Category: Museums

Art Acquisitions: Part 2

A few weeks ago we published the first installment of our Art Acquisition series. Just as the first one did, the second installment reviews pieces browngrotta arts artists have had acquired by major institutions over the last year.

Studium Faktur, Magdalena Abakanowicz, sisal, 54" x 43" x 9", 1964. Photo by Tom Grotta.

Studium Faktur,
Magdalena Abakanowicz, sisal, 54″ x 43″ x 9″, 1964. Photo by Tom Grotta.

Norma MinkowitzMuseum of Texas Tech University and Boston Museum of Fine Arts , Massachusetts

Norma Minkowitz has had several pieces go to major institutions in the last year. Minkowitz’  piece Journey was acquired by the Museum of Texas Tech University, which is located in Lubbock, Texas. Minkowitz’ piece The Gamble,  which was part of the Daphne Farago Collection, has moved to the Boston Museum of Fine Arts.

Magdalena Abakanowicz – Boston Museum of Fine Arts and Minneapolis Institute of Arts, Minnesota

Magdalena AbakanowiczStudium Faktur was acquired, through browngrotta arts, by the Boston Museum of Fine Arts. Studium Faktur, which was one of Abakanowicz’ earlier works (made in the 1960s), was originally part of weaver Mariette Rousseau-Vermette’s collection. Additionally, Abakanowicz’ piece Montana del Fuego was acquired, also through browngrotta arts, by the Minneapolis Institute of Art. Montana del Fuego is a strong example of how Abakanowicz was able to fuse weaving and sculpture to create a spectacular three-dimensional wall hanging. The work was part of the Anne and Jacques Baruch Foundation Collection.

Simone Pheulpin at The Design Museum in London. Photo: Maison Parisienne

Simone Pheulpin at The Design Museum in London. Photo: Maison Parisienne

 

 

Maria Laszkiewicz – Minneapolis Institute of Art, Minnesota

Maria Laszkiewicz’s Mask, also a part of the Baruch collection, was acquired, through browngrotta arts, by the Minneapolis Institute of Art.  Laszkiewicz, born in 1898, encouraged a generation of textile artists (such as Abaknaowicz), and was an innovator in the tapestry field.

Simone Pheulpin – V&A, London and Chicago Art Institute, Illinois 

Morphus vii, Gizella K Warburton. Photo: Chris Large

Morphus vii, Gizella K Warburton. Photo: Chris Large

The Victoria & Albert Museum in London recently acquired a piece from Simone Pheulpin’s Eclipse series. One of the textile sculptor’s works was also acquired by the Chicago Art Institute.

Jiro Yonezawa – Musée du Quai Branly-Jacques Chirac, Paris

The most recent acquisition is a piece by Jiro Yonezawa by the Musée du Quai Branly-Jacques Chirac, Paris, France. The museum has commissioned a piece for an exhibition of Japanese bamboo art that opens in November of this year (November 27 – April 9).

Gizella K Warburton – Fitzwilliam Museum, Cambridge, England

The Fitzwilliam Museum acquired Gizella Warburton’s piece Morphus vii. The wrapped and sculpted vessel forms in Warburton’s ‘Morphus’ series are “quietly resonant of internal and external skins, of scarred and fissured surfaces, of abrasions, bindings and sutures.”

Jennifer Falck LinssenTexas Tech University in Lubbock Texas

The Museum of Texas Tech University has also acquired a wall sculpture by Jennifer Falck Linssen. The sculpture, titled Acumen, was acquired for a new building underway at the university.


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.


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/.


Art Out and About: Exhibits in the US and Abroad

Lia Cook's work on display at Coded Threads: Textiles & Technologies

Lia Cook’s work on display at Coded Threads: Textiles & Technologies, Photo: Lia Cook

Art of interest can be found across the US and abroad this winter. Out West, Lia Cook and browngrotta art’s friend Carol Westfall are both featured in Coded Threads: Textiles and Technology in the Western Gallery at Western Washington University. The fourteen artists in the exhibition were chosen for their use of new textile technologies. Despite the fact that technology is changing lives and art rapidly, the earliest textile techniques are still practiced (basket weaving, indigo dying, etc.) The exhibition recognizes the importance of maintaining a connection to the past while seizing the opportunities that lie ahead with innovative textiles technology. Artists are now using spider silk, nanotechnology, biocouture, smart textiles (conductive threads, fiber optics) and Arduino microprocessors as materials for their work. The creation and use of these materials have fostered collaborative relationships between scientists, artist, and engineers. For example, Lia Cook works in collaboration with neuroscientists to investigate the natural response to woven faces by mapping the responses in the brain. She uses DSI (Diffusion Spectrum Imaging of the brain) and TrackVis software to view the structural neuronal connections between parts of the brain and then integrates the resulting “fiber tracks” with weaving materials to make up the woven translation of an image. Coded Threads: Textiles and Technology is on display in the Western Gallery at Western Washington University until December 8th. Do not miss the chance to glimpse at the future of textile art!

