Dispatches: Studio Visits UK

During the end of October and beginning of November, Tom and Carter traveled throughout the UK on a photo adventure, capturing eight artists at work From London to Derbyshire to Chesterfield, Bristol and New Hebden Bridge. They experienced the countryside, the railway system, local cuisine and the graciousness of the artists they visited.. Each studio space was unique — from Laura Ellen Bacon’s wee “treehouse” to Susie Gillespie’s compound in a converted cider mill to Chris Drury’s charming cottage. The artists were extremely generous with their time and thoughts. We are hoping to compile the photos in a series of books one day. In the meantime, enjoy a quick view of our extraordinary trip.


Art Assembled: New This Week October

Liminal, Tim Johnson, esparto grass, recycled braided fishing line , 44” x 36.5” x 3”, 2018. Photo by Tom Grotta

Liminal, Tim Johnson, esparto grass, recycled braided fishing line , 44” x 36.5” x 3”, 2018. Photo by Tom Grotta.

October flew by in the blink of an eye at browngrotta arts. On queue this month were remarkable pieces by Tim Johnson, Ferne Jacobs, Carole Fréve and Lawrence LaBianca.

We kicked off October with Tim Johnson’s Liminal. Woven from esparto grass and recycled fishing line, Johnson’s piece explores liminality, the state of being between two places or phases. Johnson, who is based on the Mediterranean coast of Catalonia, is constantly experimenting with new materials and techniques. Johnson’s incessant experimentation and deep appreciation for traditional weaving helps him to to create innovative work paying homage to historical weaving methods.

Open Globe, Ferne Jacobs, coiled and twined wax linen thread, 13” x 13”, 2001. Photo by Tom Grotta.

Open Globe, Ferne Jacobs, coiled and twined wax linen thread, 13” x 13”, 2001. Photo by Tom Grotta.

Ferne Jacobs’ detailed linen sculpture Open Globe was next up on the queue. In Open Globe Jacobs’ mixes greens and browns along with other colors to reproduce the assortment of colors that make up the earth’s surface. The title, “Open Globe,” “came from experiencing the piece as I was making it, in my mind, it was the earth. The colors — green, brown, bluish-grey — are the elements on our planet,” explains Jacobs. “Open is because the work has no bottom or top. So can we see the earth as a globe/ball, open/unending.”

Knitted incalmo II (Double Green), Carole Frève, blown and kiln cast glass, knitted and electroformed copper, 26.5” x 9” x 21”, 2010. Photo by Tom Grotta.

Knitted incalmo II (Double Green), Carole Frève, blown and kiln cast glass, knitted and electroformed copper, 26.5” x 9” x 21”, 2010. Photo by Tom Grotta.

Next up, Carole Fréve’s blown glass and electroformed copper duo Knitted incalmo II. Combining glass and copper, two materials that are not traditionally united, allows Fréve to create vessels that both contrast and complement each other. The symbolically paired duos will have a glass piece with “a copper ‘twin’, knitted just like a wool sweater, with knitting needles and copper wire,” notes Jean Frenette of SofaDeco.

Window Tree, Lawrence LaBianca California Redwood, glass with image of an  actual tree that was ground up and is now  between the panes, steel 75.5” x 21.25” x 18.75”, 2010. Photo by Tom Grotta

Window Tree, Lawrence LaBianca
California Redwood, glass with image of an
actual tree that was ground up and is now
between the panes, steel
75.5” x 21.25” x 18.75”, 2010. Photo by Tom Grotta.

To conclude October we shared Lawrence LaBianca’s Window Tree. Like much of LaBianca’s work, Window Tree explores humankind’s relationship with nature. LaBianca’s childhood was split between rural Maine and bustling New York City, the stark contrast between these two places left him with “a profound interest in the dichotomy between communities in which people work close to nature, and the alienation of an urban, technological society.” Window Tree’s glass panels, which hold the remnants of an old California Redwood, display an image of of the exact tree that lies between the panels.


