Category: Exhibitions

Catalog Lookback: Fan Favorites, an online exhibition

Portraits of Hisako Sekijima, Gyöngy Laky, Mary Merkel-Hess and Kay Sekimachi
clockwise: Hisako Sekijima 1994 solo exhibition at browngrotta arts. Gyöngy Laky 1993 preparing on a piece for her two-person exhibition at browngrotta arts. Our first meeting with Mary Merkel-Hess 1990 at her exhibition at the NY Armory. Kay Sekimachi in her closet selecting works for her 1992 two-person exhibit with Bob Stocksdale at browngrotta arts. Photos by Tom Grotta

In our 50 catalogs, we have showcased the work of 172 different artists. Four of these artists, however — Mary Merkel-Hess, Kay Sekimachi, Hisako Sekijima and Gyöngy Laky —  we have repeatedly chosen as a focus. Each has been the subject of more than one catalog — solo or two-person or special grouping  — and each has been featured in several of our themed survey publications. These artists explore different materials or forms, creating objects and works for the wall.  That willingness to innovate and reinvent has made them continuously collectible for those who acquire works in breadth and for those who pursue the work of individual artists in depth as well.

Details of works by Mary Merkel-Hess
Details of Mary Merkel-Hess’ paper sculptures on and off the wall. Photos by Tom Grotta

Mary Merkel-Hess’s work was the subject of one of our first catalogs in 1992 (#2) Mary Merkel-Hess. The work in our first solo exhibition of her work was brilliantly colored — vessels of green, indigo, cornflower, red and bronze — but our catalog technology was strictly black and white. Despite the noncolor depiction in the small catalog, the lyrical works of papercord and reed were popular and sold out. Her work was acquired by the Metropolitan Museum of Art that year — one of the first contemporary baskets to enter the Museum’s collection. The success of that exhibition spurred us to host a second show, work by Merkel-Hess and Leon Niehues, in 1996 (#15). Merkel-Hess threw us a curve, though, by skipping the color that we considered her hallmark and producing, instead, a show of work made of translucent white papers — gampi, kobo, abaca, flax — some of it tinged with gold.  These works turned out to be as popular as those in color. Since then, her works have become larger and more sculptural and her recognition has grown while her popularity with collectors has remained a constant.  Her work will be part of Volume 50: Chronicling Fiber Art for Three Decades (#50), in September of this year. 

Details of works by Kay Sekimachi
Details of baskets and sculptural weavings by Kay Sekimachi. Photos by Tom Grotta

In catalog (#3) Bob Stocksdale and Kay Sekimachi, also 1992 and still black and white, Kay Sekimachi’s work made its first appearance, coupled with wood bowls turned by her husband, Bob Stocksdale. Sekimachi has reinvented her practice several times in her lengthy career. She studied weaving with Trude Guermonprez in San Francisco and Jack Lenor Larsen at Haystack in Maine in the 50s. By the 60s she was working with complicated 12-harness looms to create ethereal hanging sculptures of monofilament, then a new material. They were featured in MoMA’s Wall Hangings exhibition in 1963, Deliberate Entanglements at UCLA in 1971 and the Lausanne Biennial in 1975 and 1983. Sekimachi was also part of the contemporary, nonfunctional basket movement with other California artists in the 1960s and 1970s.  This body of work included small woven baskets and woven paperfold-like boxes made of antique Japanese papers. For our exhibition in 1992, she created gossamer flax bowls and patched pots of linen warp ends and rice paper. For our our 1999 exhibition, (#24) Bob Stocksdale Kay Sekimachi: books, boxes and bowls, she created woven boxes and books, and bowls in typical Japanese ceramic shapes that she formed using Stocksdale’s turned bowls as molds. Still the subject of museum recognition and collector acclaim, Sekimachi continues to work at 94, weaving intimate, abstract weavings reminiscent of drawings in pen and ink. 

Details of works by Gyöngy Laky
Details of of sculptures on and off the wall by Gyöngy Laky. Photos by Tom Grotta

In 1993 we produced our first catalog featuring Gyöngy Laky’s work (#5) Leon Niehues and Gyöngy Laky. The exhibition included 13 vessel shapes and one wall work. In 1996, we visited Laky’s complex construction again (#16) Gyöngy Laky and Rebecca Medel. “I think of myself as a builder of sketches in three dimensions,” she said of her textile architecture. The 1996-1997 exhibition featured Laky’s three-dimensional words, an important aspect of her oeuvre. The two versions of the word “No” or “On” illustrated the myriad ways in which such themes are deftly articulated by Laky. Affirmative No. 1 was made of brightly colored, coated telephone wire, piled and sewn. Affirmative No. 2  was much larger — the “O” made of branches still covered with bark, the “N” made of pieces of stripped, unfinished wood. The catalog also contained an image of That Word.  Now in the collection of the federal court in San Francisco, it spells out “ART” in larger-than-life, 3-d letters made of orchard prunings that are seven feet tall. Laky has continued creating word sculptures that combine natural and manmade materials, as disparate as bleached cottonwood branches, plastic army men and construction bullets of metal. In 2008, The New York Times Magazine commissioned her to create titles for its environmental survey, “The Green Issue.” The works that resulted were awarded a Type Directors Club Award. Laky will have two works in Volume 50: a large vessel-shaped sculpture and a type-related, free-standing arrow.

