Art Out and About: Abroad

From the 11th International Shibori Symposium in Japan to Metamorfizm Magdalena Abakanowicz in Poland, these international summer exhibitions are not to be missed:

11th International Shibori Symposium Nagoya, Japan

The 11th International Shibori Symposium will take place throughout June and July in three separate, yet connected regions of Japan: Tokyo, Nagoya, Yonezawa and Yamagata. The symposium will explore the regions shared legacies of craft and local industry revolving around Safflower, Indigo and Shibori. In addition to workshops and demonstrations, the symposium specially organized ten exhibitions chronicling the history and future of shibori. browngrotta arts artist Carolina Yrarrázaval’s work has been selected to be a part of International Contemporary Art of Shibori at the Tama Art University Museum in Tokyo (July 1 – August 19). This year’s topics of discussion include local industry, technology and tradition, global trade and material transformation. “Local industries create foundations for the community and environment which we build textile practices,” explains the World Shibori Network by “emphasizing sustainability, regional history and people and their skills, we showcase the enduring legacy of artisans and craftspeople who support traditions and inspire future generations.” For more information on the 11th International Shibori Symposium click HERE.

One of Jane Balsgaard's sculptures in SKIBET OG BØLGEN. Photo: Jane Balsgaard

One of Jane Balsgaard’s sculptures in SKIBET OG BØLGEN. Photo: Jane Balsgaard

Jane Balsgaard: SKIBET OG BØLGEN at Kunsthuset Palæfløjen.

In Denmark, Jane Balsgaard has a new solo exhibition at Kunsthuset Palæfløjen. The exhibition’s theme revolves around the ship as an artifact with free interpretation of ships, the sea and waves. SKIBET OG BØLGEN highlights Balsgaard’s unique technique and impeccable craftsmanship. Balsgaard’s use of natural materials, such as handmade paper and found objects has made her a pioneer in the Danish Art Scene. In addition to displaying many of Balsgaard’s pieces, there is also a documentary by Torben Glarbo, in which you can see the production Silent Flight, Balsgaards installation in the Manchester Airport.SKIBET OG BØLGEN will run through June 24th, for more information on this exhibition click HERE.

Tim Johnson's Lines and Fragments

Tim Johnson’s Lines and Fragments. Photo: Tim Johnson

 

Jun Tomita at Johanniterkirche in Feldkirch, Austria (September 14th, 2018 – Sometime in December depending on temperature)

Feldkirch, Austria will be the site of a one-person exhibition of ikat works by Jun Tomita in Japan. For more information of Johanniterkirche and Feldkirch click HERE.

Tim Johnson’s Lines and Fragments at Korbmacher-Museum Dalhausen

In Germany, the Korbacher-Museum Dalhausen will be hosting Tim Johnson’s solo exhibition Lines and Fragments. Johnson, who uses a variety of plant materials from his adopted home of Catalonia, combines the specific characteristics of the plant materials with different weaving techniques, both traditional and experimental, in order create endless possibilities for creativity and expression. Line and Fragments will display Johnson’s recent work, while also exploring his 20 years of braiding research. “As a basket maker, I work today to combine traditions and experimentation that lead me into new areas: when we look at traditional woven objects in museums and collections, we only see part of the genesis and can only partially understand the life of these objects imagine,” explains Johnson. “The quality of the design and the signs of wear of old, traditional baskets fascinate me and I hope to capture some of their magic with my own skills. I am neither a fisherman nor a farmer and my baskets are not functional, but my work celebrates our woven cultural heritage while creating something that has not existed before.” In the past, the museum has hosted strong exhibitions of traditional basketry work from Spain, Uganda and France. Johnson’s exhibition will be the first contemporary show the museum has ever done. Lines and Fragments will be on display at the Korbacher-Museum Dalhausen from July 15th until September 9th, after which it will travel to Lichtenfels in southern Germany. For more information on Lines and Fragments click HERE.

