了几个世纪以来对艺术家和包豪斯的理解。这些采访改变了我们的观点，特别是关于安妮·阿尔伯斯生活中包豪斯的性别平等、工艺、美术和课程。