Category: Installations

Artists from the Grotta Collection: Exhibition and Book Launch Opens Saturday

We’re getting ready to welcome six artists and lots of art fans to our fall event: Artists from the Grotta Collection: an exhibition and book launch, which opens on Saturday (Artist Reception and Opening: 1 pm to 6 pm). Featured in the exhibition is the work of more than 44 artists, who are among the artists collected by Sandy and Lou Grotta over nearly 70 years. Here are some behind the scenes views of our preparations.

2 Sara Brennan Tapestries
Installation of Dark Blue Line I and Linen Tapestry with Broken Grey Line by Sara Brennan above the New Kitchen Server

Here’s a shot of Tom installing a pair of Sara Brennan’s elegant tapestries.

Installation of Gyongy Laky's True North
Gyöngy Laky’s True North partially installed showing the exposed nails that get covered by the wood pieces

Over two-hundred nails are needed to install Gyøngy Laky’s True North.

The work that required the most ingenuity and effort to install was Helena Hernmarck’s substantial tapestry, 1884 New York Bay. This is just a glimpse of the varied work that will be included in the exhibitions, which includes ceramics, furniture, fiber sculpture and mixed media. Hope we’ll see you there.

The results of that unique creative collaboration are documented in the more-than 300 photographs that make up The Grotta Home, which will be celebrated in Artists from the Grotta Collection: exhibition and book launch runs from November 2nd to the 10th at browngrotta arts, 276 Ridgefield Road, Wilton, CT.

The Artists Reception and Opening is November 2nd, 1 pm to 6 pm, browngrotta arts, 276 Ridgefield Road, Wilton, CT 06897. The exhibition hours for November 3rd – 10th are 10 am to 5 pm. A book about the collection, The Grotta Home by Richard Meier: a Marriage of Architecture and Craft, will be available throughout the exhibition and Tom will be available to sign it. For more info: http://www.browngrotta.com/Pages/calendar.php.


Art & Text Opens — Reception at the Wilton Library on October 11th

On Art and On Life Dana Romeis
8dr/r On Art 9dr/r On Life Dana Romeis, silk and cotton, 24″ X 24″, 1991

Through November 7th, browngrotta arts is participating in Art & Text, an inaugural collaboration of 13 libraries in Fairfield County, Connecticut. Each library within the consortium will highlight one or more artists, whose work reflects their unique perspectives on the exhibition’s theme.  Throughout the County, Art & Text runs from September 1 through December 31, 2019, with shows running from one week to 3 months, depending on a library’s individual calendar. Through mixed media, ranging from sculpture and painting to graphics, each library’s exhibition aims to promote awareness of visual arts in the libraries of Fairfield County, as well as foster a connection between the community it serves and the arts.
browngrotta arts provided works by nine artists who use text in their art in a a number of different ways, including embroidered words, collaged newspapers and sculptured works made of the Congressional Record.

The Sun-Shine on the Water, Naomi Kobayashi
50nk The Sun-Shine on the Water, Naomi Kobayashi, washi paper, koyori thread, india ink, cotton, 20″ x 12.5″ x 2″, 2009

One of the works included is by Naomi Kobayashi who incorporates strips of calligraphy into her weavings. In a an ideal Art & Text plot twist, author William Bayer was inspired by Kobayashi’s work. In his book Hiding in the Weave, the protagonists have to deconstruct a weaving to find a clue to solve a mysterious death. Other artists presented through browngrotta arts include Dana Romeis, who is an artist and interior designer from St. Louis, Missouri. She has a background in art and textiles. From an early age, Dana has been drawn to the intricacy of design. She is particularly fond of the quote, “God is in the details” by Mies van der Rohe. In On Life and On Art,  she has incorporated text into her weavings.