Metamorfizm Magdalena Abakanowicz at The Central Museum of Textiles in Łódź, Poland. Photo: The Central Museum of Textiles

Metamorfizm. Magdalena Abakanowicz (1930 – 2017) in Łódź, Poland

In Łódź, Poland, The Central Museum of Textiles and the Swiss Toms Pauli Foundation opened a collaborative exhibition to pay tribute to Magdalena Abakanowicz. Metamorfizm Magdalena Abakanowicz, which is set to run from May 17th through September 9th, seeks to shed a light on how Abakanowicz revolutionized the field of textile art. Abakanowicz’s international career started in Lausanne at the city’s first Tapestry Biennial in 1962. The exhibition has about thirty pieces of Abakanowicz’s work, ranging from mural creations, sculptures in relief and unusual collages. All of which celebrate the diversity and modernity of Abakanowicz’s artistic experimentation from 1965 to 1985. In addition to Abakanowicz’s work, there will be a screening of Kazimierz Mucha’s movie, accompanied by music composed by Bogusław Schäffer. Mucha’s movie footage examines Abakanowicz’s 1968 open-air art installation in Łeb. The installation’s organic material ’Abakans’ “surrender to the gusts of wind, move and integrate into the surrounding landscape of the wild dunes, accentuating their biological provenance.” Metamorfizm not only spotlights Abakanowicz’s work but also calls attention to the intellectual sources of Abakanowicz’s work. For more information on Metamorfizm click HERE.


Summer Stock: Artist Lectures, Classes, Workshops and Walkthroughs

Have some spare time on your hands this summer? Here is a list of opportunities browngrotta arts artists are offering to help you channel your creativity:

Calculus, Sue Lawty, natural stones on gesso, 78.75" x 118", 2010

Calculus, Sue Lawty, natural stones on gesso, 78.75″ x 118″, 2010. Photo by Tom Grotta

Sue Lawty

June 16, 11-5pm
The Artworkers Guild, 6 Queen Square, Bloomsbury, London
Woven Tapestry with Sue Lawty”
Website: https://bit.ly/2t3ZZ2J

 

Susie Gillespie

June 17-21
Yalberton Farm House, Yalberton Road, Paignton, Devon, UK
Field to Fabric with Susie Gillespie”
Website: https://bit.ly/2t42PEI

Susie Gillespie Detail


July 30-August 2
South Devon, UK
“Textile Art Techniques: Weaving, Stitching and Dying with Alice Fox and Susie Gillespie”
Website: https://bit.ly/2HJIKc3

 

 New Nebula, Eduardo Portillo & Mariá Eugenia Dávila , silk,alpaca, moriche palm fiber dyed with Indigo, rumex spp., onion,eucalyptus, acid dyes, copper and metallic yarns, 74” x 49.25”, 2017

New Nebula, Eduardo Portillo & Mariá Eugenia Dávila, silk,alpaca, moriche palm fiber dyed with Indigo, rumex spp., onion,eucalyptus, acid dyes, copper and metallic yarns, 74” x 49.25”, 2017. Photo by Tom Grotta

Maria and Eduardo Portillo

June 24-July 6
Penland School of Crafts – Textiles Summer Session Three, Bakersville, NC
Weaving Ideas”
Website:   https://bit.ly/2LGP1rB

 

Carolina Yrarrázaval

July 2
Tama Art Museum, 11th International Shibori Symposium, Tokyo
Talk: “Modern Art Museum Exhibition, Chile”
Website: https://www.11iss.org

 

Tim Johnson's Keeping Time Baskets

Tim Johnson’s Keeping Time Baskets. Photo by Tim Johnson

Tim Johnson

July 3-4
Järvsö, Sweden
Finding Fibres – basketmaking with soft materials”

July 16-17, 10-5pm
FlechtSommer – Basketmaking Summer School, Korbmacher-Museum, Dalhausen, Germany
“Looping Techniques with Soft Materials”
Website: https://bit.ly/2JxdOln

 

July 22 – 27
West Dean College, near Chichester, England
Flexible basketry structures – looping, netting and knotting
Website: https://bit.ly/2y3bblG

 

Gizella Warburton

July 6 – 8
Hawkwood College, UK
Presence and Absense”
Website: https://bit.ly/2sS8df3


Caroline Bartlett

July 16-18, 10:30-4:30pm
City Lit, London, UK
“Textiles: manipulation, folding and fabric origami”
Website: https://bit.ly/2l3iRv3

 

An example of what you can learn at Caroline Bartlett’s “Surfacing: Fold, Pleat, Form”

August 11-17
West Dean College near Chichester, UK
“Reshaping cloth — print and manipulation”
Website: https://bit.ly/2JR0w2w

July 31-August 2
Hawar Textile Institute, Oldeberkoop, Netherlands
“Surfacing: Fold, Pleat, Form”
Website: https://bit.ly/2LFM9Lm