Marian Bijlenga Takes Grand Prize at the 5th Triennial of Textile Art

Marian Bijlenga being interviewed in front of her work, Large Sampler Dots, Photo by Simon Oud.

Marian Bijlenga being interviewed in front of her work, Large Sampler Dots, Photo by Simon Oud.

Marian Bijlenga‘s significantly sized work, Large Sampler Dots, was awarded the Grand Prix of Božena Augustínová at the 5th Triennial Textile Art of Today exhibition at the Danubiana Meulensteen Art Museum in Bratislava, Slovakia. Four hundred artists from 49 countries across 5 continents participated in the competition. Irina Kolesnikova, now of Germany and Joanna Zemanek of Poland were among the artists selected to participate. Zemanek was awarded the Visegrad Award. You can learn more about the work and Bijlenga’s process on the Textile Art of Today site HERE.

This year’s exhibition, continues through November 11, 2018 before touring to other venues in Europe throughout 2019, including:Danubiana Meulensteen Art Museum (Slovak republic)
8.9.2018 – 11.11.2018
Tatra Gallery in Poprad (Slovak republic)
25.1.2019 – 16.3.2019The Moravian Museum in Uherské Hradiště (Czech republic)
18.4.2019 – 23.6.2019

On the Flip Side: What the Back of an Art Work May Reveal

More of a mystery — the back of Lenore Tawney’s Untitled Collage, 9.125” x 9”,10/23/64. Photo: Tom Grotta

More of a mystery — the back of Lenore Tawney’s Untitled Collage, 9.125” x 9”,10/23/64. Photo: Tom Grotta

Though artists generally create artwork with the intent for just the front to be viewed, the backs of canvases and tapestries can provide collectors, curators, historians and viewers with an interesting narrative. Since the late 18th century, conservators have been paying attention to the backs of artworks. “Why?” you may ask. The answer is this: the face of a painting communicates its art, but it’s back carries the history of the artwork itself.

The front of Lenore Tawney’s Untitled Collage (1964). Photo: Tom Grotta

The front of Lenore Tawney’s Untitled Collage (1964). Photo: Tom Grotta

“On the backs of canvases, stretcher bars (the wooden framework holding the canvas in place), and the undersides of frames, careful examiners can often find inscriptions left by artists, last-ditch attempts to advocate for works once they’ve left the studio,” explains  Karen Chernick of Artsy in a lengthy piece,“The Secrets Hidden on the Backs of Famous Artworks, (https://www.artsy.net/article/artsy-editorial-secrets-hidden-backs-famous-artworks?utm_medium=email&utm_source=13995943-newsletter-editorial-daily-07-27-18&utm_campaign=editorial&utm_content=st-S Artists’ inscriptions serve as an important means of ensuring that the important details of a piece, such as its title, date and authorship, are preserved as the piece changes hands through time. In fact, “Versos are also frequently marked by dealers, collectors, and museums, with notations ranging from greased pencil notes to wax seals, exhibition labels, and inventory numbers,” writes Chernick. “Taken together, these markings are akin to a painting’s passport, representing its identity, travels, and even changes of address.”

However, it’s important to note that this practice is individual. There are artists who choose to provide meticulous details—notes, sewn labels, stitched informatio—and artists who leave the back of canvases or tapestries blank. For some artists, discovering provenance requires determined detective work, others offer an open book.

Details from Mariette Rousseau-Vermette’s notes on Joie 2. Photo: Kaitlyn Capps

Details from Mariette Rousseau-Vermette’s notes on Joie 2. Photo: Kaitlyn Capps

Mariette Rousseau-Vermette, for example, used a numbering system on that back of tapestries, which matched the meticulous files that she kept for the 640 signed works she created in her lifetime. Her files offer very detailed information about the nature of her working methods and the means by which she created and executed such commissions. Her commission for the curtain for the main hall of the National Arts Centre in Ottawa include the negotiations leading up to the contract awarded to her for the commission; original sketches documenting her various conceptions for the curtain, blueprints and plans, fabric and textile samples, diagrams relating to the means by which the design would be implemented, correspondence with craftsmen, manufacturers, and other individuals with whom she collaborated to complete the commission, and installation instructions. 