The Congressional Record, Kate Hunt
The Congressional Record, Kate Hunt, nails, twime, encaustic, 12″ x 9″ x 4″

Kate Hunt is from Montana and has recently relocated to Mexico. She says of newsprint, her chosen material: “Newspaper as a construction material is cheap and easy to obtain. It forgives easily. I love the color and feel and its changes in color over time. The size range is equal to that of wood. Texture and density are adjustable. The audience has a history and experience with newspaper that they bring to each of my pieces resulting in a dialog that transcends anything that I thought of as an artist.”

35ts Pasodoble, Toshio Sekiji, Japanese newspapers; urushi lacquer, red ochre (bengara), 28" x 25" x 4", 2009
35ts Pasodoble, Toshio Sekiji, Japanese newspapers; urushi lacquer, red ochre (bengara), 28″ x 25″ x 4″, 2009

Japanese artist Toshio Sekiji intertwines strips of paper from various cultures, rewriting messages and imaging a harmonius confluence of disparate cultures, languages and nationalities – different than the facts on the ground. California artist, Ed Rossbach, was a relentless experimenter. He learned all manner of textile techniques from double weave to bobbin lace making and then applied them to unusual materials with striking results. It the work in Art & Text, Rossbach has used throwaway materials – annual report pages – to create a vessel that looks like a colorful vase. Judy Mulford is also from California. Her work, which often includes gourds, celebrates women and the family. In this case, words about family life and celebration are spelled out in thread using a button-hole technique.

17da Undulating Surface #7, Dona Anderson
wire armature, pattern paper and polymer, 16″ x 17.5″ x 15″
2010

An unusual sculpture by Washington state artist Dona Anderson is included. Anderson uses everyday materials in her works. Her vessel in Art andText is made from dressmaker patterns and the instructions can still be read on its sides. Like Ed Rossbach, Sylvia Seventy was part of California’s fiber movement of the 60s and 70s. She began making vessels of handmade paper then, a process she continues. Her vessels are whimsical incorporating everything from feathers and pins to beads and googly eyes. In this work she has included text telling the viewer to consider the back – where may artist secrets can be found.

Looking at the Back Sylvia Seventy
21ss Looking at the Back Sylvia Seventy molded recycled paper, vintage cotton embroidered fabric, wax, wire, beads, waxed carpet thread 3.5” x 8.5” x 8.5”, 2016

The opening of Art & Text at the Wilton Library takes place on Friday, October 11th from 6 pm to 7:30 pm. The Library is at: 137 Old Ridgefield Rd, Wilton, CT 06897. A majority of the works are available for purchase with a portion of the proceeds benefiting the Library.  Media Sponsor: The Wilton Bulletin.


Dispatches: Italy

Carter looks at the reverse sides of Raphael’s portraits of Agnolo Doni and his wife, Maddalena Strozzi, at Room 41 Uffizi Galery in Florence

We visited Italy earlier this month. It was an orgy of art and wine and fine food. Much of what we saw was traditional and magical — Fra Angelico, DaVinci, Bernini, Michelangelo.

Reviewing work for the 1980s in Milan, Triennale di Milano Design Museum, Carter, Carol and Rhonda
Reviewing work for the 1980s in Milan, Triennale di Milano Design Museum

We made time for the contemporary, too — in Milan, the Triennale di Milano Design Museum was a highlight (https://www.triennale.org/en/). We walked down memory lane — cutting edge lighting, furniture and objects from the 60s, 70s, 80s and later.

Wendy Wahl, Period Dress

Venice, of course, meant the Venice Biennale and its satellite exhibitions. First Stop, PersonalStructures at the Palazzo Bembo, and exhibition “in the context of the Venice Biennale,” mounted by the European Culture Center (https://ecc-italy.eu/exhibitions/2019art). Peering into a warren of small rooms, we found Wendy Wahl’s Period Dress.

American Pavilion, Martin Puryear
Martin Puryear’s Swallowed Sun (Monstrance and Volute) 

Then Tom and Carter visited the Biennale central site; admirably illustrating this year’s theme – May You Live in Interesting Times (https://www.labiennale.org/en/art/2019). Tom and Carter headed straight to the American Pavilion, featuring Martin Puryear. We are big fans – loved his solo show at MoMA in 2008. He’s a maker of big baskets in a some ways. Works of fiber were on display in several pavilions.