Flow: The Carved Paper Work of Jennifer Falck Linssen 

Flow: The Carved Paper Work of Jennifer Falck Linssen, Photo: Jennifer Falck Linssen

If you’re in the Midwest make sure to go see Flow: The Carved Paper Work of Jennifer Falck Linssen before it closes at the Talley Gallery in Bemidji, Minnesota on October 27th. “The impetus for Flow began one cold January week when Wisconsin artist Jennifer Falck Linssen escaped the frozen north for the lush green vegetation and mild temperatures of the Florida coast,” notes Laura Goliaszewski, the Talley’s Gallery Director. As Linssen was kayaking and hiking, she noticed the large population of birds making their new homes along the coast. Linssen began to consider how the diverse landscapes and climates of Florida and Wisconsin serve the seasonal needs of birds. A series of swooping, swerving wall sculptures that send viewers’ eyes aloft is the result.

Are We The Same?, Norma Minkowitz, mixed media, 12” x 28” x 26.375”, 2016, Photo: Tom Grotta

Of Art and Craft, on display in the Flinn Gallery at the Greenwich Library, on the East Coast, explores the division between Art and Craft. The exhibition displays creations of glass, clay and fiber, which are all traditionally considered “craft materials.” However, the talent and skill present in all of the resulting pieces without a doubt make the pieces art, in the view of the exhibition’s curators. The exhibition features clay sculptures from Jocelyn Braxton Armstrong, Susan Eisen, and Phyllis Kudder Sullivan; glass work from Kathleen Mulcahy, Josh Simpson, and Adam Waimon; as well as fiber explorations by Emily Barletta, Ellen Schiffman and browngrotta arts artist Norma Minkowitz. Minkowitz, a resident of Westport, CT, has seven pieces featured in the exhibition, all of which use a variety of materials. Minkowitz’s piece in the exhibition Goodbye My Friend exemplifies her commitment to conveying the intimacy and imperfection of the human hand. “The interlacing technique that I use makes it possible for me to convey the fragile, the hidden, and the mysterious qualities of my work, in psychological statements that invite the viewer to interpret and contemplate my art,” explains Minkowtiz. Minkowitz is set to give a talk at the Flinn Gallery on November 5th at 2pm. Of Art and Craft will be on display at the Flinn Gallery from October 26th through December 6th.

This Way and That, 2013, Gyöngy Laky. Cut and assembled manzanita wood painted with acrylic paint and secured with trim screws. Photo: Bruce M. White© Lloyd Cotsen, 2016

This Way and That, 2013, Gyöngy Laky. Cut and assembled manzanita wood painted with acrylic paint and secured with trim screws. Photo: Bruce M. White© Lloyd Cotsen, 2016

The Box Project: Uncommon Threads, which was previously at the Racine Art Museum, is currently on display in the Textile Museum at The George Washington University Museum. Art collector Lloyd Costen challenged 36 international fiber artist to create a piece of work in the parameters of an archival box. 10 browngrotta arts artist have work on display in The Box ProjectHelena HernmarckAgenta HobinKiyomi IwataLewis KnaussNaomi KobayashiNancy KoenigsbergGyöngy LakyHeidrun SchimmelHisako Sekijima and Sherri Smith. The exhibition will be on display at The George Washington University Museum through January 29th.