The label for Mariette Rousseau-Vermette’s Joie 2 — the number links to her meticulously maintained files. Photo: Tom Grotta.

The label for Mariette Rousseau-Vermette’s Joie 2 — the number links to her meticulously maintained files.
Photo: Tom Grotta.

In some instances, the backs of art works can give you a peek into an artist’s artistic process. While creating their work, artists who have continually reworked canvases “may cross out bygone titles previously inscribed on stretchers, leaving hints about images cloaked beneath layers of superimposed brushstrokes.”  For 20th-century artists, such as as Josef Albers, writes Chernick, the backs of canvases were the perfect place to leave explanatory appendices. Albers used the back of canvases to record detailed notes on the themes of his series. Chernick quotes Jeanette Redensek, a scholar who has reviewed hundreds of pieces of Albers’ work, used his extensive appendices to differentiate between the varying pigments used in each piece. In his series Homage to the Square, Albers methodically experimented with pigments, creating more than 2,000 variations over the course of 26 years. “When I see the backs of those paintings, I can see that he’s changed out pigments to get a yellow ochre that’s a little darker, a yellow ochre that’s a little lighter, a cadmium yellow, a cadmium yellow light. He’s playing with very fine distinctions in the colors, and so those color notes are essential,” explains Redensek. The backs of Norma Minkowitz’s works provide another example. Replete with thoughts, images, references, they provide an eye into her process.

The label for Mariette Rousseau-Vermette’s Joie 2 — the number links to her meticulously maintained files. Photo: Tom Grotta.

The back for Norma Minkowitz’s Goodbye My Friend
Photo: Tom Grotta.

The information on the back of a canvas can also impact the value of a piece of art. After a piece is consigned to auction, house specialist scan the piece for indicators of authenticity and condition. In some cases, conservators use ultra-light and raking light to unveil hidden details. The extra information uncovered through this research aids collectors and conservators in proving the authenticity of a piece, therefore increasing the value.

The elements — lining, framing, notations — that restorers consider and what auction houses review once a work is consigned is described in detail in, “What the Back of a Painting Reveals About Its History,” from In Good Taste, https://www.invaluable.com/blog/painting-back/?utm_source=brand&utm_medium=email&utm_campaign=weeklyblog&utm_content=blog082318. 

The backs of canvases, drawings and tapestries not only provide collectors and conservators with the information needed to prove the authenticity of a work, but presents them with an opportunity to explore an uncharted area of art history.

 

 

 

 

 


Art Assembled: New This Week September

When Green is Gold: Cube connection 14, Noriko Takamiya, paper, 8.5” x 8.5” x 4.5”, 2018. Photo by Tom Grotta

When Green is Gold: Cube connection 14, Noriko Takamiya, paper, 8.5” x 8.5” x 4.5”, 2018. Photo by Tom Grotta

The summer months are coming to an end and the leaves are beginning to fall around us here at browngrotta arts. From Noriko Takamiya ’s When Green is Gold: Cube connection 14 to Nancy Koenigsberg’s Solitary Path, the pieces we shared throughout the summer months presented a deeper look at the diversity of fiber art.

We kicked off September with Noriko Takamiya’s When Green is Gold: Cube connection 14. Takamiya puts a modern twist on traditional Japanese basketmaking methods through her experimentation with weaving techniques. When working on a basket, Takamiya winds hundreds of layers of thin strips of paper around and in between one another until she reaches her desired form. The end result, a three-dimensional puzzle-like basket.

Stitch by Stitch, Heidrun Schimmel, cotton, silk, 83” x 33.5”, 2014. Photo by Tom Grotta.

Stitch by Stitch, Heidrun Schimmel, cotton, silk, 83” x 33.5”, 2014. Photo by Tom Grotta.