Details of works by Hisako Sekijima
Details of Bark basket sculptures in varying materials by Hisako Sekijima. Photos by Tom Grotta

Last, but certainly not least is Hisako Sekijima, whose innovation and artistry seem to know few bounds. We have focused on her work in three catalogs — (#8) Hisako Sekijima/1994; (#19) Glen Kaufman and Hisako Sekijima/1998; (#30) Japan Under The Influence: Innovative basketmakers deconstruct Japanese tradition/2001. Bark and vine become fabric and thread, framing and nails as Sekijima conducts her experiments in volume and void. The first catalog of Sekijima’s work (#8) included works in wide variety of materials — cherry bark, kudzu vine, cedar, willow, hackberry, bamboo. We were particularly pleased when The New York Times made the 1994 exhibition and the variety of work included the subject of a full-page article in its Connecticut section. They turned to her work again in The New York Times Magazine, including a work of kudzu vine in an article on the uses of the invasive species. We visited Sekijima’s work again in 1998, pairing her pieces, this time of zelikova, apricot, hinoki, walnut and palm hemp bark, with jacquard weavings by Glen Kaufman featuring photographic images of Kyoto. In 2001, we combined works by seven basket artists in Japan: Under the Influence, Innovative basketmakers deconstruct Japanese tradition #30). Sekijima was included, as were four of her students from Japan — Norie Hatekeyama, Kazue Honma, Noriko Takamiya and Tsuroko Tanikawa— each of whom had, like their teacher, had mastered Japanese basketmaking tradition, only to give it a twist. Sekijima wrote in Japan Under the Influence, that Kay Sekimachi (also featured in the catalog) was one of the American artists whose “new notions of basketmaking” and “new forms” had a decisive impact on her as she studied basketmaking in the late 70s. “Since then,” she wrote, “Sekimachi has always been one of my teachers at a distance. Her work has always reminded me of a Japanese respectful expression orime tadashii, which literally means, ‘one’s kimono preserves neat lines of folding which connotes integrity of behavior.’” Sekijima’s work, A Line Willow IV is part of our September exhibition. Like the works these artists have produced over nearly three decades, A Line Willow IV,  represents a line innovative art making that is knotless, homogeneous and flexible. 

See more at our September exhibition, Volume 50: Chronicling Fiber Art for Three Decades (#50).


Annette Bellamy

Artist Focus: Annette Bellamy’s remote lifestyle inspires creativity and advice from Julia Child

by Ryan Urcia and Kristina Ratliff

Solitude often breeds creativity, and while many artists come quickly to mind, like the reclusive Robert Indiana to the enigmatic Frida Kahlo, among many others, the “slow art” of Fiber Art and Modern Craft reveals the intricacy and time-intensive craftsmanship of the unique techniques and materials of the field.

Annette Bellamy Fishski detail, The Sea Within Us
Detail: The Sea Within Us, Annette Bellamy, 2017. Photo by Chris Arend

We would like to tell you more about one such artist, Seattle native Annette Bellamy, a commercial fisherwoman of over 40 years based in Halibut Cove, Alaska. When she is off the water, Bellamy works with clay and fish skin to create conceptual large-scale sculptural work and smaller ceramic forms. She references her time on the water, days in remote areas, and her travels.
 “Life on the water and life making art fuel each other. I value the physicality of both as well as the dependence upon my hands, the importance of timing, the work ethic and tools required, and the reflection afforded.”

Annette Bellamy long lining, hauling gear and there is a yellow eye rockfish on the dressing table. Photo by Alan Parks

At 21, then a student of urban planning and environmental issues at the University of Washington, Bellamy visited the remote fishing community of Homer, Alaska, for the summer of 1973, and never left. There, she met her future husband, a local fisherman, who taught her how to fish. Since then, they have been fishing commercially together during the summer months in their 34-foot wooden boat and in the long winter season, Bellamy spends her time in her studio to work on her craft.

“I think that is what a lot of people are missing. Undisturbed, uninterrupted time. A lot of darkness, a lot of introspection. I think I operate better in a remote area versus an urban area, and it has become a part of my life now,” Bellamy told the Portland Art Museum last year in conjunction with the multimedia exhibition, the map is not the territory.

Detail of Long Lines, 132 suspended Ceramic hooks by Annette Bellamy
Detail: Long Lines, Annette Bellamy,”, 2010. Photo by Tom Grotta

In 1976, she began studying ceramics at the local community college. Her sculpture, Long Lines, 2010, is a powerful artwork inspired by her time fishing in Alaska. It is composed of 132 handmade ceramic hooks suspended from 12 feet of twine. “Long Lines is about how we continue to catch a fish with a hook and line. It is about enduring work that continues to be a part of the human experience. Hooks are twisted and turned and others remain in their original circle shape. They hold a history of use and stories of the fish caught.” The kinetic aspect of the hanging work hints at the movement of the sea.

Fishskin by Annette Bellamy
Food Chain, Annette Bellamy, halibut, sablefish, salmon (including smoked salmon skins), 2017. Photo by Tom Grotta

Bellamy has spent years of fishing commercially in Alaska, long lining for halibut and gill netting and seining for salmon. Her fish skin patchworks reflect the variety of the catch, combining  halibut, sablefish, salmon –even smoked salmon skins.

“The commercial fishing industry is so different from the art community,” she told the Alaska Museum. “I have always loved the contrast and make a point of talking art with fishermen and fish with artists. Everything is interconnected in this world but we seem to build fences.”

Bellamy also loves to cook on board for the crew. She received a response from Julia Child to a letter she sent inquiring about the value of cooking school, explaining her work on the boat and desire to learn more about food preparation. A large installation titled Ode to Julia featured 70 kitchen-tool forms that covered an entire wall. These were made with found metal and clay. 

“The implements of cooking–a spoon, a turner, spatula–become invisible to our eyes even though we handle them every day. The series on kitchen tools was meant to honor the craft of cooking our own food,” she has said of the piece.

Annette Bellamy, Moving Mountains, stoneware, steel pins, and UV resistant lines, 10’ x 12’ . Portland Art Museum, Portland Oregon “ exhibition: The Map Is Not the Territory” Feb 9, 2019 – May 5, 2019, Chris Arend

Bellamy’s work has been exhibited in important museums including Anchorage Museum, Alaska (solo exhibition); Downey Museum of Art, California; New Bedford Museum of Art, Massachusetts; Alaska State Museum, Juneau (solo exhibition); Pratt Museum, Homer, Alaska (solo exhibition); Fuller Craft Museum, Brockton, Massachusetts (solo exhibition); Bunnell Street Art Center (solo exhibition), Homer, Alaska; University of Alaska, Soldotna; Anchorage Museum of History and Art, Alaska; Alaska Pacific University, Anchorage; Alaska Centennial Center for the Arts, Fairbanks; Burris Hall, Highland University, Las Vegas, New Mexico; Wayne Center for the Arts, Wooster, Ohio; Art and Architecture Gallery, Seattle, Washington (solo exhibition); Laband Gallery, Loyola Marymount University, Los Angeles, California. For a full list visit browngrotta.com
Long Lines, will be on view at browngrotta arts forthcoming exhibition Volume 50: Chronicling Fiber Art for Three Decades now scheduled for September 12-22, at browngrotta arts in Wilton, CT. http://www.browngrotta.com/Pages/calendar.php
x