Essence Iki at the Dronninglund Kunstcenter in Denmark, Photo: Yuko Takada Keller

 

 

Out side the US, Essence Iki at the Dronninglund Kunstcenter in Denmark, celebrates 150 years of diplomatic cooperation between Japan and Denmark. Browngrotta arts artist Jane Balsgaard is one of six artists featured in the exhibtion, three from Denmark and three from Japan. Featured are objects, room dividers and Balsgaard’s majestic, airbound boats of paper. The exhibition will be on display at the Dronninglund Kunstcenter until December 11th

Open Form, Laura Ellen Bacon, willow, 2016, Photo: Matthew Ling

Open Form, Laura Ellen Bacon, willow, 2016, Photo: Matthew Ling

BBC Woman’s Hour Craft Prize nominee Laura Ellen Bacon also has a solo exhibition on display at the National Centre for Craft & Design in Sleaford, UK. The exhibition, titled Rooted in Instinct demonstrates the process Bacon goes through when crafting a new sculpture or installation while also displaying a variety of Bacon’s new thatching, weaving and knotting techniques. Once an old seed warehouse, The National Centre for Craft & Design is the largest venue in England entirely dedicated to the exhibition, celebration, support, and promotion of national and international contemporary craft and design. Rooted in Instinct will be on display until January 14th.

In Lodz, Poland, at the Central Museum of Textiles, this winter will see an exhibition of the work of Magdalena Abakanowicz and, in January, a solo exhibition of the work of Włodzimierz Cygan that will include his luminous Tapping series made of optical fibers. For more information, watch the Museum’s website HERE

Art Out and About: Abroad

Earlier this summer we published a blog post outlining current and upcoming exhibitions featuring browngrotta arts artists in North America. In addition to all of the exhibitions in North America, we have a ton of artists being featured in exhibitions abroad. Whether working in Denmark or vacationing in Greece take some time to relax and visit one of these spectacular exhibitions.

Jens Søndergaard with the touch of Ane Henriksen

Heltborg Museum (Thy, Denmark)

June 18-September 3

Ane Henriksen currently has a solo exhibition on view at the Heltborg Museum on the West Coast of Denmark. In Jens Søndergaard with the touch of Ane Henriksen, Henriksen uses weavings to interpret paintings by Jens Søndergaard. The weavings and paintings are on view at the Helborg Museum until September 3rd.

Jen Søndergaard with the touch of Ane Henriksen

 

A Darker Thread

Oriel Myrddin Gallery (Carmarthen, UK)

July 15-October 21  

Across the pond, there is A Darker Thread, at Oriel Myrddin Gallery in Carmarthen. Wales has been long celebrated for its’ distinctive textile design in both power-loomed blankets and hand stitched quilts. While all work in A Darker Thread references Welsh Culture or sense of place, artists were selected for their focus on the curious, the provocative, the humorous or the unpredictable. The exhibition features artists such as Alana Tyson, Laura Thomas and Ruth Harries. To compliment the exhibition there is a rich program of events over the summer for children and families. A Darker Thread is on show at the Oriel Myrddin until October 21st.

Treading Cloud by Spike Davis at A Darker Thread

Labyrinth

Mountados, Tinos, Greece

July 22-August 22

 

For Labyrinth, 10 artists were challenged to create a piece of art for a box that would hang above the streets of the village Mountados on the island of Tinos. The network created by the alleyways of cycladic villages is reminiscent of a labyrinth, therefore why the theme was chosen for Mountados. Though labyrinths are often seen as a place to get lost, they are instead the places to find oneself. “In these troubled and uncertain times, we are once again seeking a path. Here we are in this labyrinth, confronted with the idea of the inner journey that each of us pursues, in the face of our hesitation, our halts, our choices,” explains Mireille Liénard “It is the discovery of this labyrinth, but also this journey to the depths of ourselves, that this new edition of the Biennale of Mountados offers us.”             

Stéphanie Jacques for Labyrinth

Tapestry: Here and Now

The Holbourne Museum (Bath, UK)

June 23-October 1

Tapestry: Here & Now surveys contemporary tapestry while also showcasing some of the most innovative approaches to tapestry by a variety of international talent. This exhibit includes Sara Brennan and is curated by Dr. Lesley Millar, who wrote an essay in Retro/Prospective: 25+ Years of Art Textiles and Sculpture. Each piece exhibits a development in the artist’s career, textile making or society as a whole. The exhibition also exemplifies how artists use their medium to engage with political, aesthetic and personal issues of contemporary relevance.  Edward McKnight Kauffer’s “The ‘Arts’ Tapestry” will be on public display for the first time. The tapestry depicts a muse-like figure holding an open book, while beside a globe and fluted ionic column, expressing the importance of understanding classical art and architecture. Tapestry: Here & Now will be on view at The Holbourne Museum, in Bath until October 1st.