Second in September’s queue was Heidrun Schimmel’s Stitch by Stitch. Schimmel, who has been working with textiles since 1958, hand stitches all her work. Through this process she is able to explore the connection between thread and human: “Mythologically, thread is connected to human existence,” says Schimmel. “Its length and quality are metaphors for the duration and character of our lives.” Schimmel’s creative process is quite simple, she begins her pieces by stitching white cotton thread onto transparent black silk. As she continues to stitch, the tensions between the varying layers of thread create deformations, so “the work itself finds its final form through the combination of control and chance.”

Primary Windows at 22 with Blue Spill on the Sill, Sylvia Seventy, molded recycled paper, wax, button drawings, buttons, beads, feathers, cotton thread, staples, 4.5” x 13.5” x 13.5,”. Photo by Tom Grotta

Primary Windows at 22 with Blue Spill on the Sill, Sylvia Seventy, molded recycled paper, wax, button drawings, buttons, beads, feathers, cotton thread, staples, 4.5” x 13.5” x 13.5,”. Photo by Tom Grotta

Next up we featured Californi-based artist Sylvia Seventy’s Primary Windows at 22 with Blue Spill on the Sill. In making her bowls, Seventy carefully molds fibrous recycled paper pulp into her desired form. Through her work, Seventy transforms ordinary materials gathered from her surroundings into extraordinary “mysterious allusions of antiquity.”  The walls of Seventy’s vessels contain a record number of processes, that not only mark change, but tracings of times. For Seventy, “Each work documents a layer of my life. Like a patch in a quilt, a photograph in an album, an object in a box of treasures.”

Solitary Path, Nancy Koenigsberg, coated copper wire, 28” x 28” x 5”, 2018

Solitary Path, Nancy Koenigsberg, coated copper wire, 28” x 28” x 5”, 2018

Last, but certainly not least, we shared Nancy Koenigsberg’s Solitary Path. Koenigsberg, who has lived the majority of her life in an urban environment, finds inspiration in the grid-like pattern of New York City’s streets. Made using lace-like layers of coated copper wire, Koenigsberg’s Solitary Path explores the relationship between shadows and space. The contrast between light and shadow transforms her works into a paradoxical study of “delicacy and fragility juxtaposed with the strength of steel and copper employed in their making.”


Fiber Art Up and Comers

Paniers-liens III, Séphanie Jacques
carved wood (ash), white willow, hemp rope, red, wool, 21.25” to 43.25” x 15.5” x 17.75”,2011.
Paniers-liens II, Stéphanie Jacques
carved wood (ash), white willow, hemp, rope, red wool, 22” x 17.25” x 17.25”, 2011

Earlier this year, we compared Artsy‘s list of fiber art pioneers and ours (see also Craft in America’s Pioneering Women in Craft). In the years since contemporary fiber first gained international attention, a group of younger artists have continued to experiment. Numerous artists from a decade or two or three later are identified as continuing innovations in this field, including Rosemary Troeckel, Lesley Dill, and Ernesto Neto and more recently, Sophie Narrett and Orly Cogan.

Of the artists that work with browngrotta arts, we’d point to five who continue to redefine the practice. Stéphanie Jacques of Belgium, combines clay, wood, photography, knitting and basketmaking to create works that reveal what is unseen.

Macramé Black Shell n.1, Federica Luzzi, cotton cord, wax, graphite, 13” x 12” x 6.5”, 2008

Federica Luzzi of Italy, uses fiber to illustrate natural phenomena. Her current series of elegant macramés were born of conversations with researchers at the National Institute of Nuclear Physics in Frascati, Italy about concepts of dark matter, antimatter, nuclear, subnuclear physics and the particle accelerator.