Catalog Lookback: Cross Currents: Water/ Art/Influence an online exhibition

Moby Dick underwater
What Lies Beneath, is a mixed media sculpture created to submerge Moby Dick by Herman Melville underwater, 2016. Photo by Lawrence Labianca

Rippling, roiling, teeming with life…Deep, dark, waiting to be explored…Water has long been a potent influence for the artists we exhibit, artists who explore its mystery and majesty in widely divergent ways. Cross Currents: Water/Art/Influence is an online exclusive exhibition on Artsy that features works reflecting rivers, oceans and life aquatic. It highlights three catalogs we have published, Of Two Minds: Artists Who Do More Than One of a Kind, vol. 38; Plunge: explorations from above and below, vol. 43 and Blue/Green: color/code/context, vol. 44 and several artists for whom water has been an inspiration. The multifaceted exhibition combines sculptures, tapestries, installation works, paintings and ceramics. Each work resides at the intersection of the maker’s fascination with a variety of nautical and natural themes and the artmaking process. 

Sail Cloth Art by Grethe Wittrock
Artica, Grethe Wittrock, sail cloth, 2015. Photo by Tom Grotta

Judy Mulford’s meticulously detailed sculptures, inspired by her home at the beach in California, join Grethe Wittrock’s Arctica, a sculpture made from a repurposed sail from the Danish Navy. Debra Sachs‘ water studies evoke a sense of movement by distorting a static grid using the color blue as akin to a living thing, like the rivers and the oceans, shallow to deep, static to moving. Lawrence LaBianca creates experiences in which water is an integral part. In Skiff, an antique telephone receiver links viewers to sounds of a rushing river. Twenty-four Hours on the Roaring Fork River, Aspen, CO, is a print created by Drawing Boat, a vessel filled with river rocks that makes marks on paper when it is afloat. For What Lies Beneath/Moby Dick Book, LaBianca lowered an encased copy of Moby Dick into the water to capture an image. “I love the images that Melville created in Moby Dick, he says, “the idea of something greater below governed by forces deep within a person’s soul. What Lies Beneath/Moby Dick Book draws a continuum with the idea of something great below. It also is comical and slightly absurd.” Karyl Sisson works with found objects — clothespins, zippers, tapes — to create sea creature-like sculptures. In creating Haystack River Basket, Dorothy Gill Barnes was moved by the natural forms created of tree roots sculpted by rushing water.

River teeth basket by Dorothy Gill Barnes
Haystack River Basket, Dorothy Gill Barnes, early river teeth, 2011. Photo by Tom Grotta

In all, the work of 21 artists will be included in Cross Currents. Some are moved by water as a natural force, for others there is a more spiritual connection, still others are interested in how Man is impacting our oceans and rivers — in each case the results are thought provoking and intriguing. One-half of the works will appear on Artsy on June 8th, the reminder will be added on June 15th: https://www.artsy.net/show/browngrotta-arts-cross-currents-water-slash-art-slash-influence.


Catalog Lookback: California Dreamin’ – An Online Exhibition on Artsy

Ed Rossbach, Katherine Westphal, Adela Akers, Syvia Seventy, Marion Hildebrandt, Judy Mulford, Deborah Valoma Catalogs

Ed Rossbach | Katherine Westphal | Marion Hildebrandt | Judy Mulford | Deborah Valoma | Adela Akers | Sylvia Seventy

California has played a seminal role in both the history of the Contemporary Fiber Arts Movement and artists from California have played an equally significant role in browngrotta arts’ exhibition archive.  You’ll find California artists represented in nearly all our group catalogs: Lawrence LaBianca in Stimulus: Art and its Inception (vol. 36); Carol Shaw-Sutton in 25 for the 25th (vol. 25); Nancy Moore Bess in 10th Wave I (vol. 17) and 10th Wave II (vol. 18); Karyl Sisson in Karyl Sisson and Jane Sauer (vol. 12) and Ferne Jacobs in Blue/Green: color/code/context (vol. 44). 

California Dreamin’, an online exhibition on Artsy from May 11 to June 5th, features seven artists: Ed Rossbach, Katherine Westphal, Marion Hildebrandt, Judy Mulford, Deborah Valoma, Adela Akers and Sylvia Seventy.  The exhibition borrows from three browngrotta catalogs (vols. 6, 20, 26) and highlights decades worth of art.

Ed Rossbach Basket
Green with Four Ears by Ed Rossbach, 1984. Photo by Tom Grotta

Best-known of the group, Ed Rossbach, completed his graduate studies at Cranbrook in 1946. He, along with Marianne Strengell worked within the narrow parameters of Euro-Bauhaus-Scandinavian weaving traditions for industry.  “In reaction to this tight definition of textiles,” Jo Ann C. Stabb wrote in Retro/Prospective: 25+ Years of Art Textiles and Sculpture (vol. 37), “Rossbach became fascinated by indigenous textile processes and the use of found materials as he studied artifacts in the anthropology collection at University of California, Berkeley, as a faculty member from 1950 to 1979. Noted for creating three-dimensional, structural forms from unexpected, humble materials including plastic, reeds, newspaper, stapled cardboard, twigs,  Rossbach inspired a renaissance in basketry and vessel forms and influenced other artists, including his students Gyöngy Laky and Lia Cook.”

Katherine Westphal Komono
Chuto-Haupa by Katherine Westphal, 1983. Photo by Tom Grotta

Katherine Westphal, who was married to Rossbach, generated experiments of her own.  In the late 60s she was among the first artists to use photocopy machines to make images for art. In the 1970s, in addition to drawings to baskets, she began creating wearable art, which, according to Glenn Adamson, former director of the Museum of Arts and Design. was a genre she essentially invented. She wanted it said of the graments she created:  “there wasn’t another one like it in the world, and most people probably wouldn’t be caught dead in it.”  Few were worn, most were hung on the wall like paintings.  Her work displayed wide-ranging, autobiographical themes, arising from her travels: Native American art from trips through the Southwest, cracked Greek pots viewed on a trip to the Met, portraits of geishas after visiting Japan. “I want to become a link in that long chain of human activity, the patterning on any surface available,” she said. 