Broken White Band with Pink by Sara Brennan, linen, wool, and cotton, 32” x 32”, 2008

 

Everyday matter, The Value of Textile Art

Textilmuseet, Borås

September 16 – January 28

Everyday matter, an exhibition presented by Nordic Textile Art (NTA) in collaboration with the Textile Museum of Sweden, chronicles the slow processes of textile art. The exhibition not only shows methods to eliminate time in the textile making process but also shows artists how to communicate through materiality. Every two years the European Textile Network holds a conference in a European country. This year, Borås and the Textile Museum of Sweden are co-hosting the conference. Four browngrotta arts artist have been selected to present work in Everyday matter, including Løvaas & Wagle,Ulla-Maija Wikman, Grethe Wittrock and Ane Henriksen.

Grethe Wittrock working on a piece for Everyday Matter


Anniversary Alert: 10 Years of Feminist Art…

Anniversary Alert: 10 Years of Feminist Art in Brooklyn;
More Chances to Celebrate at MOMA, LongHouse Reserve and elsewhere

Faith Ringgold, Early Works #25: Self-Portrait, Oil on canvas, 50 x 40 in. (127 x 101.6 cm), 1965. Brooklyn Museum, Gift of Elizabeth A. Sackler, 2013.96. © artist or artist’s estate.
Photo: Jim Frank

Lots of opportunities to see work by women artists and consider their role in the canon. The centerpiece are the exhibitions and events that make up A Year of Yes: Reimagining Feminism at the Brooklyn Museum which celebrates the10th anniversary of the Elizabeth A. Sackler Center for Feminist Art. A Year of Yes recognizes feminism as a force for progressive change and takes the contributions of feminist art as its starting point. It reimagines next steps, expanding feminism from the struggle for gender parity to embrace broader social-justice issues of tolerance, inclusion, and diversity. Among the exhibitions on view is We Wanted a Revolution: Black Radical Women, 1965–85, through September 17th, which presents a large and diverse group of artists and activists who lived and worked at the intersections of avant-garde art worlds, radical political movements, and profound social change, the exhibition features a wide array of work, including conceptual, performance, film, and video art, as well as photography, painting, sculpture, and printmaking. Faith Ringgold, known for her quilts among other works, protested in the early 70s the Whitney Biennial’s prepondence of male artists. Ringgold also visited incarcerated women at Riker’s Island, and created a large painting there using their narratives, which is part of We Wanted a Revolution. Others artist included Alva Rogers, Alison Saar, Betye Saar, Coreen Simpson, Lorna Simpson, Ming Smith, and Carrie Mae Weems. Know before you go, with this primer from Artspace, 6 Black Radical Female Artists to Know Before You See We Wanted a Revolution: Black Radical Women, 1965–85.” If you are tied up for the next month, you have a second chance to see the exhibition at the ICA in Boston when it opens there next June 26th.
Also upcoming at the Brooklyn Museum is Roots of “The Dinner Party”: History in the Making which opens October 20, 2017 and runs through March 2018. Since the 1970s, Judy Chicago has been a pioneer in the development of feminism as an artistic movement and an educational project that endeavors to restore women’s place in history. Her most influential and widely known work is the sweeping installation The Dinner Party (1974–79), on which Judy Mulford worked, celebrating women’s achievements in Western culture in the form of a meticulously executed banquet table set for 39 mythical and historical women and honoring 999 others.Roots of “The Dinner Party”: History in the Making is the first exhibition to examine Chicago’s evolving plans for The Dinner Party in depth, detailing its development as a multilayered artwork, a triumph of community art-making, and a testament to the power of historical revisionism. Chicago’s ambitious research project combatted the absence of women from mainstream historical narratives and blazed the trail for feminist art historical methodologies in an era of social change. It also validated mediums traditionally considered the domain of women and domestic labor, as the artist studied and experimented with China painting, porcelain and needlework.