Transición, Eduardo Portillo & Mariá Eugenia Dávila, alpaca; metallic yarns and silver leaf; moriche palm fiber, silk, 56" x 24.25”, 2018

Transición, Eduardo Portillo & Mariá Eugenia Dávila, alpaca; metallic yarns and silver leaf; moriche palm fiber, silk, 56″ x 24.25”, 2018

Eduardo Portillo and Maria Dávila from Venezuela take an experimental approach to all aspects of their work — sourcing, technique and materials. The artists spent several years in China and India studying sericulture, or silk farming, and since then their research has taken them worldwide. In Venezuela they established the entire process of silk manufacture: growing mulberry trees on the slopes of the Andes, rearing silkworms, obtaining threads from other locally sourced fibers, coloring them all with natural dyes and designing and weaving innovative textiles. This works include woven “mosaics” from their Indigo series. More recently, the couple has been incorporating copper and bronze into their work, using textiles as inspiration for works that are cast in bronze. The couple was awarded with a Smithsonian Artist Research Fellowship in 2017. Sue Lawty from the UK, has used her prodigious weaving skills to weave lead, and for the last few years, has created assemblages comprised of literally thousands of tiny stones, a pixilated ‘cloth’ of sorts.


Women Artists Take on Heavy Metal

Mary Giles Lead Relief Detail

Mary Giles, Lead Relief Detail

The National Museum of Women in the Art’s new exhibition Heavy Metal comes to an end this Sunday, September 16th. Heavy Metal is the fifth installment of the NMWA’s Women to Watch exhibition series, which seeks to increase the visibility of female artists who are working in innovative ways within a wide variety of creative communities.

Why metal? Well, because “metal is a material that is typically associated with the work of men,” points out associate curator Ginny Treanor. Metal is “a material that often requires physical strength and endurance to bend, shape and mold.” Nonetheless, women have a long history of working with metal. Additionally, metal is indispensable to our everyday lives, it holds up the buildings we live and work in, forms the frame of the cars we drive every day and adorns our bodies.

Life had turned around Detail by Carole Fréve

Life had turned around Detail by Carole Fréve

Women artists who work with browngrotta arts work in all manners of metal, including bronze, copper, steel and titanium. Kyoko Kumai is one of many browngrotta arts artists that use metal as their material. In making Blue/Green as a metaphor Kumai combined titanium tapes and stainless steel fibers to create a metal weaving. Kumai prefers using these materials because of their light, fade-resistant and hard properties which allows them to retain the image she gives them for many years.

Mary Giles preferred working with metals is because of their varying physical properties. Giles used a variety of metals in her work, including copper, tinned copper, iron, lead and brass. The malleability of these metals when heated allowed Giles to not only alter their shape but their color. Giles was able to alter the blend colors from dark to brights, which enabled her to recreate the natural gradients which she was seeing in real life.

Nancy Koenigsberg Current, coated copper wire

Nancy Koenigsberg, Current, coated copper wire

Metalworking has long been a family affair for Canadian artist Carol Fréve. Fréve followed in the steps of her grandfather, a blacksmith in Quebec in the early 1900s who forged shoes for the horses that pulled copper from mines. Over the years, Fréve has taken the traditional skills and methods her grandfather once used and experimented with them to create her own artistic process. When creating one of her wire sculptures, Fréve electro forms her copper wire knittings so they have a three-dimensional shape.

Linked copper and stainless steel wire are the materials of choice for sculptor
Tsuruko Tanikawa and weaver Nancy Koenigsberg. When placed in light, the lace-like layers of wire in Koenigsberg’s Solitary Path, create an array of shadows and space. The open, yet connected nature, of the metals aid Tanikawa and Koenigsberg in exploring space, shade and light. “I  am interested both in a part in light and in a part in shadow,” explains Tanikawa.“The shape of my work is made by deleting a part from a complete form.”

Tamiko Kawata White City, saftey pins, acrylic on canvas

Tamiko Kawata, White City, saftey pins, acrylic on canvas

Artist Tamiko Kawata collects discarded metal materials, such as safety pins, when creating her assemblage inspired pieces. Kawata’s use of discarded safety pins as her sole material elevates the pins’ “prosaic object-roles and endows them with elegance and grandeur.” Just as Kawata breaks the utilitarian role of safety pins by using them as a material to create fine art, women are altering the masculine narrative associated with metalworking.

Heavy Metal will be on display at NMWA through Sunday, September 16th. For more information on the exhibition and the museum’s hours of operation click HERE.