Work from Finland’s Pavilion
Carter in the Venezuelan Pavilion Venice Biennale

Carter and Tom liked what they saw at the Venezuelan and Finnish pavilions in particular.

Alexandra Bircken, Angie, Venice Biennale
Alexandra Bircken, Angie

They were taken by German artist Alexandra Bircken’s work in the Arsenale and Korean artist Suki Seokyeong Kang’s experiments with space.

Work by Suki Seokyeong Kang
Work by Suki Seokyeong Kang

Our only disappointment — Federica Luzzi was not in Italy when we visited, but in Japan where she is participating in a solo show at the LADS Gallery, as part of a an international exchange through the City of Osaka.


Dispatches: San Francisco

Carter Grotta, of our browngrotta arts team, traveled to San Francisco last month. We asked him to snapshots of interesting art. Here are some of the highlights!

First the de Young. There, Carter visited the Saxe Collection at the de Young Museum, where he saw an Untitled work of bark and stone by Dorothy Gill Barnes and ceramics by Toshiko Takaezu and Paul Soldner.

Ruth Asawa installation at the deYoung Museum

A great collection of works by Ruth Asawa, San Francisco’s most well-known fiber artist, is also on display at the de Young Museum along with a unique abstract quilt, A Bend in the River, by Joe Cunningham.

A Bend in the River by Joe Cunningham
A Bend in the River by Joe Cunningham
SFMOCA digital installation

Next SFMOCA. Carter was quite taken by this remarkable digital installation, part of snap+share: transmitting photographs from mail art to social networks, a unique take on transmitting photographs from mail art to social networks. This work illustrates what it means to engage with the technological advancements of the 21st century to create digital conversations in photographs.

Magdalena Abakanowicz Four on a Bench
Magdalena Abakanowicz Four on a Bench

Also housed at the SFMOMA, the sculptures of Magdalena Abankanowicz, like Four on a Bench, are representative of the oppressive historic conditions of her native country, Poland.

Jannis Kounellis Untitled piece of steel
Jannis Kounellis, Untitled

Also at SFMOMA, was this interesting Untitled piece of steel, crucible, tar and rope, by Italian-born artist, Jannis Kounellis, in The Doris and Donald Fisher Collection.

Tanabe Chikuunsai IV bamboo sculpture
Tanabe Chikuunsai IV

Also worth a trip, the Asian Art Museum which features an exciting installation by Tanabe Chikuunsai IV — a 4th generation bamboo artist, that seems to have grown organically within the gallery space.

Federal Court House building in San Francisco
Federal Court House Building

What Carter couldn’t see — or photograph at least — was That Word, a larger-than-life sculpture of twigs by Gyöngy Laky which is on loan to the federal courts where photography is strictly prohibited.
You can see That Word, though, even if you can’t take a photograph. Just one of a series of interesting stops in a city that is great for art tourism!


Art & Identity: the Catalog

art + identity: an international view catalog
art + identity: an international view; a browngrotta arts exhibition catalog

We produced our 49th publication this spring, a 156-page catalog, art + identity: an international view. The catalog features work by 62 artists who have lived and worked in 22 countries in the UK, Europe, Asia, Africa and North and South America. We asked the artists who participated to provide us works that illustrated how identity and influence are reflected in their art. We selected works by artists no longer living on the same basis. The artists involved took an expansive approach, but as you’ll see in the catalog, a few themes emerged. Some artists, for example, were influenced by  the art of other cultures  — through visiting or study. For Dawn MacNutt, it was classical Greek sculpture she saw at the Metropolitan Museum in New York and then in Greece that she has translated in her willow figures. For Paul Furneaux, influences included time spent in Mexico, at Norwegian fjords and then, Japan, where he studied Japanese woodblock. For Adela Akers it was Peruvian weavers; Agneta Hobin,