Large Sylvia Seventy Paper Basket
Bound Vessel IX by Sylvia Seventy, 1983. Photo by Tom Grotta

Also in the 70s, Sylvia Seventy, inspired in part by her studies of the art of the Pomo Indians, was exploring her own innovative techniques in paper making.  In 1982, The New York Times said of her works, “The vessel forms of Sylvia Seventy, all produced over molds, are rich, earthy bowl shapes, with embedded bamboo, cotton cord and sisal.  From a distance they appear to be hard, perhaps stoneware; on closer inspection, they are fragile works.”  Her vessels feature an accretion of items: compositions of beads, feathers, fishhooks, googly eyes, hand prints, and buttons, creating what Charles Tally called “emotionally poignant landscapes within the interior of the vessel[s].” (Artweek, November 29, 1990). 

Deborah Valoma, author, art historian and creator of both textile and sculpture, heads the Textiles Program at the California College of Arts and Crafts (Oakland).  Valoma credits numerous influencers for her work: “I first learned to knit in Jerusalem from a Polish refugee of the Holocaust.  I learned to stitch lace from my grandmother, descendant of Armenian survivors of the Turkish massacres.  I learned to twine basketry from one of the few living masters of Native American basketweaving in California. These dedicated women tenaciously pass the threads of survival forward.  When their memory fails, my hands remember.  My hands trace the breathless pause when I teeter on the sharp edge of sorrow and beauty.”  Using hand-construction techniques and cutting-edge digital weaving technology, her work hugs the edges of traditional practice.  She upholds traditional customs and at the same time, unravels long-held stereotypes.  Valoma believes that students must locate themselves within historical lineages in order to understand the historical terrain they walk — and sometimes trip — through daily. 

Detail of Sigmund Freud Quote woven by Deborah Valoma
Detail of Femininity by Deborah Valoma, 2008
Grouping Marion Hildebrandt baskets
Baskets by Marion Hildebrandt, 2002-2003. Photo by Tom Grotta

Marion Hildebrandt lived and worked in Napa Valley, gathering most of the plant material used in her baskets from the region until her death in 2011.  “My works are a coming together of my life experiences,” Hildebrandt said.  “My basketmaking reflects a longtime interest and study of native California flora and fauna.”  Hildebrandt employed the same materials that Native Americans used when they inhabited the area.  “It is still possible to find plants here that were used by basketmakers 4000 years ago,” she noted. Although she never attempted to replicate their baskets, she shared a similar appreciation for the natural materials that surrounded her.  “Ever so subtly, plants cycle from winter to summer,” she observed. “Each day, week, month brings changes that effect the materials that I collect and use for my baskets.”

Detail of Judy Mulford Sculpture
Detail of Plan Your Parenthood-Population by Judy Mulford, 2009. Photo by Tom Grotta

Further down the California coast, Judy Mulford continues to create her narrative sculptures and baskets of gourds.  Mulford studied Micronesian fiber arts and in the 70s was one of a group of women who worked on Judy Chicago’s The Dinner Party.  She says each piece she creates “becomes a container of conscious and unconscious thoughts and feelings: a nest, a womb, a secret, surprise or a giggle.  And always, a feeling of being in touch with my female ancestral beginnings.”  Her sculptures integrate photo images, drawings, script, buttons and small figures.  Mulford explains: “The gourds are surrounded by knotless netting – an ancient looping technique – symbolic because it is also a buttonhole stitch historically rooted in the home.”

Angled Blue, 1989 and Markings and Blues, 2018 by Adela Akers. Photo by Tom Grotta

In the 1970s, Adela Akers on the East Coast teaching at Temple University, but she has been creating art as a resident of Califonia for the last 25 years. Drawing inspiration from African and South American textiles, Akers creates woven compositions of simple geometric shapes, bands, zigzags and checks.  Many of her works incorporate metal strips —  meticulously measured and cut from recycled California wine bottle caps.  Her techniques and materials produce images that change under different lighting conditions.  Akers also frequently incorporates horsehair into her weavings, adding texture and dimensionality.  Over time, Akers’ work has evolved in scale, material and construction. Yet, several themes reoccur, notably the use of line which, in conjunction with light, brings forth the transformative quality that uniquely characterizes her work.

From May 11th to June 7th, view an assortment of works by these artists at California Dreamin’ on Artsy



Our Spring Exhibition at browngrotta arts moves to September

New Date: September 12 to 20, 2020: Volume 50: Chronicling Fiber for Three Decades

Catalog cover for upcoming catalog: Volume 50: Chronicling Fiber for Three Decades
Catalog cover for upcoming catalog: Volume 50: Chronicling Fiber for Three Decades

Optimistic as we are about June — when we’d tentatively rescheduled our Spring exhibition — as being the time when we’ll have passed the illness apex and be able to go out and about once more, we’ve decided a new date in September makes more sense. We’re afraid that masks and gloves and disinfectant will still be de rigeur in June and they will impact viewers experience of the art. Air travel restrictions may still be be in place, which means fewer artists in attendance and and fewer out-of-town visitors.

Lija Rage, Dail Behennah, Gyöngy Laky, Blair Tate, Annette Bellamy
Lija Rage, Dail Behennah, Gyöngy Laky, Blair Tate, Annette Bellamy

An exciting exhibition: Both impacts would be unfair as Volume 50: Chronicling Fiber for Three Decades has shaped up to be an exciting show. It features significant works by Lia Cook, Gyöngy Laky, Aleksandra Stoyanov and Grethe Sørenson. Works by well-known but new-to-the-gallery artist, James Bassler, are included in addition to striking installations by Annette Bellamy and Agneta Hobin and new approaches by Tim Johnson, Kari Lønning, Carolina Yrarrazával and Dail Behennah. Strong works by Chiyoko Tanaka, Neha Puri Dhir and Adela Akers are among other offerings from the more than 60 artists participating.