Behind the Scenes: Drop Off at Helena Hernmarck’s

We recently took a trip up to Helena Hernmarck’s studio to loan back a few pieces for her upcoming solo exhibition Helena Hernmarck: Weaving In Progress at the Aldrich Museum. Located in Ridgefield, Connecticut, Helena’s studio is only a few miles from browngrotta arts.

A perfectly organized wall of color expands the entire length of the south side of Hernmarck’s studio. The wall acts as a storage for skeins of wool Hernmarck uses in her tapestries. The different skeins are precisely organized by their unique colors and tones, making it easier for Hernmarck to find a specific color when needed. Hernmarck is very particular about the quality of the materials she uses in her work. All the wool she uses is
rya wool, sourced from a specific breed of heirloom sheep in Sweden. The wool is also custom-dyed and spun to her specifications at a family-run spinning mill in Sweden, the place Hernmarck called home before emigrating to Canada, the UK and then settling in the US. Hernmarck has worked with browngrotta arts for more than 20 years, her work is included in 11 of browngrotta arts’ catalogs, including Helena Hernmarck and Markku Kosonen from 1994. Her commissions are found in dozens of corporations, museums and private collections.

Watching Hernmarck work leaves one in awe. Using a technique of her own invention, she is able to conjure details from our visual world, such as sunlight on waters and sails swelling in the wind. Every one of Hernmarck’s tapestries begin with an image, which is then blown up into her desired weaving size. From there, Hermarck plots her working plan on graph paper and produces a certain number of linear inches or feet per day so her commissions are completed on time. This technique allows Hermarck to capture even the smallest details in her weavings. Hernmarck’s attention to detail and her ability to portray subtle color variations, reflections and shadows are extraordinary. From a distance, Hermarck’s weavings look as if they are a single printed blown up photograph. On closer inspection, however, the thousands of strings of wool dissolve into interlaced pieces of warp and weft.


While visiting her studio, we also discussed her upcoming solo exhibition at the Aldrich Museum. Hernmarck never expected the Aldrich Museum’s invitation. “I did not expect to hear from them, after 38 years in town,” explains Hernmarck. “It was so positive that they were interested to show a textile artist in action. Things are changing…”Textiles have gained tremendous notoriety in the art world in recent years. Collectors, museums and art-lovers are becoming more aware of their allure.

Weaving In Progress will be the first solo exhibition of Hernmarck’s work in the United States since 2012. Given that the Aldrich is in Hernmarck’s hometown makes the exhibition all the more special. To be recognized for her accomplishments there is significant for Hernmarck. “It has been said that you can never be a prophet in your own land,” she explains.

In addition to presenting a variety of her work, Hernmarck herself will also be a part of the exhibition. During the exhibition, Hernmarck and her assistant Mae Colburn will create a work in situ, weaving three days a week in the exhibition space. The final work will be 55 inches wide and 40 inches tall, created on a five-foot-wide loom.“My assistant will be weaving with me as she is still in the learning curve,” Hernmarck says. Hernmarck’s aim for the exhibition is simple and direct. She hopes that “visitors will be inspired to do things with their hands and to get away from their computers” in this increasingly technology-focused world.


Art Assembled: New This Week August

The Path which Leads to Center 18-05, Chang Yeonsoon, abaca fiber, barberry roots dye, 100% pure gold, 17” x 17” x 6.5”, 2017.

On tap in August were spectacular pieces by Chang Yeonsoon, Norma Minkowitz, Eduardo Portillo & Mariá Eugenia Dávila and Marian Bijlenga.


We kicked off August with Chang Yeonsoon’s The Path which Leads to Center 18-05. In much of her work, Yeonsoon dyes her fibers with indigo. However, in making The Path which Leads to Center 18-05 she used barberry root dye and 100% pure gold leaf. The process which Yeonsoon uses to apply the gold lead is a Korean technique called geumbak. Though geumbak is usually used with natural lacquer, Yeonsoon was able to create a new lacquer with gold leaf.