Nnenna Okore spread
Nnenna Okore spread art + identity: an international view catalog spread

a trip to Zuni pueblos Nnenna Okore was raised in and studied in Nigeria. Common within her body of works is the use of ordinary materials, repetitive processes and varying textures that make references to everyday Nigerian practices and cultural objects. Katherine Westphal had what one writer called “magpie-like instincts.” She called herself a tourist – “then it all pops out in my work – someone else’s culture and mine, mixed in the eggbeater of my mind…” Others found inspiration close to home. Though she travelled extensively and studied in France, Canadian artist, Micheline Beauchemin repeatedly returned to the St. Lawrence River as a theme.

Mary Merkel-Hess catalog spread
Mary Merkel-Hess art + identity: an international view catalog spread

Mary Merkel-Hess evokes the plains of her home in Iowa like “the bush that burned with fire and was not consumed,” a quote from Willa Cather, which Mary says she, too, has seen. Mérida, Venezuela, the place they live, and can always come back to, has been a primary influence on Eduardo Portillo’s and Maria Davila’s our way of thinking, life and work. Its geography and people have given them a strong sense of place. Processes and materials motivated a third group of artists. “I draw inspiration from age-old Indian and Japanese traditional resist-dyeing techniques such as bandhini and shibori ,” says Neha Puri Dhir.

Neha Puri Dhir catalog spread
Neha Puri Dhir catalog spread art + identity: an international view

Ed Rossbach was also a relentless experimenter who learned and adapted dozens of techniques and unusual materials from lacemaking with plastic tubes to enlarging then reinterpreting images from Coptic tapestries to weaving raffia on a loom after studying weavings from Africa. Susie Gillespie grows flax from seed that she processes by retting, breaking and hackling before spinning it into yarn.  The clay from Shigaraki, Japan is crucial to Yasuhisa Kohyama’s work – through the techniques he has pioneered, he aims to highlight the upheavals evident in its creation, including volcanic eruptions and the erosion of water and wind.
Other artists took a more interior and personal view: Aleksandra Stoyanov of the Ukraine and now Israel uses images of ancestors in her work, this time images from childhood, and she notes that the child comes with us into adulthood. Irina Kolesnikova also grew up in Russia. Aspects of her everyday life there are reflected in artworks that feature her Alter Ego – “a slightly comic, clumsy human of an uncertain age (who is just a survivor struggling to keep his existence balanced).” Personal and universal connections to the sensuality and materiality of the woven image motivates Lia Cook.

art + identity: an international view; a browngrotta arts exhibition catalog

She is particularly interested in the emotional connection to memories of touch and cloth. She’s worked with neurologists to measure brainwaves for people who look at a photograph versus a woven version of the same image. The wider world and related issues were the subject for others. Nancy Koenigsberg’s work for this exhibit originated as a visual and emotional response the scenes destruction from the recent California wildfires and to the unfolding ecological disaster of which they are symptomatic. Lewis Knauss’ work has also begun to reflect the worldwide concern for climate change. American artist Mary Giles began creating wall panels that dealt with her concerns about population some years before her death in 2018, exploring in them ideas of density and boundaries.

photo spread
Norma Minkowtz, The Path (pages 50-51) Lilla Kulka, Odchodzacy and Co-Bog Zlaczyl (pages 114-115) Gyöngy Laky, Neo Rupee and Reach (pages 40-41)

The catalog includes an essay, The Textile Traveller, by Jessica Hemmings, Ph.d., Professor of Crafts, University of Gothenburg, Sweden, which creates perspective. This exhibition, “reminds us that the textile is an expert traveller – adept at absorbing new surroundings and influences while retaining elements of previous contexts and functions. Many physically embody the buzz word of our times: resilience. Attention to the textile’s many histories and journeys can help us trace and begin to understand the, often overwhelming, complexities contemporary societies face.”