Sheila Hicks, Prayer Rug, Hand-spun wool, 87 × 43″ (221
× 109.2 cm), 1965, The Museum of Modern Art, New York. Gift of Dr. Mittelsten Schied, 1966

But that’s not all. You still have  four days to see the acclaimed MOMA exhibition, Making Space: Women Artists and Postwar Abstraction which includes 100 works that “range from the boldly gestural canvases of Lee Krasner, Helen Frankenthaler, and Joan Mitchell; the radical geometries by Lygia Clark, Lygia Pape, and Gego; and the reductive abstractions of Agnes Martin, Anne Truitt, and Jo Baer; to the fiber weavings of Magdalena Abakanowicz, Sheila Hicks, and Lenore Tawney; and the process-oriented sculptures of Lee Bontecou, Louise Bourgeois, and Eva Hesse. The exhibition will also feature many little-known treasures such as collages by Anne Ryan, photographs by Gertrudes Altschul, and recent acquisitions on view for the first time at MoMA by Ruth Asawa, Carol Rama, and Alma Woodsey Thomas.” Again, you can become well-informed before your visit (or visit online in lieu of inperson) with online resources, YouTube presentations, one when the exhibition opened and another, a tour of the exhibition with a MOMA curator.

Beginning on September 13th, the ICA, University of Pennsylvania in Philadelphia, will present Nathalie Du Pasquier: BIG OBJECTS NOT ALWAYS SILENT, a retrospective exploring the prolific creative practice of artist and designer Nathalie Du Pasquier on view from September 13 through December 23, 2017. A founding member of the Italian design collective Memphis, Du Pasquier’s work across painting, sculpture, drawing, installation and design demonstrates a unique and considered interpretation of space and objects. A catalog will accompany the exhibition. A collection of graphic and whimsical textile designs by Nathalie Du Pasquier and George Sowden has been released by 4 Spaces and Zigzag Zurich.

Nathalie Du Pasquier, Still life on my bicycle, oil on canvas, 39 x 59 inches, 2005. Courtesy of Kunsthalle Wien and the Institute of Contemporary Art at the University of Pennsylvania

Must these artists be categorized as “women artists”? That’s just one of the questions that Hampton’s artist, Toni Ross hopes to explore ina  series of conversations at LongHouse Reserve in East Hampton, New York. “In my mind this is a complex issue,” she writes. “I do believe that there are forces that confront all non-white male artists and that that conversation is evolving and changing rapidly. The Hamptons, with its rich history of artists includes many important women who broke ground for us, many whom may have been overshadowed by their more recognized partners. I look forward to the conversations in all of their complexities.” The conversations, in WOMEN ARTISTS: Reshaping the Conversation, A series of panel discussions in the LongHouse Garden will unfold in three events, beginning this Saturday:

Saturday, August 12, 11:00 am
CHRISTOPHE DE MENIL
MICHELE OKE DONER
APRIL GORNIK
UZOAMAKA MADUKA
NEDA YOUNG

Saturday, August 26, 11:00 am
JOAN JULIET BUCK
ANDREA GROVER
BARBARA ROSE
MICHELLE STUART
TERRIE SULTAN

Saturday, September 23, 11:00 am
ALICE AYCOCK
PERNILLA HOLMES
BASTIENNE SCHMIDT
ALMOND ZIGMUND
additional panelists to be announced

Reservations to these events are required. RSVP to Mr. Jack Meyer at jack.meyer@gsmltd.net, 212.271.4283.


Textiles At Tate Modern in London

These are exciting days at the Tate Modern in London for fans of art textiles. You’ll find fiber works by important artists in several different galleries.

Beyond Craft, in the Boiler House, curated by Ann Coxon features three pioneers, Lenore Tawney, Olga de Amaral and Sheila Hicks, who experimented with different weaving techniques, often looking to historical or indigenous textiles for inspiration. De Amaral and Hicks were particularly inspired by the technical brilliance of Peruvian weavings made before European colonization. The Museum notes that many artists in the 1960s were using weaving and knotting to create innovative hangings and sculptures, integrating traditional craft techniques into fine art practice. “The 1960s saw several high-profile exhibitions of ‘fiber art’: textile techniques used to create unique art objects without a practical function. These three artists were among those who attempted to collapse the hierarchy that sets fine art above craft. While this distinction has not entirely disappeared, in recent years fiber art has become a source of inspiration for a new generation of artists and curators and the artists displayed here are receiving fresh consideration.”