Fiber Optic installation by Włodzimierz Cygan, Traps,  2019
Fiber Optic installation by Włodzimierz Cygan, Traps, 2019

So, in 2020, our Spring show will become a Fall show. The Artist Reception and Opening will be onSaturday, September 12th. We’ll welcome you all then with whatever precautions are appropriate.

In the meantime, online: As a run up to September, we’ll be presenting a series of online exhibitions on Artsy highlighting artists and catalogs from our archives:

May 11th: Catalog Look back: California Dreaming Vols. 26, 20, 6 and more

June 8th: Catalog Look back: Cross Currents – Arts Influenced by Rivers and the Sea Vols. 38, 35 and more

July 13th: Catalog Look back: Fan Favorites — Sekimachi, Sekijima, Laky and Merkel-Hess,Vols. 24, 19, 2, 3, 8, 5, 15, 16, 19 and more

August 10th: Catalog Look back: Cataloging the Canon – Tawney, Stein, Cook, Hicks and So Monographs: 1-3; Focus: 1, Vols. 13, 28

Until then, we’ll keep posting content on arttextstyle and our Facebook, Instagram and Twitter pages.

Stay safe and well! We’ll see you in in person in September and online between now and then.


browngrotta arts: A Favorite of Insomniacs and Those Stuck at Home

Browsing browngrotta.com
Browsing browngrotta.com

As we all hunker down and prepare to do things in new — and safer — ways, we wanted to remind you that browngrotta arts has been offering art content online for many years. Check us out in your down time:


browngrotta.com

Find Images of hundreds of works, Artist Statements and Video Links.

Our website, blog, Facebook and Artsy pages
Our website, blog, Facebook and online exhibit

arttexstyle.com

Learn more about How Artists Work in our Process Notes posts, about Artsy Locations and Exhibitions in our Dispatches posts and Read Like an Artist by checking out Books Make Great Gifts roundups. More popular posts: Two on Stitching on the Silver Screen — about movies that feature knitters and weavers and stitchers.

browngrotta arts Facebook Page

Every Monday we post a video link.
Some worth revisiting or viewing for the first time: The house favorite award-winning “Textile Magicians” about five Japanese contemporary fiber artists who live in the cedar forests near Kyoto. See it here: https://vimeo.com/139602030.
“Visionaries: Season 2, Episode 10” featuring Kay Sekimachi, Jack Lenor Larsen , Forrest Merrill on art and innovation on PBS: https://www.pbs.org/video/visionaries-anoopg/.

Online Exhibitions

Take a virtual tour — this month we’ve created an online exhibition for Asia Art Week New York, “Transforming Tradition: Contemporary Japanese and Korean Art” on our You Tube channel at: https://www.youtube.com/watch?v=uPzR-5EXyGI

Stay Well, Stay Home and Stay Inspired!


Asia Art Week NY – Transforming Tradition: Japanese and Korean Contemporary Craft Part II

In honor of of Asia Art Week 2020 this March, browngrotta arts has collated contemporary works by 12 artists born in Japan and Korea for an online exhibition, Transforming Tradition: Japanese and Korean Contemporary Craft. The works include ceramics, weavings, baskets and sculptures made of paper and silk.

Yasuhisa Kohyama ceramic
42yk Ceramic 42, Yasuhisa Kohyama, ceramic, 17.3” x 15.8” x 6.1” 2006


Several ceramics by Yasuhisa Kohyama, are included in Transforming Tradition. Kohyama is a renowned Shigaraki potter who uses ancient techniques to explore new forms. He gained widespread attention in Japan in the 60s when he built one of the first anagama kilns since medieval times. Collectors and museums have been quick to acquire his works, including the Metropolitan Museum of Art, the Cleveland Museum of Art, the Stedelijk Museum in Amsterdam, the Gardiner Mueum of Art in Toronto, the Philadelphia Museum of Art, the Museum of Art and Craft in Hamburg and the Shigaraki Ceramic Cultural Park in Shiga, Japan. Kohyama’s work graces the cover of Contemporary Clay: Japanese Ceramics for the New Century by collectors Alice and Halsey North and curator Joe Earle.  

95jy Ecdysis; Jiro Yonezawa 27″ x 8″ x 5.75”, 2019

Bamboo sculptures by Jiro Yonezawa are also part of browngrotta arts’ exhibition. Yonezawa has been recognized with the Cotsen Prize, a commission from Loewe to work in leather and inclusion in the prestigious Japan Nitten National Fine Arts Exhibit. Yonezawa has explained his work: “Bamboo basketry for me is an expression of detailed precision. These baskets represent a search for the beauty and precision in nature and a way to balance the chaos evident in these times.”

Gold Leaf wall sculptures by Chang Yeonsoon
21-23cy Chunjeein-1, 2 & 3, Chang Yeonsoon abaca fiber, pure gold leaf, eco-soluble resin, 33” x 7.125” x 6.75”, 2019

Korean artist Chang Yeonsoon, who creates ethereal works of starched indigo, was Artist of the Year at the National Museum of Contemporary Art in Seoul in 2008. She was a finalist for the Loewe prize in 2018. Her work has also been acquired by the Victoria & Albert Museum in London; she is the first South Korean artist in that collection.

Soul of a Big Blue Bowl b y Jin-Sook So
53jss Soul of a Big Blue Bowl, Jin-Sook So steel mesh cloth, gold, silver, painted acrylic and steel thread 39” x 32” x 6”, 2015


For 35 years, Jin-Sook So, also of Korea, has been creating dimensional works — sculptural vessels and wall pieces — from stainless steel mesh to international acclaim.

