Category: Exhibitions

Sue Lawty Visits Anni Albers at the Tate Modern

‘Our tactile experiences are elemental’  

I was eleven when On Weaving was first published. I was making dens in the woods and wondering what I’d be when I grew up. 

Anni Albers at the Tate Modern. (Lawty’s favorite piece in the exhibition.) Photo by Sue Lawty.

 Years later Anni Albers’ seminal book was to become pivotal in the development of my teaching and thinking. I actually bought it in 1983 from the Museum of Fine Arts in Boston, $8.95, black and white, paperback. Yet it wasn’t the images that first grabbed me, but the four pages of chapter eight: Tactile Sensibility. The phrase “tactile sensibility” was new to me, and even if in my fingertips I knew there was such a thing, I’d never heard it named before and given a serious discourse. 

11sl LEAD V Sue Lawty, lead warp and weft, hand woven & beaten, 24″ x 18″ x 1.5″, 61cm x 48cm x 4cm, 2009

Of course, many important influences shape us as we carve our creative journey, not least Beyond Craft: The Art Fabric, Mildred Constantine and Jack Lenor Larsen’s groundbreaking publication and the first art book I ever bought. However, it was Anni Albers’ rigorous unpicking of the intrinsic relationship between the structure of weaving and the fibers chosen that fired a key part of my working ethos; as she put it  “…the inner structure together with its effects on the outside …the engineering task of building up a fabric …developing the vocabulary of tactile language.” read her words over and over and used them in teaching alongside practical workshops informed by her open, questioning approach. I still do.

Anni Albers at the Tate Modern. Photo by Sue Lawty

Visiting the fabulous Anni Albers exhibition at Tate Modern in late 2018, I was struck by how rhythm, repetition, a monochromatic/ limited color palette and the austerity of working with the least number of elements, are all essential elements in both our creative outputs. 

Sue Lawty
December 31, 2018


Art in situ – Helena Hernmarck at the Aldrich Museum through January 13, 2019

Helena Hernmarck describes the yarn she sources from Sweden at the opening of Helena Hernmarck: Weaving in Progress. Photo by Tom Grotta, courtesy browngrotta arts

A unique view into Helena Hernmarck’s artistic practice is on exhibit at the Aldrich Museum up the road from us in Ridgefield, Connecticut for four more weeks. In addition to showing 20 tapestries created over 40 years by Hernmarck, the Museum has replicated a wall of her studio with a large photograph, installed one of the artist’s smaller looms and invited her and her assistant, Mae Coburn, to complete a weaving onsite. We were at the well-attended opening of the exhibition and particularly appreciated the portion of the exhibit that illustrates her process – from inspiration to drawing to yarn selection to final work. As the Museum describes it: “An inventory of the wool used in the process will be on view, along with a display of materials from the artist’s archive, including photographs, watercolors, drawings, prototype samples, and other ephemera that illustrate and inform Hernmarck’s process and the evolution of her career.”

Process documents–inspiration, drawings, color swatches — preparation for a Hernmarck tapestry. Photo by Tom Grotta, courtesy browngrotta arts

In creating a work, Hernmarck plots the amount of weaving she needs to complete each day on graph paper. She told CT Post in October that when first learning to weave, she knew she wanted to create large-scale works. “I decided that if I could weave one square meter a week, I could live on it. And it’s almost true. I made it coarser [using multiple strands] so I could go faster,” she told the newspaper. That bundling has set Hernmarck’s work apart. “Depending on how she twists the strands and what colors and thicknesses she chooses, she is said to be able to give her tapestries unprecedented depth and complexity. One critical essay described them as almost pointillist,” wrote Joel Lang, “Ridgefield weaver Helena Hernmarck and her loom preside over Aldrich exhibit,” CT Post, October 18, 2018.

Exhibition view from Helena Hernmarck: Weaving in Progress, at the Aldrich Museum, Ridgefield, CT. Photo by Tom Grotta, courtesy browngrotta arts.

Working at the Museum three to four days in a row has required a slight change in approach, Hernmarck says. “It is fun that so many are coming,” including textile enthusiasts and art classes, but hard to get the weaving done as planned while answering all the questions.