Peruvian by Lenore Tawney

Peruvian by Lenore Tawney, linen double weave , 86″ x 18″, circa 1962-83
Lenore, like many artist of the 1960s, was drew inspiration for her weaving from indigenous Peruvian weavings. Photo credit: Tom Grotta

Lekythos by Lenore Tawney, linen; woven, knotted, 50” x 31-3/4” x 1-3/4”, 1962,
Photo: George Erml

In Magdalena Abakanowicz, also in the Boilerhouse, viewers can explore Abakanowicz’s stitched cloth sculptures inspired by biological systems, organic matter, and regeneration. “Made at a time of political tension between the Soviet Union and Poland, Abakanowicz has said the work ‘could be understood as a cry from behind the Iron Curtain’,” says the Museum notes. (That was the time frame in which Anne and Jacques Baruch brought Abakanowicz’ work to the US, the subject of browngrotta arts’ catalog, Advocates for Art: Polish and Czech Fiber Artists from the Anne and Jacques Baruch Collection.)

Embryology by Magdalena Abakanowicz, burlap, cotton gauze, hemp rope, nylon and sisal, 2009
Photo: Tate Photography

Elsewhere in the Boilerhouse is a work by El Anatsui, who completely transforms the most pedestrian materials into art. By flattening bottle tops and stitching them together into a shimmering metal cloth, he turns familiar disposable objects into something that appears precious and alters them in the viewers’ eyes. Taking a similar approach to the mundane, Sheela Gowda from India has created a room-sized installation made of car bumpers and handwoven human hair, an observation on “the coexistence of ritual and superstition alongside modern urban and economic transformation.”

Ink Splash II by El Anatsui, aluminum and copper, 9.35 ft x 12.24 ft, 2012
Photo: Tate Photography

Want to know more? Visit the Museum’s website to see images and to read New Yarn, Tate, etc. Essay: Textiles and Art by Kirsty Bell: http://www.tate.org.uk/context-comment/articles/new-yarns


Make a Day of It: Still Crazy After All These Years and Other Events Nearby

We hope you’re planning a trip to browngrotta arts in Wilton, Connecticut to visit Still Crazy After All These Years…30 years in art between April 22nd and 30th. If you have some time, here are a few other nearby activities to consider:

exhibition catalogs

Suzanne McClelland and Beth Campbell at the Allrich Museum

The Aldrich Contemporary Art Museum, just up the street from browngrotta arts at 258 Main Street, Ridgefield, Connecticut, is presenting Suzanne McClelland’s exhibition Just Left Feel Right—a collection of McClelland’s selected artwork that spans her more than two-decade career. Now through September 4, viewers can witness how these textured art pieces collaborate to capture the eruptive and disparate voices of a shifting American vernacular and its effect on the ways humans communicate in our hyperkinetic time. Also on display at the museum is Beth Campbell’s My Potential Future Past. Campbell’s art forms range from drawings to sculptures and installations. She uses a series of objects to exploits the “what ifs” associated with the choices we make and how those choices shape who we eventually become.

Hours:

Wednesday through Monday: 10 a.m.–5 p.m.

Closed Tuesday

Dr Seuss exhibition

Wilton Historical Society Dr Seuss political Cartoon

Dr. Seuss, Political Cartoons & the Battle over Isolationism vs. Intervention

Wilton Historical Society:

224 Danbury Road

Wilton, CT 06897

203.762.7257

Through compelling cartoons and historic prints, Wilton Historical Society’s Dr. Seuss, Political Cartoons & the Battle over Isolationism vs. Intervention exhibition illustrates the history of America’s shifting attitudes toward foreign policies and two major world wars. Now on display until October 15, this collection explores how, through creative cartooning, artists—like Dr. Seuss—portrayed America’s efforts to remain neutral during WWI, as well as its engagement in WWII.

Hours:

Tuesday through Saturday: 10 a.m.–4 p.m.

Nearby activities: Annual Book Sale

Wilton Library’s Gigantic Spring Book Sale Fundraiser

Also in Wilton next weekend,

Gigantic Spring Book Sale Fundraiser

Wilton Library

137 Old Ridgefield Road

Wilton, CT 06897

April 22nd 7 a.m.–9 p.m.

April 23rd Noon–5 p.m.

April 24th 10 a.m.–5 p.m.

April 25th 10 a.m.–3 p.m.

The Wilton Book sale, Wilton library’s annual gigantic book sale, features more than 70,000 items sorted into more than 50 categories—mysteries, gardening, travel, and science fiction; gently used, collectible, rare books, DVD’s, CD’s and books on CD.