August 27-31
Big Cat Textiles, Newburgh, Scotland
“Between the Folds — Concealing and Revealing with Caroline Bartlett”
Website: https://bit.ly/2JNd4b2

 

 

Shady Lane Polly Adams Sutton western red cedar bark, dyed ash, wire, cane 16” x 12” x 9”, 2006

Shady Lane,Polly Adams Sutton, 
western red cedar bark, dyed ash, wire, cane
16” x 12” x 9”, 2006. Photo by Tom Grotta


Polly Sutton

August 2-5
Missouri Basketweavers Convention
Talk: August 4, 7pm, “Basketry in Sardinia”
Workshop:  August 4-5, “Cedar Knothole Cathead”
August 4, 8am-5pm, August 5, 8am-10am
Website: https://bit.ly/2l6HjvG

 

Ferne Jacobs

Offering private classes throughout the summer on the fiber techniques of coiling, knotting and twining.

For more information on Jacobs’ offered classes contact her at fernejacobs@gmail.com


Art Out and About: US

The opportunities to see great art are endless this summer! Heading to the West Coast for work? Take a detour and visit  the newly opened Nordic Museum to check out Northern Exposure: Contemporary Nordic Arts Revealed in Seattle, WashingtonVisiting friends or family in the Northeast? Make plans to spend the day in New Haven and see Text and Textile at The Beinecke Rare Book & Manuscript Library on Yale’s campus. Whether you are in the North, South, East or West there are a wide variety of strong exhibitions on display across the US this summer, here are a few of our favorites:

Grethe Wittrock's Nordic Birds at the Nordic Museum

Grethe Wittrock’s Nordic Birds at the Nordic Museum in Seattle, Washington. Photo by Grethe Wittrock

Northern Exposure: Contemporary Nordic Arts Revealed at the Nordic Museum, Seattle, Washington

The newly opened Nordic Museum hopes to share and inspire people of all ages and backgrounds through Nordic art. The museum is the largest in the US to honor the legacy of immigrants from the five Nordic countries: Denmark, Finland, Iceland, Norway and Sweden. Northern Exposure studies “how the Nordic character continues to redefine itself within an evolving global context” by challenging “perceptions of form, gender, identity, nature, technology and the body,” explains the Museum. The exhibition features work by internationally acclaimed artists, including Grethe Wittrock, Olafur Eliasson, Bjarne Melgaard, Jesper Just, Kim Simonsson and Cajsa Von Zeipel. Made of Danish sailcloth, Wittrock’s Nordic Birds immediately attracts the eye upon entering the exhibition. Northern Exposure: Contemporary Nordic Arts Revealed will be on display through September 16, 2018. For more information click HERE.

Traces: Wonder by Lia Cook at the Racine Art Museum, Gift of Karen Johnson Boyd. Photo by Jon Bolton

Traces: Wonder by Lia Cook at the Racine Art Museum, Gift of Karen Johnson Boyd. Photo by Jon Bolton

Honoring Karen Johnson Boyd: Collecting In-Depth at Home and at RAM, Racine Art Museum, Wisconsin

The Racine Art Museum’s new exhibit Honoring Karen Johnson Boyd: Collecting In-Depth at Home and at RAM showcases art advocate and collector Karen Johnson Boyd’s collection of ceramic, clay and fiber art. The exhibition, which is broken up into a series of four individually titled exhibitions, with varying opening and closing dates, highlight Boyd’s interests, accomplishments and lifelong commitment to art. Throughout her life, Boyd was drawn to a diverse array of artistic styles and subjects. Boyd, who collected fiber in an encyclopedic fashion, supported artists of varying ages with varying regional, national and international reputations. Boyd’s Frank Lloyd Wright-designed home provided her with many display options for her fiber collection. Though baskets encompassed the majority of Boyd’s fiber collection, she regularly altered her environment, adding and subtracting works as she added to her collection. The exhibitions feature work from Dorothy Gill Barnes, Lia Cook, Kiyomi Iwata, Ferne Jacobs, John McQueen, Ed Rossbach, Hideho Tanaka, Mary Merkel-Hess, Norma Minkowitz, Lenore Tawney and Katherine Westphal. Honoring Karen Johnson Boyd: Collecting In-Depth at Home and at RAM will be on display at the Racine Art Museum through December 30th, with exhibited pieces changing over in mid-September. For more information on Honoring Karen Johnson Boyd: Collecting In-Depth at Home and at RAM visit the Racine Art Museum’s website HERE.