Trove, Norma Minkowitz, mixed media, 38” x 19” x 19”, 2018


On our trip to Norma Minkowitz’ studio this summer, which you can read about in our blog post HERE, we picked up
Trove. The sculpture is made using small trinkets Minkowitz has collected throughout her life, therefore the reason why she named it Trove. To take a closer look at Trove watch the video we made HERE

Transición, Eduardo Portillo & Mariá Eugenia Dávila, alpaca; metallic yarns and silver leaf; moriche palm fiber, silk, 56″ x 24.25”, 2018


Next up, we had Eduard Portillo and Mariá Eugenia Dávila’s wall-hanging Transición. The wall-hanging’s vibrant purple hue makes the woven “mosaic” impossible to go unnoticed. Portillo and Dávila source and create all of their own materials. The Venezuelan couple grows their own mulberry trees on slopes of the Andes (Mulberry trees are the sole food source for silkworms), rear their own silkworms, obtain the silkworm threads and color the threads with their own natural dyes to use in making textiles.

Fish Scale, Marian Bijlenga, dyed fish scales, 64 x 113 x 1 in, 2012


To wrap-up the month of August, we shared Marian Bijlenga’s
Fish Scale. Bijlenga is not afraid of challenging herself to work with new materials. In the past, she has worked with materials such as horse hair, viscose, paper and glass. Her piece Fish Scale is in fact made with extremely delicate fish scales. In making the piece, Bijlenga carefully connected a network of scales using very fine thread, giving the illusion that the scales are floating in mid-air. To see Fish Scale in detail, check out THIS video. 


App Haps: Accessing Art on Your Mobile Device

There are so many ways to see and make art these days. Technological advancements have granted people all over the world unprecedented access to art and knowledge about art. One series of these advancements, iPhone and Android Apps, puts art at people’s fingertips. We curated a list of some of our favorite creative apps:

Google Arts & Culture
The Google Arts & Culture skyrocketed to the top of the App Store this year after it unveiled a feature that can analyze your face and match it with a well-known painting, creating “masterpiece memes” as it were. However, it is the app’s wide variety of other features that makes it stand out. The app allows users to take virtual tours of some of the world’s most famous museums and iconic landmarks, helps locate museum and cultural events near the user and has an art recognition software that identifies pieces by pointing your device camera at the artwork, just to name a few. One of our personal favorite features is under the “Experiments” tab, which gives users the chance to experiment with new technologies created by artists and coders. The “Art Palettes” experiment helps users find art that matches their preferred color palette , while the “Curator Table” experiment delivers users with insights and connections between artworks scattered all around the world.
Cost: FREE

Artsy
The mobile version of Artsy is just as great as the online version. Arsty, an online platform that aims to connect collectors to art, helps users navigate and explore the many branches of the art world. The app grants you immediate access to over 2,500 of the world’s top art galleries, including browngrotta arts. Additionally, Artsy’s online magazine continually pushes out interesting and informative content for art lovers of all kinds. The Artsy app also allows users to follow their favorite artists and receive notifications when a new piece by them goes up on Artsy.
Cost: FREE

Typendium
If you love type and fonts and all things written this is the app for you. Typendium provides users with the opportunity to learn the stories behind some of the world’s greatest typefaces such as good ole’ “Times News Roman” and “Baskerville.” Though the selection of fonts is not huge at the moment, Typendium is sure to satisfy your craving for creative history.
Cost: FREE

Photo: Christian Zibreg


Lightroom
While most of Adobe Creative Cloud programs have sister apps, our favorite is Lightroom. Though the mobile version of Lightroom does not have all of the manipulative options the computer program has, mobile Lightroom allows users to edit their photos capture, edit, organize, store and share all of their mobile photos. Unlike many photo editing apps in the App Store, Lightroom doesn’t just give the option to apply a “one size fits-all” filter. Instead, Lightroom gives you the ability to make advanced adjustments with the tone curve to alter the color, exposure, tone and contrast in a way that you feel in adequate. This technique allows the user to make the adjustments they need while also preserving the integrity of the original photo.
Cost: FREE