Katonah Museum of Art exhibition

Picturing Love: Photography’s Pursuit of Intimacy at the Katonah Museum of Art

Picturing Love: Photography’s Pursuit of Intimacy Exhibition; Interactive Picture Wall

Katonah Museum of Art:

134 Jay Street–Route 22

Katonah, NY 10536

914.232.9555

Now until June 25, the Katonah Museum of Art is presenting Picturing Love: Photography’s Pursuit of Intimacy. This collection includes photography from forty renowned and anonymous artists that have captured portrayals of intimacy among various people and relationships. Through these candid photographs, the exhibition investigates the formidable history of photography and how love is presented and imparted through the single act of taking a photo.

Inspired by its Picturing Love exhibition, the museum is also featuring a new interactive picture wall that transports guests into a real working photo studio. Guests pose for photographs and choose from a variety of themes, backdrops and materials to create images that express affection.

Hours:

Tuesday through Sunday: 10 a.m.–5 p.m.

Closed Monday


Art Out and About: Exhibits Across the US, Eastern Edition

Norma Minkowitz Goodbye Goddess

Norma Minkowitz Goodbye Goddess, 2003, permanent collection of the Wadsworth Atheneum

Here’s a list of exhibitions, podcasts and lectures well worth seeking out in February, March and April. In Connecticut, at the Wadsworth Athenuem in Hartford SHE: Images of Female Power from the Permanent Collection is on exhibit through April 2, 2017. The exhibition considers: What does female power look like? The intimate installation takes that question as a starting point to consider works from across the Wadsworth Atheneum’s collections, from Egyptian sculpture to Pre-Columbian ceramics to photography and textiles by contemporary artists. Included are images of goddesses, queens and protectresses. The exhibition features works by Ana Mendieta, Elizabeth Catlett, Lorraine O’Grady, Norma Minkowitz and Mario Carreño, among others. Norma Minkowitz will speak at the museum on March 30th @ 12:00 pm – 1:00 pm followed by a guided visit to her groundbreaking sculpture Goodbye Goddess. Also in Connecticut, at the Yale Art Gallery in New Haven, Small-Great Objects: Anni and Josef Albers in the Americas examines intersections between the art-making and art-collecting strategies of the Alberses, two of the most influential figures of 20th-century modernism. As the Gallery notes explain, “Between 1935 and 1967, the couple made numerous trips to Latin America, namely Mexico and Peru, and amassed a large collection of ancient artworks from the region. The exhibition looks at these objects in depth and considers how Anni and Josef’s collection supported their aesthetic sensibilities and teaching practice. In addition to objects from the ancient Americas, the show gathers together dozens of works that the couple made, including textiles, paintings, works on paper, and rarely studied photographs that Josef took at archaeological sites and museums.” Demonstrating the Alberses’ deep and sustained engagement with ancient American art, Small-Great Objects explores a fascinating dimension of the couple’s creative vision. This exhibition is accompanied by a free podcast, available in the gallery space and online at http://soundcloud.com/yaleartgallery/sets/small-great-objects. In Massachusetts, 31 works by international artists are included in Excellence in Fibers at the New Bedford Museum of Art. Organized by Fiber Art Now magazine, submissions from around the world were reviewed by jurors Emily Zilber, Curator, MFA Boston; artists Gerhardt Knodel and Norma Minkowitz and Melissa Leventon, former curator at the Fine Arts Museums of San Francisco.

Rachel Max Basket

After Haeckel II by
Rachel Max, 2015 Photo by Tom Grotta

Rachel Max is among the artists selected for Excellence in Fibers. You can read more about her work in the Winter double edition of Fiber Art Now in an article by John Hopper: http://fiberartnow.net/. In New York at the Museum of Arts and Design,

Françoise Grossen sculpture

Embryo by Françoise Grossen. Photo by Tom Grotta

Françoise Grossen Selects remains on exhibit through March 15th. “Grossen has mined the Museum’s permanent collection,” the Museum writes, “and brought her own rope sculptures together with a selection of work from MAD’s unusual collection of baskets, as well as other work in fiber, wood, and metal….Grossen’s selections highlight an approach to contemporary sculpture that focuses on the artist’s direct transformation of material and links it to a wider discussion about ways of making in culture at large.”

On Sunday, February 19th at 2 p.m., MAD’s Windgate Research and Collections Curator, Elissa Auther, will discuss the historical context of Grossen’s work. Auther will also discuss the advance of thread, rope, string, felt and fabric from the “low” world of craft to the “high” world of art in the 1960s and ’70s, as well as the prominence of fiber in art today. For more information visit: http://madmuseum.org/exhibition/françoise-grossen-selects.