Marianne Kemp horsehair weaving
Marianne Kemp 5mk Drifting Dialogues horsehair, cotton, linen 45” x 42” x 3.5 “, 2018

The catalog can be ordered for $50 plus tax and shipping on our website at browngrotta arts: http://store.browngrotta.com/art-identity-an-international-view/


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.


First Look: Blue/Green: color/code/context, April 28th – May 6th at bga, Wilton, CT

Blue Green exhibition Marian Bijlenga

30mb Dutch Blue (Oval), Marian Bijlenga
camelhair, fabric, stitched
35” x 35”, 2006, photo by Tom Grotta

For this year’s Art in the Barn exhibition, we asked artists to enter a blue or green period of their own and send us a work that conveyed one of the many meanings, connotations and moods of these colors. The result is Blue/Green: color/code/context, an exhibition of remarkably diverse works from more than 50 artists from 15 countries. Marian Bijlenga of the Netherlands, for example, has created an enigmatic wall work inspired by Dutch blue china fragments. The work is inspired, she says,  by the patterns of Chinese porcelain and the Japanese philosophy of the reuse of broken tiles and her collection of Dutch blue shards, collected in Amsterdam.

Ceramic Blue Green exhibition

Yasuhisa Kohyama
51yk Kaze
ceramic
14.75” x 11.5” x 4.75”, 2017

Yasuhisa Kohyama has created, Kaze,  a ceramic with a grey-greenish cast, hand built and wood fired in an anagama kiln. “With the properties of the shigaraki clay and its inclusions of feldspar and silica, the high heat, the atmosphere in the kiln and the falling of the wood ash on the pots all present, warm colors as well as attractive markings can be captured on the surface of the clay,” Kohyama explains. “The blue-green and red-orange colors develop in the mid-section of the kiln; In the back of the kiln, a heavily reduced atmosphere creates rich dark gray and brown colors.”

Tapestry Blue Green exhibition

4gp Thin Green Horizon
Gudrun Pagter, sisal, linen and flax
45.25” x 55”, 2017

The Green Horizon is the striking abstract tapestry created by Gudrun Pager of Denmark for the exhibition. “Perhaps it is the horizon between heaven and sea, or between heaven and earth – or the line between heaven and earth?” Pagter muses. “The thin, horizontal line is made with many shades of blue and green thin linen. The main color is blue, but the thin, green horizon is essential to the whole picture.”

Wendy Wahl Blue Green exhibition

37ww Changing Tides
Encyclopedia Britannica pages
27” x 42”, 2018

Encylopedia Britanica pages are the material Wendy Wahl uses to express our  station in  time, recognizable as they are as  a   part  of  a  particular  collective  consciousness. Wahl’s Changing Tides is made of 275  pages of the 1988 Encyclopedia Britannica Annual of World Data, the only book in Wahl’s collection of EB volumes that contained blue paper. The pages were cut into seven sections, for each of the continents, contemplatively scrolled and compressed into 1925  whorls to symbolize the reality of rising water around the globe. These four are just a sampling of the more than 70 works that will be on display in the Blue/Green: color/code/context exhibition and in the companion catalog, which will be available at www.browngrotta.com after April 28th. To visit Blue/Green: color/code/contexthere are the details:  Saturday, April 28th, 1-6 pm: Opening and Artists Reception

Sunday April 29th – Sunday May 6th, Viewing Hours 10-5 pm.
For more info: http://www.browngrotta.com/Pages/calendar.php; 203-834-0623.
This year’s exhibition is co-sponsored by Litchfield Distillery.