Text and Textile at The Beinecke Rare Book & Manuscript Library

Text and Textile at The Beinecke Rare Book & Manuscript Library, New Haven, Connecticut

In New Haven, Connecticut, The Beinecke Rare Book & Manuscript Library recently opened Text and Textile. The exhibition, which will be on display through August 12th, explores the relationship and intersection between text and textile in literature and politics.Text and Textile draws on Yale University’s phenomenal collection of literature tied to textiles, from Renaissance embroidered bindings to text from Anni Albers’ On Weaving. Additionally, the exhibition features: Gertrude Stein’s waistcoat; manuscript patterns and loom cards from French Jacquard mills; the first folio edition of William Shakespeare’s plays; the “Souper” paper dress by Andy Warhol; American samplers; Christa Wolf’s “Quilt Memories”; Zelda Fitzgerald’s paper dolls for her daughter; Edith Wharton’s manuscript drafts of “The House of Mirth”; an Incan quipu; poetry by Langston Hughes, Emily Dickinson, Susan Howe and Walt Whitman; and “The Kelmscott Chaucer” by William Morris. For more information on Text and Textile click HERE.

Kaki Shibu by Nancy Moore Bess. Lent by Browngrotta Arts

Kaki Shibu by Nancy Moore Bess. Lent by Browngrotta Arts

Rooted, Revived, Reinvented: Basketry In America at the Houston Center for Contemporary Craft. Houston, Texas

The traveling exhibition Rooted, Revived, Reinvented: Basketry In America is now on display at the Houston Center for Contemporary Craft in Houston, Texas. The exhibition, which is set to travel around the United States through the end of 2019, chronicles the history of American basketry from its origins in Native American, immigrant and slave communities to its presence within the contemporary fine art world. Curated by Josephine Stealy and Kristin Schwain, the exhibition is divided into five sections: Cultural Origins, New Basketry, Living Traditions, Basket as Vessel and Beyond the Basket which aim to show you the evolution of basketry in America. Today, some contemporary artists seek to maintain and revive traditions practiced for centuries. However, other work to combine age-old techniques with nontraditional materials to generate cultural commentary. Rooted, Revived, Reinvented: Basketry In America features work by browngrotta arts’ artists Polly Adams Sutton, Mary Giles, Nancy Moore Bess, Christine Joy, Nancy Koenigsberg, Dorothy Gill Barnes, Ferne Jacobs, Gyöngy Laky, Kari Lønning, John McQueen, Norma Minkowitz, Leon Niehues, Ed Rossbach, Karyl Sisson and Kay Sekimachi.

Kay Sekimachi in Handheld at the Aldrich Museum

Kay Sekimachi in Handheld at the Aldrich Museum. Photo by Tom Grotta

Handheld at the Aldrich Museum, Ridgefield, Connecticut

The Aldrich Museum’s new exhibition Handheld explores how contemporary artists’ and designers’ perceive the meaning of touch. Touch is one of the most intimate and sometimes unappreciated senses. Today, the feeling our hands are most familiar with are our that of our handheld devices and electronics. Touch is no longer solely used to hold objects such as pencils and tools, in fact, touch is increasingly taking the form of a swipe, where the sensation is ignored in favor to the flat visual landscapes of our own selection. “Handheld takes a multifarious approach—the hand as means of creation, a formal frame of reference” explains the Aldrich Museum. It serves the viewer as “a source of both delight and tension as they experience sensual objects in familiar domestic forms, scaled for touch, that can be looked upon but not felt.” The group exhibition, which features work by Kay Sekimachi will be on display until January 13, 2019. For more information on Handheld click HERE.


Art Assembled: New This Week May

Ulla-Maija Vikman. Reflect, painted viscose and linen, 62.5” x 54”, 2017. Photo by Tom Grotta

Reflect, Ulla-Maija Vikman, painted viscose and linen, 62.5” x 54”, 2017. Photo by Tom Grotta

May was quite a busy and exciting month here at browngrotta arts. We ended April and kicked off May with our annual Art in the Barn Exhibition, Blue/Green: color/code/context. The exhibition attracted a record-breaking crowd that swarmed from all areas near and far. In addition to the opening itself, we hosted “Art-Ocean-Energy” a fundraiser for Ports of Cause as well as an IDCEC accredited presentation “Material Matters: Integrating Art Textiles and Fiber Sculpture in Architecture and Interior.” We also published our new catalog Blue/Green: color/code/context. The catalog–our 48th volume–features work by 57 artists from over 15 countries. Blue/Green: color/code/context is available for purchase on our online store and Amazon.