You can view Transforming Tradition: Japanaese and Korean Contemporary Contemporary Craft Online by visiting browngrotta arts’ You Tube channel at: https://youtu.be/uPzR-5EXyGI . You can see each individual work in the exhibition on Artsy: https://www.artsy.net/show/browngrotta-arts-transforming-tradition-japanese-and-korean-contemporary-craft and learn more about the artists included by visiting arttextstyle http://arttextstyle.com and browngrotta arts’ website: http://www.browngrotta.com

Artists included:
Chiyoko Tanaka (Japan)
Jiro Yonezawa (Japan)
Masakazu Kobayshi (Japan)
Naomi Kobayashi (Japan)
Kyoko Kumai (Japan)
Kiyomi Iwata (Japan/US)
Yasuhisa Kohyama (Japan)
Keiji Nio (Japan)
Hisako Sekijima (Japan)
Toshio Sekiji (Japan)
Jin-Sook So (Korea)
Chang Yeonsoon (Korea)

about browngrotta arts
browngrotta arts represents the work of more than 100 international contemporary textile and fiber artists. The firm has published 49 art catalogs and placed art work in dozens of private and corporate collections in the US and abroad, as well as in the permanent collections of the Metropolitan Museum of Art, Museum of Arts and Design, the Art Institute of Chicago, the Philadelphia Museum of Art, and the Renwick Gallery of the Smithsonian Museum. browngrotta arts’ website, http://www.browngrotta.com, and its blog, http://arttextstyle.com, are destination sites for art consultants, interior designers, collectors and practitioners.


Asia Art Week – Transforming Tradition: Japanese and Korean Contemporary Craft Part I

In honor of of Asia Art Week 2020 this March, browngrotta arts has collated contemporary works by 12 artists born in Japan and Korea for an online exhibition, Transforming Tradition: Japanese and Korean Contemporary Craft. The works include ceramics, weavings, baskets and sculptures made of paper and silk.

Kayoryi thread and paper towers by Naomi Kobayashi
55nk Untitled, Naomi Kobayashi, , Naomi Kobayashi, kayori thread, paper, 99″ x 54″ x 5″ (x2), 2006
Masakazu Kobayashi Sound Collage N99
22mk Sound Collage N99, Masakazu Kobayashi, silk, rayon, and aluminum, 55” x 115” x 5”, 1999


Notable in the exhibition are paper sculptures by Naomi Kobayashi and an elegant silk thread assemblage by her late husband, Masakazu Kobayashi. The couple often collaborated, working on installations that combined elements created by each of them. “These works express a shared vision and such common themes as the tranquility of nature, the infinity of the universe and the Japanese spirit,” Masakuzu once explained. “Naomi and I work in fiber because natural materials have integrity, are gentle and flexible. In my own work, I search for an equilibrium between my capacity as a creator and the energy of the world around me.”

The Seashore by Keiji Nio
25kn The Seashore, Keiji Nio, polyester, aramid fiber 48” x 48,” 2019

Keiji Nio’s interlaced wall work is inspired by a haiku, Rough Sea of Sado, from Japanese haiku master Matsuo Basho’s haiku series. In it, Basho describes the deep blue waves of the Sea of Japan as they are reflected in the night sky and the light blue waves hitting the beach. The work incorporates ribbons on which Nio has screened images from the sea and tiny pebbles from the shore. Nio is a faculty member at the Kyoto University of Art & Design, who combines industrial and natural materials in his works to make statements about nature and man’s relationship to the world.

You can view Transforming Tradition: Japanaese and Korean Contemporary Contemporary Craft Online by visiting browngrotta arts’ You Tube channel at: https://youtu.be/uPzR-5EXyGI . You can see each individual work in the exhibition on Artsy: https://www.artsy.net/show/browngrotta-arts-transforming-tradition-japanese-and-korean-contemporary-craft and learn more about the artists included by visiting arttextstyle http://arttextstyle.com and browngrotta arts’ website: http://www.browngrotta.com

Artists included:
Chiyoko Tanaka (Japan)
Jiro Yonezawa (Japan)
Masakazu Kobayshi (Japan)
Naomi Kobayashi (Japan)
Kyoko Kumai (Japan)
Kiyomi Iwata (Japan/US)
Yasuhisa Kohyama (Japan)
Keiji Nio (Japan)
Hisako Sekijima (Japan)
Toshio Sekiji (Japan)
Jin-Sook So (Korea)
Chang Yeonsoon (Korea)

about browngrotta arts
browngrotta arts represents the work of more than 100 international contemporary textile and fiber artists. The firm has published 49 art catalogs and placed art work in dozens of private and corporate collections in the US and abroad, as well as in the permanent collections of the Metropolitan Museum of Art, Museum of Arts and Design, the Art Institute of Chicago, the Philadelphia Museum of Art, and the Renwick Gallery of the Smithsonian Museum. browngrotta arts’ website, http://www.browngrotta.com, and its blog, http://arttextstyle.com, are destination sites for art consultants, interior designers, collectors and practitioners.


Material Matters: Hot Mesh

Untitled Mesh A-Z by Eva LeWitt
Untitled Mesh A-Z by Eva LeWitt Aldrich Museum of Art in Ridgefield, Connecticut

What’s with Mesh? It’s been popular with our artists for sometime. But now we are seeing it in other contexts, too. At the Aldrich Museum of Art in Ridgefield, Connecticut, Eva LeWitt introduced a new material for her exhibition — coated mesh, most commonly used for filters, window screens, and even protective clothing, LeWitt investigates its lightweight and light responsive crosshatched woven surface (through April 5th). Spanning three of the four walls, LeWitt has suspended from the ceiling nine cumulative layers, color fields of tensile mesh, forming interlacing moiré effects that swell and pulsate. 


LeWitt favors materials that she can handle and maneuver alone in the studio: plastics, latex, fabrics, and vinyl—substances offered in an array of readymade colors and a variability of light absorbencies– to generate sculptures and installations that harmonize color, matter, and space, Employing strategies of accretion and repetition, she customizes her work to comply and adjust to the surroundings of a particular setting.


Then there is Katsuhiro Yamaguchi, in the collection at Tate modern, who work in a variety of materials. https://www.tate.org.uk/art/artworks/yamaguchi-mesh-sculpture-t14164  In the 1960s Yamaguchi, incorporated various materials such as acrylic resin, light, wire-mesh, upholstery and wax, expanding his means of expression to include the environment of the ceiling and the walls.