Art Out and About: Patrick Dougherty at the Ackland Art Museum

 

Step Right Up at the Ackland Art Museum. Photo by Emily Bowles Raised in North Carolina and an alumnus of the University of North Carolina at Chapel Hill, sculptor Patrick Dougherty returned to his roots to create Step Right Up for the Ackland Art Museum last October. Internationally acclaimed for his monumental environmental works, Dougherty has produced over 280 large scale stick sculptures all over the world. You’ll know one of Dougherty’s sculptures when you see one. “Some cling to pylons or walls, or roll across the tops of trees; others emerge from a lake, seeming to balance on the surface of it without making a single ripple,” explains Daniel Wallace of Garden & Gun. “His sculptures do impossible things. They could be homes for giants or trolls, the first shelters built by prehistoric men, Gaudí-esque mazes, giant vines, remnants of alien visitations, windblown towers, jokes. They are fun, joyous, friendly, inviting, and public, very public: art conceived by one, built by many, shared by all.”

Dougherty working on Step Right Up. Photo: University of North Carolina at Chapel Hill

What separates Step Right Up from Dougherty’s other installations is that it is in his hometown of Chapel Hill, North Carolina. Dougherty earned his B.A. in English from the UNC in 1967 and later returned to study art history and sculpture. Before he began using sticks as his medium, Dougherty sculpted with clay. However, while using clay Dougherty was unable to achieve the scale he desired for his sculptures. While studying at UNC, Dougherty developed the idea of using sticks as his medium. Dougherty found that using sticks allowed him to bend and extend long lines, he could create his own monumental three-dimensional drawings. In order to effectively use sticks to create sculptures, Dougherty had to gain a better understanding of how shelter builders, such as birds and beavers, build their homes. “Sticks have an inherent method of joining…and that tangling allows you to hook them together,” Dougherty explains.

 

Unknown, Iranian, Caspian Region, ca. early 1st millennium B.C., Animal-shaped Pouring Vessel, earthenware, Overall: 8 3/4 x 12 x 6 3/16 in. (22.3 x 30.5 x 15.7 cm) Ackland Art Museum, University of North Carolina at Chapel Hill, Gift of Osborne and Gratia B. Hauge in honor of Dr. and Mrs. Sherman E. Lee, 91.21 © Ackland Art Museum, University of North Carolina at Chapel Hill

Dougherty often does not know what he is going to build until after he arrives at the installation site. Once he arrives, Dougherty has to source both volunteers and materials. For his exhibition Step Right Up at the Ackland Art Museum Dougherty was able to source his materials—maple and gum saplings—from Duke Forest and Triangle Land Conservancy, organizations Dougherty has had long relationships with throughout his career. Dougherty chooses to enlist the help of volunteers on his projects because he finds it interesting how varying types of characters can come together to create one piece. Dougherty’s creative process has three steps: 1) Structural formation—building the basic shape, 2) Appliqué—appliquéing a look onto the surface of the piece and 3) Cosmetic—fixing up and making it habitable for people to enjoy from both the inside and outside. In creating Step Right Up for the Ackland, Dougherty was inspired by the Ackland’s collection of ancient animal pouring vessels. The vessels, which usually have an animal head from which water is poured, typically have traditional tops. Dougherty liked the idea of having a mixed shape and applied it to his sculpture in Step Right Up.

“I think that part of my work’s allure is its impermanence, the life cycle that is built into the growth and decay of saplings,” explains Dougherty. “The line between trash and treasure is thin, and the sculptures, like the sticks they are made from, begin to fade after two years. Often the public imagines that a work of art should be made to last, but I believe that a sculpture, like a good flower bed, has its season.” Bounded to the installations organic material and outdoor setting, Dougherty’s Step Right Up is a temporary installation. The installation is expected to be on view through August 31, 2018 at the Ackland Art Museum in Chapel Hill, North Carolina. For more information, visit: https://ackland.org/exhibition/patrick-dougherty-stickwork-ackland/.