To kick off May’s New This Week we shared Ulla-Maija Vikman’s Reflect. Made by hand-painting viscose yarn and linen, Vikman’s Reflect falls freely into space and forms varying color surfaces as air flow causing the uniquely painted fibers to move. Vikman found combining the color blue with textiles very interesting because of the way in which they juxtapose each other. “Textile is material and tactile. Blue is immaterial, airy and spacious,” explains Vikman.  

Changing Tides, Wendy Wahl, Encyclopedia Britannica pages, 27” x 42” x 1.75”, 2018. Photo by Tom Grotta

Next up we had Changing Tides by Wendy Wahl.  Made of 275 pages of 1988 Encyclopedia Britannica Annual of World Data, Changing Tides continues a series Wahl developed from her interest in expressing our station in time through the use of materials that have been a part of a particular collective consciousness. Wahl cut the encyclopedia pages into seven sections, for each of the continents, and thoughtfully scrolled and compressed into 1,925 whirls to symbolize the reality of rising water around the globe.

Blue Wave, Ferne Jacobs, coiled and twined waxed linen thread, 19” x 17.5” x 6”, 1994. Photo by Tom Grotta.

Blue Wave, Ferne Jacobs, coiled and twined waxed linen thread, 19” x 17.5” x 6”, 1994. Photo by Tom Grotta.

Lastly, Ferne Jacobs Blue Wave. Jacobs, who began making sculptural baskets in 1970, uses waxed linen to create intricate, coiled designs that evoke organic forms. Jacobs’ commitment to fiber sculptures grows out of a fascination that thread can be made solid, that by using only her hands and thread, she can create a form that can physically stand on its own.

 


Blue/Green: color/code/context Catalog

Blue/Green: color/code/context

Blue/Green: color/code/context

The companion catalog for Blue/Green: color/code/context is now available for purchase in the browngrotta arts online store and on Amazon. The catalog— our 48th volume—contains 148 pages, 158 color photographs of work by 57 artists from over 15 countries.

The pieces featured in the exhibition and catalog were made using traditional materials such as cotton, linen and wool as well as a wide array of untraditional materials. For example, Tamiko Kawata uses small black safety pins and cardboard in Green Blue Screen One. Gyöngy Laky’s Our Egg, which references our precious, life-giving and life-sustaining blue/green orb, is made of telephone wire, wine bottle wire, and a light green chicken egg. In making Real, John Mcqueen used cut up plastic bottles and sticks.

The catalog’s essay, “Analogous Artistry: Blue/Blue Green/Green,” is written by Leatrice Eiseman, a color specialist whose expertise is recognized worldwide. In addition to heading the Pantone®® Color Institute, Eiseman is the director of the Eiseman Center for Color Information and Training. She is the author of 10 books on color, including Color: Messages and Meanings a Pantone®® Color Resource and most recently, The Complete Color Harmony, Pantone®® Edition. In her essay, Eiseman delves into the cultural, historical and emotional references to blue and green. The catalog features two-page spreads of each work in the exhibition. The essay and back pages are illustrated with more-than 20 photographs of additional works of blue and green.

In summary, Blue/Green: color/code/context is a wide-ranging survey of ways that artists interpret these colors and the influence they exert.


Art Lives Well-Lived: Mary Giles

Mary Giles 1995

Mary Giles Portrait 1995. Photo by Tom Grotta

We were heartbroken to learn of artist Mary Giles’s passing last month. Giles was a light – casting warmth and humor wherever she went. We have been fortunate to represent her work at browngrotta arts for many years and were delighted she could join us in Wilton for our 30th anniversary exhibition last year.

30th Anniversary Portrait

30th Anniversary exhibit artist portrait.
Photo by Tom Grotta

Giles received the James Renwick Alliance Master of the Medium Award in Fiber in 2013. In receiving the award, Giles spoke of her process and her sources of inspiration: “I have always been influenced by place and especially the natural world in those places. In the early 80’s, having taken up scuba diving, I did a series based on sea life called “walking tentacles.” Later, during many trips to New Mexico, I discovered mesa forms as well as Native American kivas and petroglyphs. Those sources dominated my work for over 10 years. Most recently the changing light, colors, and patterns seen from our retirement home on the banks of the St. Croix River in Minnesota have informed by work. My ideas are an accumulation, my sources most often from nature and my pallet is drawn from the colors of earth, water, wood and stone.” You can read the full text of her remarks on arttextstyle: http://arttextstyle.com/2013/05/18/master-remarks-mary-giles/
vessels and wall works