Ruth Asawa's sculptures
Ruth Asawa’s sculptures displayed at the David Zwirner gallery in NYC

Ruth Asawa’s work in mesh is the subject of new-found appreciation https://www.latimes.com/home/la-lh-los-angeles-modern-auctions-realizes-record-auction-20140225-story.html. “Asawa began to crochet wire-mesh structures in 1948. The symmetrical structures themselves were intellectually rigorous, requiring discipline and technical precision. The resulting constructs were ethereal, fanciful, and vital.” The essence of Asawa’s art in wire has to do with transparency and interpenetration, with overlapping, shadow, and darkening” something looping wire mesh can evidence effectively.

Untitled I 2018, Jin Sook-So
59jss Untitled I, Jin Sook-So
steel mesh, folded, burnt and painted with gold, silver and acrylic
15.75″ x 15.75″ x 5.5″, 2018

Among our artists for Jin-Sook So, mesh is a like a zelig — an ordinary person who can change themselves to imitate anyone they are near. It can replicate the look of silk organza but when painted it looks like canvas. When electroplated and sculpted into forms it emits a burnished glow.

Detail of En Face, Agneta Hobin
9ah En Face, Agneta Hobin, mica and steel, 70” x 48”, 2007

Agneta Hobin is best known forr impressive works in which yellow mica has been woven into metal warp; the technique and materials are the artist’s unique choises which she has been developing for over ten years.

Untitled monofilament by Kay Sekimachi

Untitled
Kay Sekimachi
monofilament
57” x 14” x 14”, circa mid-70’s
Matrix II by Chang Yeonsoon
13cy Matrix II-201022
Chang Yeonsoon
indigo dyed abaca fiber
51.75” x 10 x 12.75”, 2010

In the 70s, Kay Sekimachi used a 21-harness loom, to create sheets of mesh-like nylon monofilament. She combined these to create ethereal, hanging quadruple tubular woven forms that explore ideas of space, transparency, and movement. Only 22 of these remarkable sculptures were made.

Chang Yeonsoon uses polyester mesh as a “frame” for layers of natural abaca fiber with striking results.. Yeon soon who is a leading contemporary textile artist in Korea was selected as finalists of the LOEWE Craft Prize 2018.

And, on a large scale, check out this building of mesh filled with cork https://www.dezeen.com/2020/

01/10/gharfa-pavilion-edoardo-tresoldi-studio-studio-studio-saudi-arabia/. It’s the product of Edoardo Tresoldi who has combined sound, projections, landscaping and fabric with his signature wire-mesh sculptures for Gharfa, a large site-specific pavilion in Riyadh.

Embrace the mesh!


Art Out and About: US

by Ryan Urcia and Kristina Ratliffe 

Our 2020 “Art in the Barn” exhibition series is not until next Spring but there are plenty of exciting exhibitions featuring some of our favorite browngrotta arts’ artists to check out this Winter season. Below is a round up of 10 must-see shows in the US:

John McQueen, Untitled #192, 1989, burdock burrs and applewood
Ed Rossbach, Croissants, ca. 1987, cartons, block print, and staples
CREDIT
The Henry Luce Foundation and the Windgate Charitable Foundation generously support the reinstallation of the Renwick’s permanent collection.
John McQueen, Untitled #192, 1989, burdock burrs and applewood
Ed Rossbach, Croissants, ca. 1987, cartons, block print, and staples
CREDIT
The Henry Luce Foundation and the Windgate Charitable Foundation generously support the reinstallation of the Renwick’s permanent collection.

Washington, D.C.
Connections: Contemporary Craft
at the Renwick Gallery
On view – indefinitely
Connections is the Renwick Gallery’s dynamic ongoing permanent collection presentation, featuring more than 80 objects celebrating craft as a discipline and an approach to living differently in the modern world. The exhibition explores the underlying current of craft as a balancing, humanistic force in the face of an evermore efficiency-driven, virtual world. The installation highlights the evolution of the craft field as it transitions into a new phase at the hands of contemporary artists, showcasing the activist values, optimism, and uninhibited approach of today’s young artists, which in some way echoes the communal spirit and ideology of the pioneers of the American Studio Craft Movement in their heyday. Includes artist Lia Cook, Toshiko Takaezu, Ed Rossbach, John McQueen, Peter Voulkos.
Renwick Gallery of the Smithsonian American Art Museum 

Pennsylvania Avenue at 17th Street NW, Washington, DC. (212)(202) 633-7970 https://americanart.si.edu

Bamian by Sheila Hicks
Bamian Sheila Hicks (American (lives and works in Paris), born in 1934) 1968 Wool and acrylic yarns, wrapped * Charles Potter Kling Fund and partial gift of Sheila Hicks © Sheila Hicks * Photograph © Museum of Fine Arts, Boston

Boston, Massachusetts
Women Take the Floor 
On view through May 3, 2020
An exhibition of more than 200 works that challenge the dominant history of 20th-century American art by focusing on the overlooked and underrepresented work and stories of women artists – advocating for diversity, inclusion, and gender equity in museums, the art world, and beyond. Includes Lenore Tawney, Sheila Hicks, Olga Amaral, Kay Sekimachi, Toshiko Takaezu
Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue, Boston, Massachusetts 02115
Phone: (617) 267-9300 mfa.org

Katherine Westphal A Fantasy Meeting of Santa Claus with Big Julie and Tyrone at McDonalds
From Off the Wall: Katherine Westphal A Fantasy Meeting of Santa Claus with Big Julie and Tyrone at McDonalds, 1978. Resist-dyed cotton. San Jose Museum of Quilts & Textiles, San Jose, CA.


Philadelphia, Pennsylvania
Off the Wall: American Art to Wear
On view through May 17, 2020  Delight in the astonishing inventiveness and techniques of a generation of mixed-media artists who pioneered a new art form designed around the body. Coming of age during the dramatic cultural shifts of the 1960s and 70s, the artists in this distinctively American movement explored non-traditional materials and methods to create adventurous, deeply imaginative works. Includes Norma Minkowitz and Katherine Westphal 
Philadelphia Museum of Art 
2600 Benjamin Franklin Parkway, Philadelphia, PA 19130
Phone: (215) 763-8100
https://philamuseum.org

White Pinwheel by Ethel Stein
Ethel Stein,White Pinwheel, 1990 cotton, satin damask weave; woven on a loom with a drawloom attachment fabricated by the artist 87.6 x 83.8 x 2.2 cm (34 1/2 x 33 x 7/8 in.)