Happy New Year: to new beginnings, fresh starts, rewrites and resurrections


Mariyo Yagi’s works, including A Cycle, Infinity, resonate with her nawa principle: spiral energy of movement and human beings together creating a metaphorical rope, all pulling together. What better sentiment for the New Year? We at browngrotta arts wish you all an awesome and abundant year. https://www.youtube.com/watch?v=cDSqnF_Wjac

For Yagi, nawa unites two principles: na (you) and wa(I). When combined, nawa means “you and I,” representing a single word that signifies human empathy and endurance. In nawa, you and I, face each other beyond difference, thus signifies our creative interaction, to achieve interconnectedness, unity and peace.
Yagi worked for Isamu Noguchi in Japan in 1973-1976. In order to  fully realize her own projects, which are large in scale, Yagi became a licensed  civil engineer and contractor, the first Japanese sculptor to do so. Yagi has found her own global vocabulary, an infinite array of spiraling forms. From 1980 through the present, she has created artscapes in plazas, gardens, fountains, earthworks and other community art works, including a glass spiral at a Venice Biennial collateral event two years ago and a tall spiral. Axis for Peace and two other works at LongHouse Reserve in East Hampton. She has the ability to transform communities and build environments through her unconventional interactive art practice, which often involves untrained community volunteers. More about Yagi’s work can be found at www.browngrotta.com/Pages/yagi.php and at: http://www.mariyoyagi.net/English/cn53/ProfileE.html.

 


Spotlight on Bamboo: Bamboo Baskets Get the Nod at the Met

Japanese Bamboo Art: The Abbey Collectionis the first show at the Metropolitan Museum of Art in New York to concentrate on basketry, it features works of Japanese bamboo art dating from the late 19th century to the present—the period when basketry in Japan became recognized as an art form that transcends “craft.” The exhibition showcases more than 80 bamboo baskets and sculptures created by accomplished artists, including all six masters who have received the designation “Living National Treasure.” It celebrates the promised gift to the Met of more than 70 mostly extraordinary bamboo baskets and sculptures from the New York collectors Diane and Arthur Abbey. The exhibition also includes a site-specific installation, The Gate, by Tanabe Chikuunsai IV, a fourth-generation bamboo artist born in 1973, meandering forms, that Roberta Smith says have “an animated-cartoon energy and snap; they cavort almost wickedly.” “Throughout the exhibition,” Smith continues. ” you will see basketry abstracted, deconstructed and all but exploded in the hands of successive generations of artists.” The exhibition will be open through February 2018 — it is not to be missed.

The Gate by Tanabe Chikuunsai IV, Tiger bamboo, 2017, Photo: The Metropolitan Museum of Art

A number of the artists exhibited by browngrotta arts have frequently worked with bamboo. Jiro Yonezawa , awarded the Lloyd Cotsen Bamboo Prize in 2006, is a master — creating vessels, seductive objects and human-size sculptures.

Red Heat Haze by Jiro Yonezawa, bamboo and thread, 100″ x 13.5″, 2004, Photo: Tom Grotta

While Yonezawa harvests and prepares his own bamboo, (and speaks about that process here), Dona Anderson repurposes the bamboo she uses from kendo and hockey sticks to create vessels and sculptures. She began in the 1980s, making a series of missiles of bamboo sticks combined with colored fabrics stitched with a sewing machine, each nearly five feet high.
Nancy Moore Bess has studied bamboo extensively. She is the author of Bamboo in Japancalled by Donald Richie

” a compendium of information that is not likely to be soon duplicated.” She is also the creator of works that combine bamboo and waxed linen. “I met Tanabe-san on the first tour,” Bess writes. “He is a lovely young man.” The entry piece in Japanese Bamboo Art: The Abbey Collection is “ spectacular” in Bess’s view. The artist/author met Yamagishi-san who provided the Tiger Bamboo in the Met exhibition and from which The Gate is made, when she was researching the book. “Interestingly,” Bess writes, “if you take a rhizome of his tosatorafudake (tiger bamboo from Tosa, had to show off a bit) and plant it anywhere else, the skin does not develop the distinctive tiger markings!”

The exhibition will be open through February 2018 — it is not to be missed. For more information on the show click here. The show’s catalog is available in The Met’s online store here.