Mary Giles Vessels and wallworks
Photos by Tom Grotta

Giles reveled in the tactile, reflective and and malleable materials. She is represented in the Erie Art Museum’s permanent collection by a meticulously made basket of porcupine quills. The materials she used on the surface of the coiled forms were individually hammered pieces of 12- to 18-gauge wire made of copper, tinned copper, iron, lead or brass. By torching the metals she was able to alter the colors in varying degrees enabling me to blend them from darks to brights, a blending she used to interpret the colors, textures and light that she saw in the natural settings.
Some years ago Giles began creating wall panels that dealt with her concerns about population and explored ideas of density and boundaries. They were not baskets but the figures incorporated were like those that had been featured on her vessels. The first expression of this theme was composed of hundreds of torched copper wire men arranged outwardly from dense to sparse, directly on a gallery wall.
Mary Giles Boulders

3 Mary Giles Boulders
Photo by Tom Grotta

Giles’ work has been displayed in numerous galleries and museums in the United States including the Barbican Centre in London, the Minneapolis Institute of Arts, the Yale Art Gallery and the Detroit Institute of Arts. She represented the U.S. at the International Triennial of Tapestry in Lodz, Poland.
She is one of 20 artists featured in a current article in 1st dibs online magazine Introspective: “20 Women Designers Young and Resurgent Stand Side by Side,” which you can read here: https://www.1stdibs.com/introspective-magazine/tag/mary-giles/. Her work is also featured in eight catalogs published by browngrotta arts available on our website: http://store.browngrotta.com/sara-brennan-tapestry-and-mary-giles-fiber-sculpture/.

Recap: Whirlwind Art Week in Wilton at browngrotta arts

VIP Preview

VIP-opening, photo by Carter Grotta

We had record crowds in attendance and a record number of sales at browngrotta arts in Wilton last week for Blue/Green: color/code/context. At our VIP preview event on Friday, we hosted our clients, collectors and art appreciators and our event sponsors from Litchfield Distilleryvenü Magazine and Country Club Homes.

Karl Dolnier parking cars at Blue/Green opening. Photo by Carter Grotta

Artist Dinner record crowds

Artist Dinner after Artist Reception. Photo by Carter Grotta

Saturday we hosted 10 artists from the exhibition (Keiji Nio and family all the way from Japan, Kiyomi Iwata from Virginia, Pat Campbell from Maine, Lewis Knauss, Nancy Koenigsberg, Polly Barton and Tamiko Kawata from New York, Wendy Wahl from Rhode Island and Dawn MacNutt from Nova Scotia) and loads of visitors, too. Sunday and Monday we were busy all day.

SDA Walkthrough record crowds

Surface Design Association Talk. Photo by Carter Grotta

Tuesday we hosted a good crowd of appreciative and knowledgable members of the Surface Design Association.

Designer Talk

Mae Colburn presentation of Helena Hernmarck work at the Architecture and Designer Talk. Photo by Carter Grotta

Wednesday was educational — we presented Material Matter: Integrating Art Textiles and Fiber Sculpture into Interiors and Architecture with the help of Mae Colburn from Helena Hernmarck’s studio and some interior shots from Walter Cromwell at Country Club Homes. Those in attendance were eligible to get Continuing Education Credit from the Interior Design Continuning Education Council.

westport arts center

westport arts center

Thursday brought the Westport Arts Council Board and patrons another educated and interested audience.

Ports of cause

Ports of cause fundraiser. photo by Harrison James O’Brien

Friday was Art•Ocean•Energy, an immersive art experience for supporters of Ports of Cause, a 501(c)3 driven to promote, inspire and accelerate innovative and sustainable solutions and practices that reduce the impact luxury living and everyday lifestyles have on our oceans. Those who joined us on Friday, heard Tom speak about our artists’ dedication to sustainable art and art practices and

Arthur Bavelas

Arthur Bavelas talking at Ports of Cause fundraiser. photo by Harrison James O’Brien

Arthur Bavelas, Founder of the Bavelas Group Family Office & Family Office Insights of New York City, speak about How sustainable innovation is driving the blue economy while benefiting our oceans and natural resources. A lively discussion followed. Saturday was a full day as was Sunday. Sunday evening we concluded our 10-day annual opening with a informed and engaged group from the Aldrich Museum in Ridgefield, Connecticut. Hope we’ll see you at browngrotta arts in 2019 at one or more of our annual events. In the meantime, you can find us online at browngrotta.com; talking about events and acquisitions and other art stuff at arttextstyle.com and on Facebook, posting items and images on Twitter and Instagram and videos on the browngrotta arts YouTube Channel.