Chicago, Illinois
Weaving beyond the Bauhaus
On view through Feb 17, 2020
Presented on the centenary of this foundational organization, Weaving beyond the Bauhaus traces the diffusion of Bauhaus artists, or Bauhäusler, such as Anni Albers and Marli Ehrman, and their reciprocal relationships with fellow artists and students across America. Through their ties to arts education institutions, including Black Mountain College, the Institute of Design, the Illinois Institute of Technology, and Yale University, these artists shared their knowledge and experiences with contemporary and successive generations of artists, including Sheila Hicks, Else Regensteiner, Ethel Stein, Lenore Tawney, and Claire Zeisler, shaping the landscape of American art in the process.
Art Institute Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
(312) 443-3600
https://www.artic.edu

In Poetry and Silence Lenore Tawney installation
In Poetry and Silence: The Work and Studio of Lenore Tawney Installation view at the John Michael Kohler Arts Center, 2019
Courtesy of John Michael Kohler Arts Center


Sheboygan, Wisconsin
Lenore Tawney: Mirror of the Universe
On view through March 7, 2020
This series of four exhibitions explores Lenore Tawney’s (1907–2007) life and impact, offering a personal and historical view into her entire body of work. Read more about the Tawney exhibits in our earlier blog here: http://arttextstyle.com/2019/12/18/lenore-tawney-gets-her-due/  
John Michael Kohler Arts Center (JMKAC)
608 New York Avenue, Sheboygan, WI 53081
Phone: 920.458.6144
jmkac.org

Toshiko Takaezu portrait, 1998 by Tom Grotta
Toshiko Takaezu portrait, 1998 by Tom Grotta, courtesy of browngrotta arts

Racine, Wisconsin
It’s Like Poetry: Building a Toshiko Takaezu Archive at RAM 
On view through July 26, 2020
RAM’s archive now numbers over 30 works, including Toshiko Takaezu’s (1922-2011) most expansive grouping, the installation comprised of 14 “human-sized” forms, the Star Series. Significantly, the museum’s holdings span the range of Takaezu’s working career—with a double-spouted pot from the 1950s being the earliest and the Star Series (1999-2000) being the latest. 
Open Storage: RAM Showcases Ceramic, Fiber, and Regional Archives 
On view through August 30, 2020
Arranged as a series of artist solo showcases, Open Storage also highlights the earliest kinds of work given to RAM—textiles and works on paper. While ceramic works and art jewelry currently number as the two largest types of contemporary craft represented, examples of textiles, prints, drawings, and works on paper were among the very first gifts of artwork to the museum in the 1940s. This exhibition features the work of 12 artists—Sandra Byers, Gibson Byrd, John N. Colt, Theodore Czebotar, Lillian Elliott, Joseph Friebert, Ed Rossbach, Kay Sekimachi, Jean Stamsta, Merle Temkin, Murray Weiss, and Beatrice Wood—through multiple examples of their work. 
Racine Art Museum
441 Main Street, Racine, WI 53403
Phone: (262) 638-8300
https://www.ramart.org

Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). Alan Shields, J + K, 1972. Photograph by Ryan Urcia


New York, New York
Making Knowing: Craft in Art, 1950–2019
On view through January 2021
The exhibition foregrounds how visual artists have explored the materials, methods, and strategies of craft over the past seven decades. This exhibition provides new perspectives on subjects that have been central to artists, including abstraction, popular culture, feminist and queer aesthetics, and recent explorations of identity and relationships to place. Together, the works demonstrate that craft-informed techniques of making carry their own kind of knowledge, one that is crucial to a more complete understanding of the history and potential of art. Drawn primarily from the Whitney’s collection, the exhibition will include over eighty works by more than sixty artists, including Ruth Asawa, Eva Hesse, Mike Kelley, Liza Lou, Ree Morton, Howardena Pindell, Robert Rauschenberg, Elaine Reichek, and Lenore Tawney, as well as featuring new acquisitions by Shan Goshorn, Kahlil Robert Irving, Simone Leigh, Jordan Nassar, and Erin Jane Nelson. More on this exhibition in our previous post: http://arttextstyle.com/dispatches-making-knowing-craft-in-art-1950-2019-at-the-whitney/
Whitney Museum of American Art
99 Gansevoort Street New York, NY 10014
Phone: (212) 570-3600
https://whitney.org

Installation view of Taking a Thread for a Walk, The Museum of Modern Art, New York 
2019 The Museum of Modern Art. Photo: Denis Doorly

New York, New York
Taking a Thread for a Walk
On view through April 19, 2020
True to its title, this exhibition takes a thread for a walk among ancient textile traditions, early-20th-century design reform movements, and industrial materials and production methods. Featuring adventurous combinations of natural and synthetic fibers and spatially dynamic pieces that mark the emergence of more a sculptural approach to textile art beginning in the 1960s, this show highlights the fluid expressivity of the medium. More about this exhibition in our earlier blog: Dispatches: Textiles Take Center Stage at the New MoMA, New York, NY
Museum of Modern Art, New York 
11 West 53 Street, New York, NY 10019
Phone: (212) 708-9400
https://www.moma.org

Lia Cook in front of Through the Curtain and Up from the Sea (1985) at MOCA in LA
Through the Curtain and Up from the Sea (1985) at MOCA in LA

Los Angeles, California
With Pleasure: Pattern and Decoration in American Art 1972–1985
On view through May 3, 2020 Featuring approximately fifty artists from across the United States, the exhibition examines the Pattern and Decoration movement’s defiant embrace of forms traditionally coded as feminine, domestic, ornamental, or craft-based and thought to be categorically inferior to fine art. This is the first full-scale scholarly survey of this groundbreaking American art movement, encompassing works in painting, sculpture, collage, ceramics, installation art, and performance documentation. Includes artist Lia Cook
Museum of Contemporary Art
Grand Avenue
250 South Grand Avenue, Los Angeles, CA 90012
Phone: (213) 626-6222
https://www.moca.org 

Please check with each art institution for directions and hours.