Don’t miss the opportunity to see Hernmarck’s art creation in action. The Aldrich is at 258 Main Street, Ridgefield, CT 06877, Tel 203.438.4519; general@aldrichart.org.

The in-residence days are:
November: 23, 24, 28, 29, 30
December: 6, 7, 8, 12, 13, 14, 20, 21, 22, 27, 28, 29
January: 2, 3, 4, 10, 11, 12

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 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 basketmaker working today I look towards combining tradition and experimentation to lead me into new areas. Looking at traditional woven objects in museums and collections we find only part of the story of the making and are left to imagine the life of the object ourselves,” explains Johnson. “The rightness of design and signs of usage in old traditional baskets fascinate me and I hope to capture some of their magic in my own makings. While I’m neither a fisherman nor a farmer and my baskets are not functional, perhaps my work celebrates our woven cultural inheritance whilst 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.


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.


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.


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.

 

 

 

 

 


Who is new in Blue/Green: code/color/context — Micheline Beauchemin and Polly Barton

Blue/Green: color/code/context opens at browngrotta arts, 276 Ridgefield Road, Wilton, Connecticut on April 28th (1 pm to 6 pm). Featured in the exhibition are more than 50 artists, including two new to browngrotta arts, Micheline Beauchemin of Canada and Polly Barton from the US.

 

Details of Totem aux Millefleurs Bleues by Micheline Beauchemin and Synapse by Polly Barton

Details of Totem aux Millefleurs Bleues by Micheline Beauchemin and Synapse by Polly Barton

Beauchemin began her career making stained-glass windows but early on turned to weaving and embroidering spectacular wall hangings in vibrant colors, including blues and greens. traveled and studied in Japan, China, India, North Africa, the Canadian Arctic and the Andes, adding depth and mystery to the love of light, water, wings and nets that is evident in her body of work. She created a number of important commissions throughout Canada, including an acrylic curtain for the Grande Salle of the Théâtre Maisonneuve at Place des Arts in Montréal (1963-1967) a curtain for the National Arts Centre in Ottawa (1966-1969), tapestries for Queen’s Park in Toronto (1968-1969), the Hudson’s Bay Company in Winnipeg (1970) and the Canadian pavilion at the 1970 World’s Fair in Osaka, Japan. She participated in the 10th Lausanne Biennial, was elected to the Royal Canadian Academy of Arts and was awarded the Governor General’s Award in Visual and Media Arts. A book about Beauchemin, her life and works, Micheline Beauchemin: Je rêvais de tapisseries à la grandeur des cathédrales, à la largeur de nos rivières (roughly, I dreamed of tapestries, as wide as rivers, throughout cathedrals) can be purchased through our website at http://store.browngrotta.com/books/

 

Polly Barton is a US artist known for adapting the ancient weaving technique of ikat into contemporary woven imagery. She has provided an ikat of silk, Pillar of Cloud, for Blue/Green: color/code/context. As a young artist, Barton worked as a personal assistant to Helen Frankenthaler. She cites that experience as a formative one, where she learned firsthand the inner drive, resilience, and intention necessary for an artist. The year also introduced her to the challenges and rewards of the New York art world. In 1981, she moved to Kameoka, Japan and lived in the religious heart of the Oomoto Foundation to study with master weaver, Tomohiko Inoue. In Kameoka, she practiced tea ceremony, calligraphy and Noh Drama with Oomoto’s master teachers. Barton has shown her woven ikats on both coasts. Her works are in the permanent collections of the Art Institute of Chicago, the Boston Museum of Fine Arts, and the Mint Museum among others.

 

Blue/Green: color/code/context opens on April 28th for just 10 days. The 140-page color catalog will be available on the 28th at browngrotta.com.
Details: Opening and Artists Reception, Saturday, April 28th, 1-6 pm; Sunday April 29th – Sunday May 6th, Hours: 10-5 pm. For more info: http://www.browngrotta.com/Pages/calendar.php; 203-834-0623.