Countdown: Art-Ocean-Energy Fundraiser for Ports of Cause in Two Days at browngrotta arts

Karyl Sisson, Reaching Out, vintage zipper tape and thread, 8 x 56 x 45 in,
2013. Photo by Tom Grotta

Excitement is building for our fundraiser, Art•Ocean•Energy, 6-9 p.m. on May 4th where we will raise funds for Ports of Cause, a 501(C)(3) not-for-profit driven to promote, inspire and accelerate sustainable solutions and practices that reduce the impact luxury living and everyday lifestyles have on our oceans. At the event, you can enjoy curated cocktails, canapés, conversation and a viewing of our current exhibition, Blue/Green” color/code/context, in our contemporized barn in Wilton, Connecticut. (Tickets $50.) The exhibition will immerse you in the varied and exciting works of 50 international artists who use recycled, sustainable materials and innovative techniques, including weavings with LED fibers. The event will also feature Arthur Bavelas, Founder, Bavelas Group Family Office & Family Office Insights NYC, discussing Sustainable Luxury® and the Blue Economy –“How sustainable innovation is driving the blue economy while benefiting our oceans & natural resources.” The event’s proceeds, including ticket prices and 10% of the sales price of any artwork or catalog, will benefit Ports of Cause.

 

Can’t come, but want to contribute? Make a donation at portsofcause.com or send a check to Ports of Cause, 43 Ravenwood Drive, Weston, CT 06883.

 

Dress Code:
Blue or green cocktail casual
Ladies: Stilettos not advisable due to barn floor
FAQs:
What are my transportation/parking options for getting to and from the event?
If you are coming from NYC by train via Grand Central Station, you can disembark at South Norwalk and take an Uber to the Gallery. It is about a 15-20 minute drive.
Parking is available at the Gallery.
How can I contact the organizer with any questions?
Tom Grotta +1 203.834.0623 • art@browngrotta.com
Joyce Clear +1 203.858.3432 • joyce@portsofcause.net

Artists in the House: Who’s attending the Opening of Blue/Green: color/code/context on Saturday

Keiji Nio, Rough Sea of Sado,polyester, aramid fiber, 48.25” x 47.5”, 2016. Photo by Tom Grotta

The Artists Reception and Opening for Blue/Green: color/code/context occurs this Saturday at browngrotta arts, 276 Ridgefield Road, Wilton, Connecticut 06897. Eleven of the participating artists will be in attendance, enhancing what is always an energizing opportunity to experience our annual Art in the Barn event. Keiji Nio and his family are coming from Japan, Pat Campbell from Maine, Wendy Wahl from Rhode Island, Kiyomi Iwata from Virginia, Norma Minkowitz and Helena Hernmarck from Connecticut and Polly Barton, John McQueen, Nancy Koenigsberg, Lewis Knauss and Tamiko Kawata from New York. Wendy Wahl’s work is made of blue Encyclopedia Britannica pages; John McQueen used plastic bottles — a departure for him. Norma Minkowitz has created a detailed and magical stitched drawing and Lewis Knauss a work of pale, pale green and natural reed and twigs. Join us from 1-5 pm to see their work and that of 50 more artists. The artists will be available throughout the Barn, to answer questions about their work, their favorites or about the work of others. They’ll be wearing name tags — feel free to say hello. For more info: http://www.browngrotta.com/Pages/calendar.php; 203-834-0623. Or visit us during the week — Sunday April 29th – Sunday May 6th, 10-5 pm.


Make a Day of It: Area Events to Visit on Your Way to Blue/Green at browngrotta arts

In planning your trip to browngrotta arts in Wilton, Connecticut for Blue/Green: color, code, context between April 28th and May 6th take some time out of your schedule to visit a few other exhibitions going on in the area.

A short 15-minute drive from browngrotta arts, the Westport Arts Center’s current exhibition HandMade: Women Reshaping Contemporary Art features a diverse array of work from 15 leading female fiber and textile artists, including Ghada Amer, Anna Betbeze, Ligia Bouton, Orly Cogan, Lesley Dill, Terri Friedman, Sermin Kardestuncer, Sophia Narrett, Faith Ringgold, Miriam Schapiro, Judith Scott, Beverly Semmes,  Rosemarie Trockel and Margo Wolowiec. The exhibition also features work by three browngrotta arts artists, Chiyoko Tanaka, Carolina Yrarrázaval and Norma Minkowitz. Curated by Elizabeth Gorayeb, the Executive Director of the Wildenstein Plattner Institute, Inc—a New York-based non-profit committed to art historical research—the exhibition examines the role of women in reshaping what has historically been considered “fine art.” Additionally, the exhibition demonstrates how fiber and textile materials allow artists such as Faith Ringgold and Sophia Narre to examine topics such as race, gender and sexuality. HandMade: Women Reshaping Contemporary Art will be on view at the Westport Arts Center through June 2nd. For more information visit the Westport Arts Center website HERE.
Ala Ebtekar, Zenith V, 2014, acrylic over cyanotype on canvas, four panels 60 1/4 x 30 1/4 in. each. © Ala Ebtekar. Courtesy of the artist and The Third Line, Dubai.

Ala Ebtekar’s Zenith V at Long, Winding Journeys: Contemporary Art and the Islamic Tradition. Photo: Katonah Museum of Art

Next stop, the Katonah Museum of Art’s exhibition Long, Winding Journeys: Contemporary Art and Islamic Tradition. The exhibition looks at a group of artists of Middle Eastern and South Asian descent whose work engages the diverse forms of Islamic visual tradition to explore religion, culture and socio-political issues today. The title of the exhibition “Long, Winding Journeys: Contemporary Art and the Islamic Tradition” was inspired by Pulitzer Prize-winning playwright Ayad Akhtar’s essay The Breath of Miraj. Akhtar’s The Breath of Miraj conveys the manner in which Islam and its history can inspire creative life to become a “long, winding journey.” While making the pieces included in the exhibition, artists utilized some of the century-old forms that define Islamic art, such as calligraphy, miniature painting, geometric patterning, textiles and architecture. Long, Winding Journeys: Contemporary Art and Islamic Tradition will be available for viewing until June 17th, for more information on the exhibition visit the Katonah Museum of Art’s website HERE.
Boris Mikhailov (Ukrainian, b. 1938), Untitled from the series Sots Art, 1975-1990, Gelatin silver print hand-colored with aniline dyes on paper at Hot Art in a Cold War: Intersections of Art and Science in the Soviet Era

Boris Mikhailov (Ukrainian, b. 1938), Untitled from the series Sots Art, 1975-1990, Gelatin silver print hand-colored with aniline dyes on paper at Hot Art in a Cold War: Intersections of Art and Science in the Soviet Era

Hot Art in a Cold War: Intersections of Art and Science in the Soviet Era will be on view until May 20th at the Bruce Museum in Greenwich, Connecticut. The provocative exhibition probes into the consequences of innovation in science, technology, mathematics, communications and design during the Cold War. The exhibition juxtaposes the art made during the Cold War in opposition to state-sanctioned Socialist Realism with artifacts from the nuclear and space programs to explore the triumphs and tragedies unleashed by humankind as it gained the power to both leave the Earth and to destroy it. Produced from the 1960s to the 1980s, the items on view in Hot Art in a Cold War address themes of international supremacy and hegemonic power during a turbulent period marked by the ever-escalating competition for nuclear supremacy and the space race. “The Bruce Museum prides itself in being a museum of both art and science and in finding the interconnections between the two,” states Dr. Daniel Ksepka,  Bruce Museum Curator of Science and co-curator of Hot Art in a Cold War. The exhibition allows visitors to  “see how the triumphs of the space program and anxieties about nuclear arms were captured by period artists. Likewise, many of the scientific objects are works of art in their own right. The elegance of Sputnik, for example, is as striking and undeniable as its impact on the space race.” For more information on Hot Art in a Cold War: Intersections of Art and Science in the Soviet Era visit the Bruce Museums website HERE.
Last but not least, the Wilton Historical Society’s new permanent exhibition Connecticut History, Wilton’s Story is now available for viewing. Through artifacts and objects, the Wilton Historical Society aims to shine a light on Wilton’s roots and connections, as well as the evolution of the town since the colonial period. For more information on  Connecticut History, Wilton’s Story visit their website HERE or call the Wilton Historical Society at 203-762-7257.